September 18, 2015–January 15, 2016
For more than five millennia, visual artists have been drawn to dance as a subject for their art-making. The ancient Egyptians, Greeks, and Romans all immortalized dancers – and their dances – in a range of media, including murals, vase decorations, cameos, and coins. Christian art, too, exhibited a marked fascination with the Bible’s most infamous dancer, Salome, whose mesmerizing movements induced Herod to decapitate John the Baptist at her request. The reason for this magnetic pull is obvious: dance is expressive, evocative, and erotic. Through dance, stories are told and histories rendered tangible. It captivates the human spirit and, despite its extreme physicality, transports us to a plane of existence that transcends the body; precisely the same effect that sculpture, painting, and photography can produce. This stunning exhibition examines the rich relationship between these “sister arts” through the eyes of three gifted practitioners: sculptor Marc Mellon, painter Jane Sutherland, and photographer Philip Trager. Each of these artists has had a distinguished career, with numerous notable exhibitions across the country and artworks held in public as well as private collections, both in the U.S. and abroad. Though their expressive “languages” may differ, they all bring a keen eye, cutting intellect, and talented hand to their oeuvres, creating visual tours de force for their audiences to enjoy. Visitors to this show will relish a unique opportunity to see Mellon’s classically inspired life-size bronze sculptures of dancers juxtaposed with Sutherland’s intriguing Little Dancer paintings; a series directly inspired by Edgar Degas’s great work of this same name. Trager’s silver gelatin and platinum prints of athletic dancers – whether airborne or with bodies quieted into astoundingly expressive postures – rounds out this phenomenal triumvirate, whose work delights the eye as much as it does the mind and the spirit.
Ghosts in the Landscape: Vietnam Revisited
March 26–June 6, 2015
Over a four-year period beginning in 1995, photographer Craig J. Barber, ex-combat Marine, returned to Vietnam to traverse many of his former military routes, making images with an 8x10-inch pinhole camera. In part a cathartic exercise, and a need to satisfy his curiosity about what had become of this once war-torn country, Barber created a series of 46 diptych and triptych panorama platinum images that capture the serene beauty of the country and, at times for him, the all-too-memorable landscapes. The tonality of the platinum process produces images with stunningly rich blacks and a full spectrum of delicately nuanced shades of gray.
The images Barber has captured are not documentary images. The minutes-long exposure required to record pinhole images produce blurring in anything that was in motion during the exposure. This sense of movement contributes to both a sense of mystery and a dreamlike, introspective quality. One critic wrote: "The blur in the images, here seen in diptychs or triptychs as when the soldier Barber was looking to left and right -- for a movement, a muzzle flash -- now takes on a new meaning in the civilian Barber's eyes...[and] completely capture the haunting power of wartime memory and trauma." Yet these images do convey beauty and peace. As we take note this spring of the 40th anniversary of the Fall of Saigon and the end of the Vietnam War, the audience may find comfort, as does Craig Barber, in seeing Vietnam in a different light.
Gallery Talk with the artist, Thursday, March 26, 2015, 5-6 p.m.
Opening Reception, Thursday, March 26, 2015, 6–8 p.m.
Faculty: View the Spring Curricular Connections Guide to see how this exhibition might complement your students' coursework.
John Mendelsohn: The Passing Paintings
December 2, 2014 - February 27, 2015
New York-based artist John Mendelsohn is best known for his remarkable work with color and pattern. This exhibition features 48 paintings from Passing, a cycle of paintings created by the artist during a 12-month period from 2010 to 2011. The cycle is comprised of five series of paintings -- titled Turbulence, Crosswalk, Vanishing, Flayed, and Paradise -- and while each series has its own character, each is also involved in states of change. The artist has written about these works that “Instability and dissolution appear in many forms; absence and presence are in continual dialogue. The paint itself is treated physically: combed, marbleized, wiped off, and scraped away. As the paintings break down, they open up, revealing the surface and space beyond.” The entire Passing cycle may be viewed online here. Mendelsohn’s work in the Walsh Gallery will be complemented by seven more of his works, including a selection from the Six Movements series, which are on view in the lobby of the Quick Center for the Arts, adjacent to the gallery.
Not Ready to Make Nice: The Guerrilla Girls in the Artworld and Beyond
September 4 - November 14, 2014
Not Ready to Make Nice, a major presentation of the Guerrilla Girls, illuminates and contextualizes the important historical and ongoing work of these highly original, provocative, and influential artists who champion feminism and social change. The Guerrilla Girls have been powerfully and consistently active since first breaking onto the art scene in 1985. Appearing only in gorilla masks and assuming the names of dead women artists, the activist group has remained anonymous for nearly three decades while revealing shocking truths about sexism and prejudice in the art world and beyond. Beginning with their courageous poster campaigns of the 1980s and continuing with large-scale international projects, they brilliantly take on the art establishment in a way that has never been seen before or since. Using “facts, humor, and fake fur,” they have exposed the discriminatory collecting and exhibiting practices of the most feared art dealers, curators, and collectors. Expanding their work to include non-visual arts media in the 1990s, the Guerrilla Girls have taken on everything from the discrimination of women film directors to the environmental crisis. Focusing primarily on recent work from the past decade, this exhibition features rarely-shown international projects that trace the collective’s artistic and activist influence around the globe. In addition, a selection of iconic work from the 80s and 90s illustrates the formative development of the group’s philosophy and conceptual approach to arts activism. Documentary material, including ephemera, behind-the-scenes photos, and secret anecdotes, reveal the Guerrilla Girls’ process and the events that drive their incisive institutional interventions. Visitors can peruse the artists’ favorite “love letters and hate mail,” and are invited to contribute their own voices to interactive installations. This multimedia, expansive exhibition illustrates that the work of the anonymous, feminist-activist Guerrilla Girls is as vital and revolutionary as ever.
Not Ready to Make Nice was curated by Neysa Page-Lieberman and organized by Columbia College Chicago. To learn more about this traveling exhibition and to order a catalogue visit colum.edu/guerrillagirls.
This exhibition was featured in artforum.com's “Critics' Picks” section, a select review of shows worldwide.
View video of an original Guerrilla Girl talking about their work and the exhibition here.
Jason Peters: Refraction
April 24 - June 27, 2014
Fascinated by the destabilization of perception, Jason Peters creates illusory spaces and alternative realities through his work. Intentionally designed to trigger a cathartic sense of the sublime in his viewers, the artist amasses vast quantities of discarded objects from everyday life that he then reconfigures in surprisingly unexpected ways. The results lift these "societal casts-offs" — including contractor's buckets, fluorescent lighting tubes, and metal chair frames — beyond the bounds of ordinary physical existence. In doing so, Peters invites the viewer to see beauty where before there was refuse, to experience flux where before there was stasis, and to experience a focused calm where before there was alarm. In this exhibition, the artist will create several site-specific installations, one of which will respond directly to works on view in La Ragnatela: The Spiderweb Works by Giampaolo Seguso from the Corning Museum of Glass (on view at the Bellarmine Museum of Art, April 10 – June 13, 2014).
Reflections and Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940
January 23 - April 4, 2014
Reflections & Undercurrents features prints by the German-born American painter and etcher Ernest Roth (1879-1964) and his contemporaries, including John Taylor Arms (1887-1953) and Joseph Pennell (1860-1926), exploring the connections between the art they made in early 20th-century Venice. The exhibition includes over ninety works and embraces a range of media, including etchings, drawings, sketchbooks, and photographs as well as Roth's original print making tools. Organized by Dr. Eric Denker (Senior Lecturer, National Gallery of Art) and Dr. Philip Earenfight (Director, Trout Gallery, Dickinson College), this show complements In the Wake of the Butterfly: Whistler and His Circle in Venice, on view concurrently at the Bellarmine Museum of Art.
To more fully experience this exhibition, you are invited to download a PDF here. In it you will find an interactive map, which will allow you to explore the prints highlighted in these shows and to see images of what locations caputred in these works look like today. You can also listen to audio tours and watch a short video, featuring Dr. Eric Denker discussing a selection of objects featured in Reflections & Undercurrents.
Download the guide on the MustSee app:
Reflections & Undercurrents: Ernest Roth and Printmaking in Venice, 1900-1940
Fall: The Rise of a Landmark: Lewis Hine and the Empire State Building
Winter: Colleen Browning: Brush with Magic
Spring: Po Kim: Spirit of Change
Fall: Marlene Siff: Elements of Peace
Winter: Sylvia Wald: Seven Decades
Spring: SoloCollective - Jr/Sr Exhibition
Summer: History of Woman
Fall: Beyond the Rolling Fire: Paintings of Robyn W. Fairclough
Winter: Norman Gorbaty: To Honor My People
Spring: The Flowering of Punk Rock
Summer: Director's Choice: Five Local Artists
Fall: Joel Carreiro: Seeing Things
Winter: The Art of John "Crash" Matos
Spring: Platform - Jr/Sr Exhibition
Summer: Bramble & Bramble: Remnants, Glyphs, and Palimpsests
Fall: Art & Human Consciousness: The Art of Robert January
Winter: Marilyn Cohen: Layers of Time and Memories
Spring: Robert Vickrey: The Magic of Realism
Summer: Ernest Garthwaite, Wetlands: A Spiritual Refrain
Fall: A New Reality: Black and White Photography in Contemporary Art
Winter: Donald Vaccino: The Emperor's New Clothes
Summer: Thomas Weaver: Falling and Floating
Fall: The Creative Photograph in Archaeology
Winter: Multiple Visions: Traveling Art Boxes from Argentina, Mexico, Uruguay
Spring: Suzanne Chamlin: Painting the Landscape and Other Views
Summer: Emptiness: Sculpture by Michael River
Fall: National Sculpture Society Annual Awards Exhibtion
Winter: Faith Ringgold
Summer: Barbara Wilk: Mostly Landscapes and Birds
Fall: Indian Paintings of the New Millenium: Sunanda and Umesh Gaur Collection
Winter: Ethiopia: Religious Pageantry and Tribal Traditions (Barbara Paul)
Spring: Student Art Exhibtion
Summer: Night & Day: Women's Caucus of Art (CT) Juried Exhibition
Fall: Photographs of the Athenian Acropolis: The Restoration Project
Winter: A World of Stage: Russian Costume and Stage Design
Spring: 2004 Faculty Art Exhibition
Summer: Connecticut Women Artist Juried Exhibition
Fall: Across Time: The Photographs of Cynthia Brumback
Spring: 2003 Student Art Exhibition
Fall: Sal Sirugo: From the Intimate to the Infinite
Late Fall: What Now: Comtemporary Painting, Sculpture, Photography, and Multi-Media Installation
Winter: Shall We Dance: A Century of African-Americans in Dance
Spring: Claudia Schechter: People from Foreign Lands
Summer: The Esstential Moment: A Survey of the Paintings, Works on Paper and Sculpture of Joseph Peller
Fall: Michael DillonL Perfectus-Imperfectus (1980-2000)
Winter: The Mystical Arts of Tibet: Mandala, Photography and Dance
Spring: Studio Selects: A Juried Exhibtion
Summer: Contemporary Realism (Bettie and Samuel Roberts)
Fall: Wang Ming: Universal Dimensions
Spring: Realism: The Spirit of Soviet Art 1932-1980