Tag Archive for exhibit
by Olivia Drake •
Nancy Ottmann Albert’s (MALS ’94) evocative photographs of vanishing New England structures and landscapes will be featured in “Documents in Black and White,” a new exhibition opening in Olin Library on Oct. 5, 2016. The show is being presented in conjunction with the formal announcement of Albert’s gift of her papers to the library’s Special Collections & Archives (SC&A).
Albert will speak about her work at 7 p.m. Oct. 28 in the library’s Develin Room.
Selected by the artist, the works span the 30 years she spent documenting New England’s built environment. Inspired by Walker Evans and the 1930s Farm Security Administration photographers, she began to photograph textile mills and industrial sites throughout New England in 1981. Shooting black and white film in a medium format camera, she returned over the years to record the buildings’ decline and disappearance.
Further exploration led her to seek out other endangered structures and landscapes. These include mental institutions emptied by changing philosophies of treatment and a commissioned study of Long River Village, Middletown’s oldest housing project, prior to its demolition.
The exhibition also contains images of roadside and urban vernacular architecture, barns and abandoned homesteads, filling stations, and drive-in theaters. All of the work, which includes gelatin silver photographs, was printed by the artist.
In 2014, Albert donated her papers to SC&A. Her papers include images taken in New England, France, Cuba, Portugal, Spain, London, Italy, Eastern Europe, Vienna, Barcelona, Bosnia, Slovenia, Croatia and Berlin, along with her research notes. The papers are now freely available for research and are described in an online finding aid. The gift will be formally acknowledged prior to her Oct 28. talk.
“Documents in Black and White” will be on view from Oct. 5 through Dec. 16, 2016, in the SC&A exhibition cases on the first floor of Olin Library during normal library hours. For more information, call 860-685-3863 or e-mail email@example.com.
by Olivia Drake •
An exhibition titled “Passion and Power: German Prints in the Age of Dürer” is on display in the Davison Art Center through March 3. The show opened Feb. 4.
by Olivia Drake •
Master printmaker Keiji Shinohara, artist in residence, will have three solo exhibitions in 2015.” The title is “Keiji Shinohara: Woodcut.”
The first will be at the Odakyu Shinjuku Art Salon in Shinjuku, Tokyo, Japan March 11-17. For more information call 03-3342-1111 (Japan).
The second show will be at Art Zone-Kaguraoka in Kyoto, Japan May 9-May 25. For more information call o75-754-0155 (Japan).
The exhibition will return to the United States and be on display at the Visual Arts Gallery at Roger Williams University in Bristol, R.I. throughout the month of October.
In addition, Shinohara will be demonstrating Japanese Ukiyo-e printmaking and techniques at the Museum of Fine Arts Boston from noon to 3 p.m. April 6 and April 19. He’ll also lead a workshop at the Penland School of Crafts in Penland, N.C. Aug. 9-21.
Shinohara teaches in the Art and Art History Department and the College of East Asian Studies. While living in Kyoto, he trained for 10 years in the traditional Japanese woodblock printing style known as Ukiyo-e. The technical foundation for his artwork is rooted in that training, accompanied by techniques of contemporary western printmaking, yet the imagery itself is very different from historical Ukiyo-e.
According to Shinohara’s artist statement, “the story behind the work is very important; there is a sense of narrative that is very private. The feelings and emotions that I convey through these abstract landscapes matter most to me. Almost always my images are of nature, but it is the essence of the landscape that I want to express, not realistic accuracy.”
by Bryan Stascavage '18 •
A Body in Fukushima, a series of color photographs and video presented in a groundbreaking exhibition across three Wesleyan galleries, is on display through April.
The series is an exploration into the area around the Fukushima Daiichi Nuclear Power Plant, which destabilized and melted down after a magnitude 9.0 earthquake and tsunami in March 2011. The power plant released radioactive materials into the surrounding environment.
In 2014, dancer-choreographer Eiko Otake and photographer/historian William Johnston followed abandoned train tracks through desolate stations into eerily vacant towns and fields in Fukushima, Japan. Otake is a visiting instructor in dance and Johnston is professor of history, professor of east Asian studies, professor of environmental studies and professor of science in society.
“By placing my body in these places, I thought of the generations of people who used to live there. I danced so as not to forget,” Otake said. A project of witness, remembrance, and empathy, A Body in Fukushima grapples with the reality of human failure.
The explosions of the Daiichi Power Plant made the area uninhabitable. Sometimes in vulnerable gestures and at other times in a fierce dance, Otake embodies grief, anger and remorse. Johnston’s images capture her with the cries of the Fukushima landscapes.
The works can currently be seen at the Freeman Center for East Asian Studies Gallery, the Ezra and Cecile Zilkha Gallery and the Davison Art Center Gallery. More hours and more information see the exhibit’s website.
by Olivia Drake •
by Kate Carlisle •
It was called “the war to end all wars.” Causing the downfall of three major empires, and eclipsing all previous wars in its destruction, World War I changed the course of global history. And decades before television and sophisticated print advertising, it changed the way conflict was marketed to the American people.
A new exhibit, Call to Action: American Posters in World War I, at the Davison Art Center, displays dramatic posters that recruited soldiers, celebrated shipbuilding, called women for war work and even urged homemakers to prepare alternative foods in support of the war effort.
“The best illustrators of the day were recruited to donate their time to make these posters,” said Clare Rogan, curator of the DAC. “Artists recognized this was how they could serve. And this was the high point in American illustration, you have fabulous artists working as illustrators, and monthly periodicals are all illustrated before photography takes over in these areas.”
by Olivia Drake •
Uncover the hidden stories of East Asia’s religion and folklore at a new exhibit, “Not of This World,” at the College of East Asian Studies’ gallery. To inaugurate the new College of East Asian Studies, students curated this exhibition of the most compelling artworks from the college’s collection.
“Not Out of This World” is on display Sept. 10-Dec. 5 and features aesthetically pleasing pieces that reveal spiritual worlds filled with love, betrayal and faith. A ghost woman who searches for her husband, an immortal trapped in a peasant’s body, and a wheel that spins prayers are examples of the East Asian artwork displayed that weave the supernatural with mystical elements.
The gallery is open noon to 4 p.m. Tuesday through Sunday and closed on Mondays. The gallery will be closed Oct. 18-21 and Nov. 25-Dec. 2. For more information call 860-685-2330.
Photos of the show’s opening are below: (Photos by Dat Vu ’16)
by Olivia Drake •
“A World of Dreams—New Landscape Paintings” by Professor of Art Tula Telfair will be on exhibit Sept. 16 through Dec. 7 at the Ezra and Cecile Zilkha Gallery. The exhibit’s opening reception will be held 5 to 6:30 p.m. Sept. 16 at the gallery.
“A World of Dreams” includes new large-scale paintings in which Telfair presents monumental landscapes and epic-scale vistas that are simultaneously awe-inspiring and intimate. She combines stillness with motion, solitude with universality, and definition with suggestion in her bold and quiet works. This is her second exhibition in the Zilkha Gallery.
All paintings are oil on canvas.
“The work for this show is entirely different. The subjects are different, the techniques are different in each painting, and from piece to piece,” she explained. “There is a lot of diversity of images in this exhibition that reflect a broad range of environments from the Antarctic to the jungles of Africa to rolling fields and soaring mountains. There are a full range of landscapes.”
Telfair’s contemporary paintings demonstrate the spirit and potency
by Olivia Drake •
The Wesleyan community gathered on Foss Hill Sept. 2 to view The Monument Quilt, a crowd-sourced collection of thousands of stories from survivors of rape and abuse. The quilt serves as a platform for storytelling and a space where survivors are publicly supported.
Sections of the quilt are traveling throughout the United States. In August, the quilt made stops in North Carolina, Alabama, Louisiana, Oklahoma, Iowa, South Dakota, Wisconsin, Illinois, Pennsylvania, New York and Maryland.
Following the tour, thousands of fabric squares will be stitched together to spell “NOT ALONE” on the National Mall.Through public recognition, the quilt aims to reconnect survivors to their community.
U.S. Senators Richard Blumenthal and Chris Murphy (D-CT) also attended.
Learn more at https://themonumentquilt.org/.
(Photos by Cynthia Rockwell and Olivia Drake)
by Lauren Rubenstein •
The exhibition at Paris in Plantsville Gallery, titled, “Whispers of the Infinite: The Art of Keiji Shinohara,” represents the first time that Shinohara’s monotypes will have been exhibited in the United States. An opening reception will be held Oct. 4 from 6-9 p.m.
Born and raised in Osaka, Japan, Shinohara trained for 10 years as an apprentice under the renowned artist Keiichiro Uesugi, and became a Master Printmaker. Shinohara then moved to the U.S., and has been teaching at Wesleyan since 1995. He has been a visiting artist at more than 10 venues, and had 40 solo shows, both in the U.S. and Japan.
His nature-based abstractions are printed on handmade kozo paper using water-based pigment onto woodblocks in the ukiyo-e style, the traditional Japanese printmaking method dating to 600 CE. Though Shinohara employs ancient methods in creating his woodblock prints, he also diverges from tradition by experimenting with ink application and different materials to add texture to his prints. He personally executes all the steps involved in the printmaking process, from carving the woodblock to printing by hand. Elegantly understated, these works are a fusion of Japanese aesthetic and Western modernism.
See more images from the exhibition below.