Listed below are exhibitions that I took part in by way of art installation, security, maintenance, supervision, marketing, tours, lectures, events management, preparation, attendance and more.
The descriptions of each Exhibition was taken from the website of each museum and gallery space.
Regina Gouger Miller Gallery (Carnegie Mellon Art Gallery)
Keeping it Slick: Infiltrating Capitalism with the Yes Men (Spring 2009)
Reaching countless people through websites, newspapers, and television broadcasts, the sometimes anonymous Yes Men are among the most visible and effective artist-activists of our time. Over the past dozen years they have fearlessly taken on the world’s biggest corporations and bureaucracies through a process they call “Identity Correction.” Masquerading as official representatives at business conferences and on the news, they have helped keep critical issues in the international spotlight. “Unlike Identity Theft, which criminals practice with dishonest intent,” The Yes Men clarify, “Identity Correction is the art of impersonating a powerful criminal to publicly humiliate them for conspiring against the public good.”
Infiltrating the elite realm of the influential and the moneyed, cloaked in the sheerest layer of authority—thrift-store suits, quick-print business cards, forged press releases—these social activators urge us to question where ethics belong in our capitalist-driven society. In their elaborate hoaxes and improvised pranks, The Yes Men provide fleeting glimpses of a more humane world: Dow Chemical assumes full responsibility for the worst industrial accident in history at Bhopal, The New York Times reports on the end of the Iraq war and legislation capping C.E.O. salaries, the U.S. Department of Housing and Urban Development reopens public housing in New Orleans and forces Exxon and Shell to restore the region’s wetlands, and the World Trade Organization disbands in order to improve the lot of the poor. Alternately, The Yes Men extrapolate extreme conclusions to the free market’s greed and disdain: McDonald’s recycles its hamburgers for Third World consumption, Exxon converts climate-change victims into fuel, Dow calculates the acceptable ratio of death to profit, and the W.T.O. unsheathes its Management Leisure Suit to remotely control sweatshop workers.
This survey represents the first-ever solo exhibition of The Yes Men. Here you can walk into a re-creation of their past exploits in the Conference area, witness a comically apocalyptic future, and pay respects to a janitor who generously donated his body to satisfy our insatiable energy needs. In the Executive Board Room, you may browse through The Yes Men’s personal office items and orate along to their absurd PowerPoint presentations.
In all of their exploits, The Yes Men hold a mirror up to faceless, corporate power. They do this not only to mock its acute disconnect with the real needs of people, but also to rouse to action the individuals who uphold this structure—that is, all of us. They push the limits of taste, forcing us to define our ethical boundaries and reaffirm our agency, a vitally important task in an era of eroding civil rights and marketing campaigns that obfuscate what democracy means.
In the tradition of the Situationists, through lurid satire reminiscent of Jonathan Swift and Mark Twain, strategies of tactical media like those of the Critical Art Ensemble, institutional critique à la the Guerilla Girls, Hans Haacke, and Ant Farm, or public performances akin to those of Abbie Hoffman, Adrian Piper, and the Reverend Billy, The Yes Men seek to incite change.
Above all, they urge us to do something better.
- Astria Suparak, Curator
Signs of Change: Social Movement Cultures 1960's to Now (Spring 2009)
PITTSBURGH -- In Signs of Change: Social Movement Cultures 1960s to Now, hundreds of posters, photographs, moving images, audio clips, and ephemera bring to life over forty years of activism, political protest, and campaigns for social justice.
Curated by Dara Greenwald and Josh MacPhee, this important and timely exhibition surveys the creative work of dozens of international social movements. Signs of Change presents the creative outpourings of social movements, such as those for civil rights and black power in the United States; democracy in China; anti-apartheid in Africa; squatting in Europe; environmental activism and women's rights internationally; and the global AIDS crisis, as well as uprisings and protests, such as those for indigenous control of lands; against airport construction in Japan; and for radical social transformation in France.
The exhibition also explores the development of powerful counter-cultures that evolve beyond traditional politics and create distinct aesthetics, life-styles, and social organizations. Although histories of political groups and counter-cultures have been written, and political and activist shows have been held, this exhibition is a groundbreaking attempt to chronicle the artistic and cultural production of these movements. Signs of Change offers a chance to see relatively unknown or rarely seen works, and is intended to not only provide a historical framework for contemporary activism, but also to serve as an inspiration for the present and the future.
Argentina, Australia, Austria, Bosnia, Brazil, Burma, Cameroon, Canada, Chile, China, Colombia, Congo, Croatia, Czechoslovakia, Denmark, France, Germany, Greece, Indonesia, Iran, Israel, Italy, Japan, Kenya, Mexico, Northern Ireland, Netherlands, Nicaragua, Palestine, Poland, Portugal, Puerto Rico, Romania, Serbia, Slovenia, South Africa, South Korea, Spain, Switzerland, United Kingdom, United States.
BMOCA (Boulder Museum of Contemporary Art)
Ropes / Pattie Lee Becker (fall 2009)
"Pattie Lee Becker’s series “Ropes” (2010) harkens to a time in art history in which a non-isolationist view of art-making was defined by
the Bauhaus. A historic art institution founded in 1919 by known architect Walter Gropius in Germany, the Bauhaus manifesto stated that the role of the future artist would be seen as experimenter in a laboratory, studying and applying experiential learning across disciplines. He explained, “Starting with the simplest tools and least complicated jobs, he [the artist] gradually acquires ability to master more intricate problems…while at the same time he keeps in touch with the entire process of production from start to finish.” Becker’s works are creative experiments with material, structure, and color. Her drawings and sculptures illustrate the early pedagogical principles of the Bauhaus, ultimately forming the foundation of wholeness for her artistic vision. Her ropes can be seen as modernist maps, a way-finding framework for a visual communication that informs such primal elements as architecture, weaving and color theory.
Line for many artists—including Becker—is the basis of artistic exploration. She balances the inner harmony of her artwork by repeating them in a poetic context, detaching the ropes from their meaning to create an abstract resonance. Her approach to line exemplifies a tabula rasa—bringing a state of innocence to her own art-making practice, she strips away cultural constraints and binds new designs and materials. Bauhaus weaver and printmaker Anni Albers once stated in an interview, “Simplicity is not simpleness but clarified vision”, while Pattie Lee Becker’s work is based on a simple material, rope, she nurtures a cross-media conversation about art in this modern age." - Kirsten Gerdes Stoltz
Relational Fabric in Space / Steve Steele (Fall 2009)
Steve Steele’s “Relational Fabric in Space and other works for the Dark,” is comprised of three mixed media installations. “Relational Fabric in Space” includes 333 objects, bulbs, platforms and wood panels. The artist describes it as being about the infinite number of relations existing between objects, words, meanings, the natural world and man as intelligent spectator. Relationships can be obvious or subtle, based on color, form, or meaning. Objects, both ready made and constructed can be as diverse as foods, musical instruments, children, animals, religious imagery, etc. The visual puzzle is constructed so that relationships are to be discovered in objects that reside in spaces next to each other vertically, horizontally or diagonally. Special lighting in the darkened environment enhances the illusion of an invisible fabric floating in space and makes for a mysterious and stunning effect.
Face to Face / Beverly Mciver (Fall 2009)
In “Face to Face,” Beverly McIver’s powerful and poignant visual story comes alive. Her expressionistic paintings are masterful and bold. Vigorous brushstrokes work equally well to portray sensitivity and distress, and paintings appeal both visually and conceptually. Images of herself, her mother and sister abound, at work, at play, in glee, in fury and depression, dancing, primping and reflecting. Human relationships in all their complexity, fraught with tenderness and frustrations are revealed. In many of the paintings McIver exposes racial stereotypes and entreats her viewers to confront them. Eating watermelons, dressing in whiteface and blackface, acting out the role of the black mammy all serve to debunk myths still ingrained in white culture. In this exhibition, we come face to face with this exceptional artist as a powerful black woman facing her demons and her strengths.
Upcycled (Spring/Summer 2010)
UPCYCLED: Spring/Summer 2010 is a group exhibition of wearable art made from recycled materials, featuring the work of Judith Selby Lang, Sara Goldenberg, and the Wearable Shelter Project. Each of these works shows the hidden beauty and value in the detritus of our consumer society. For the past ten years, Judith Selby Lang has been collecting trash on Kehoe Beach in Point Reyes National Seashore in Northern California together with her husband Richard Lang. As a befitting representation of their shared passion, she created her wedding ensemble entirely from reused, recycled materials. Boulder-based artist Sara Goldenberg White shows an installation including several gowns with surrounding environment made from collected scrap and waste materials. A design-team at the Philadelphia University of the Arts created Wearable Shelters as a solution for a hypothetical post-disaster scenario in a metropolitan area. Constructed from repurposed thrift-store sleeping bags, exercise clothing, and performance jackets, the pieces act as protective all-weather gear in the day and insulating shelter at night.
This exhibition is curated by Jennifer Heath and Joan Markowitz in connection with Resurrections: ECO-logy and ECO-nomy, on view at the Boulder Public Library from May 1 to June 30, 2010.
Humor & Pathos / Gary Sweeney (Spring 2010)
Humor & Pathos aptly describes Gary Sweeney’s approach to art and life in general. Contagiously charismatic with a refined taste for wittiness, Sweeney’s visual vocabulary includes common icons of popular culture, ranging from hand-painted advertisement and neon signs to television shows and road trip memorabilia. This all-American aesthetic, reminiscent of his 1950s Southern California childhood, has an unthreatening, familiar appeal. But this keen observer of civilization’s phenomena and societal oddities leaves us strangely bemused, wondering weather we should laugh or cry in the face of our own imperfections. Within the easy-going world of Sweeney’s creation, we may happen upon the serious side of the human condition.
Sweeney, who is now based in San Antonio, Texas, has lived in Colorado for many years and is well remembered here, especially for his work America, Why I Love Her, a two-panel relief map of the United States on permanent display at Denver International Airport. Technically well-versed in printmaking and figure drawing, Sweeney is best known for his conceptual text and language-based work. His exhibition at BMoCA includes a neon sign installation inspired by a true love story and a large-scale house of cards as a powerful symbol for instability. The exhibition continues with a mosaic made from cups inserted into the chain link fence in Boulder’s Central Park, across from the museum.
Mi Frontera es su Frontera / Tony Ortega (Spring/Summer 2010)
Denver artist Tony Ortega has long been renowned for chronicling the richness of the Hispanic experience. He utilizes his signature style of bold coloration, simplified forms, anonymous figures and cultural icons to explore community life, family, urban and rural sectors, youth culture, popular culture and cultural politics. Paramount in his artistic intent is the discovery of the relationship between humans and their circumstances. In a country where demographics are rapidly changing, issues of multiculturalism and hybridity are tantamount. Much of this exhibition deals with those who have crossed and continue to cross the borders, to secure a better life, obtain work, and to ensure the welfare and safety of their families. To Ortega the border is porous, with layered implications.
Through monotypes, serigraphs, charcoal drawings and a mural installation we get a glimpse of the melding of histories, traditions, culture and politics of our ever expanding and diversified population. Additionally, Ortega will create murals in collaboration with students from “I Have A Dream” Foundation of Boulder County and The Family Learning Center. Following their display at BMoCA during the exhibition, the murals w
ill be on view at the Boulder Public Library and Denver Public Library. This exhibition is organized in connection with the Denver Biennial of the Americas 2010. Additional support comes from the Boulder Arts Commission and the Kevin Luff Family Fund
CU Art Museum (University of Colorado Art Museum)
2010.9.24 - 2010.12.18 ArchiTECHtonica
archiTECHtonica will explore the trope of architecture in contemporary art and examine the aesthetic and philosophical notion of the architectonic in art. Works in the exhibition explore architectonic subjects including the relationship of technology to architecture and the utopic/distopic legacy of architectural modernism across the globe. The exhibition includes painting, photography, new media, sculpture, and site-specific installations bySeung Woo Back, Mildred Howard, Yael Kanarek, Stefan Kürten, Rafael Lozano-Hemmer, Marco Maggi, Driss Ouadahi, Daniel Rozin, Richard Saxton, and Peter Wegner, plus a digital archive of The Snow Showexhibition.
Artist panel discussion: September 28, 7–9 pm. Room 1B20, Visual Arts Complex
2010.9.24 - 2010.10.23 Liliana Porter : Fox in the Mirror
The CU Art Museum recently acquired a masterpiece of video art by Liliana Porter, one of the most significant contemporary Latin-American women artists. The work, titled Fox In The Mirror (2007), is on view in the museum's new video gallery and explores human vulnerability and frailty through a narrative of animated ceramic and plastic figurines. Fox In The Mirror includes a moving score written and recorded by Porter's collaborator, Sylvia Meyer.
2010.12.4 - 2010.12.17 Chancing the Fjord: The Fall 2010 BFA Exhibition
CU Art Museum and the Department of Art & Art History present Chancing The Fjord, the Fall 2010 BFA Exhibition, held in the Projects Gallery of the new CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
The exhibition will feature Alec Atwood, Ashley Bauer, Lindsay Chandler, Ivan Fees, James Knowles, Patricia Lee Lomas, Luke Sharpnack, Ryan Schnirel, and Jody Weisenhorn working in the realms of painting, photography, printmaking, sculpture, performance and installation.
2011.1.21 - 2011.6.25 Highlights of the Collection: Charles Partridge Adams Paintings
The CU Art Museum presents two paintings by the noted Colorado landscape painter Charles Partridge Adams, including a never-before-shown, large-scale painting of Rocky Mountain scenery near Estes Park, titled Sunrise on the Mountains, circa 1920, recently conserved by the CU Art Museum, and gifted to the museum’s permanent collection by the artist’s sons. The exhibition will also feature the more intimate Untitled (Mountain Landscape), circa 1920, which likely depicts Moraine Park. Born in Massachusetts, Charles Partridge Adams moved to Denver at the age of 18 and eventually became perhaps the most prolific and well known of the turn-of-the-century Colorado painters. Receiving artistic encouragement from Helen Henderson Chain, herself a pupil of George Inness, Adams shied away from the grandiose style employed by his contemporaries, preferring to accentuate the emotive in his landscapes and ushering in a long tradition of modernist landscape painting in the Rocky Mountain region.
2011.1.21 - 2011.6.25 Highlights of the CU Art Museum’s Andy Warhol Photographic Legacy Program Gift.
In 2008, the CU Art Museum received 156 photographs by Andy Warhol as a gift of the Andy Warhol Foundation for the Visual Arts as part of the Andy Warhol Photographic Legacy Program. The CU Art Museum will premier 112 of the gifted photographs which include Polaroids and gelatin silver prints featuring celebrities such as Martha Graham, Pelé, and John Denver, as well as portraits of patrons, friends, and anonymous models. Included among the gifted gelatin silver prints are also landscapes and interior settings, both rural and urban, which reveal an aesthetic of the banal as well as the transcendental. The photographs provide valuable insight into the artist’s blurring of the distinction between “life” and “art” and his construct of “the celebrity.” The exhibition includes 80 Polaroids and 32 gelatin silver prints taken by the Pop-Art master.
Concurrent Exhibition: Warhol In Colorado, an exhibition featuring screen prints, photographs, record album covers and other works by Andy Warhol, will be on view at The University of Denver’s Victoria H. Myhren Gallery from January 20 to March 13, 2011. Also included are 55 Polaroids and silver prints gifted to the university by the Andy Warhol Photographic Legacy Program in 2008.
2011.1.21 - 2011.3.11 The 2011 Faculty Exhibition
Featuring the work of 22 faculty artists from the Department of Art and Art History at the University of Colorado at Boulder, the CU Art Museum’s 2011 Faculty Exhibition will include works in numerous media, including video and sound installation, painting, photography, ceramics, digital arts, printmaking, sculpture, and mixed-media installations. The exhibition highlights the breadth and range of conceptual and aesthetic approaches practiced by the diverse art faculty of the Department of Art and Art History and will be the largest CU Art Museum Faculty exhibition to-date, mounted throughout the new CU Art Museum Changing Exhibition Gallery, Project Gallery, Video Gallery, and museum lobby spaces.
Faculty artists featured in the exhibition include:
Mark Amerika, Dan Boord/Luis Valdovino, Scott Chamberlin, Albert Chong, Kim Dickey, Françoise Duressé, Sally Elliott, Alvin P. Gregorio, Deborah J. Haynes, Jeanne Quinn, Dr. George Rivera, Garrison Roots, Yumi Janairo Roth, William Jude Rumley, Richard Saxton, C. Maxx Stevens, Misuhng Suh, Alex Sweetman, Melanie Walker, Michael Womack, Joo Yeon Woo, Melanie Yazzie
2011.4.2 - 2011.4.14 Beyond: the Spring 2011 MFA Thesis Exhibition
Beyond, the elusive title of the Spring 2011 MFA Thesis Exhibition, captures various themes that are woven throughout the work of the nine artists featured in the exhibition. Works by Amber Dawn Cobb, Jesse Ryan Kuroiwa, Shannon Lowry, Adrianna Marie Santiago, Marcy Saude, Thomas Spradling, Kari Treadwell, Lydia Young, and Xi Zhang explore utopian and dystopian realities of both the present and past focusing on what might lie "beyond," the quotidian and banal, evoking a complex world in which beauty and pain are inextricably woven together.
2011.4.8 - 2011.7.22 Giving and Recieving: A Collaborative Exhibition of Contemporary Artists from China and the USA
Giving and Receiving: A Collaborative Exhibition of Contemporary Artists from China and the United States features distinguished contemporary Chinese and American artists exhibiting together as a cultural and artistic exchange. The CU Art Museum is pleased to host the American side of the cultural exchange following the 2007 exhibition titled Corresponding and Responding: United Exhibition of Chinese-American Artists, which was mounted at the National Museum of China in Beijing. A major symposium is planned for Saturday, April 9, 2011 in conjunction with the CU Art Museum exhibition on the University of Colorado at Boulder campus. The symposium will feature presentations by many of the Chinese and American artists participating in the exhibition who work and reside in Colorado’s Aspen valley; Houston, Texas; New York City; as well as in Beijing, China and Shanghai, China. The symposium and exhibition are designed to facilitate cross-cultural dialogue and discussion about artistic concerns, aesthetic approaches, and relationships of art to society in both China and the United States.
The exhibition features:
Cao Jigang, Jiang Dahai, Lin Yan, Wang Huaiqing, Wang Nanfei, Wei Jia, Xiao Bing, Zhou Changjiang
John Alexander, The Art Guys, Robert Brinker, Charles Dukes, Linda Girvin, Jody Guralnick, Pamela Joseph, Charmaine Locke, Tai Pomara, James Surls
This exhibition is generously supported in part by the Compton Foundation, the NBT Charitable Trust, the CU Art Museum benefactors and members, as well as by the CU Boulder Student Arts and Cultural Enrichment (ACE) fees. Additional support for the related symposium was also generously provided by the James and Rebecca Roser Visiting Artist Program and by the Center for Asian Studies, University of Colorado at Boulder.
Organization of the exhibition and symposium was directed by Lisa Tamiris Becker, Director, CU Art Museum. Special thanks to Julie Segraves of the Asian Art Coordinating Council of Denver for assistance with coordination of the exhibition and symposium.
2011.4.23 - 2011.5.6 Perforated Edges: the Spring 2011 MFA Thesis Exhibition
The CU Art Museum and the Department of Art & Art History present Perforated Edges, The Spring 2011 BFA Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
Kit Adams, Amanda Anderson, Eric Angus, Brittany Ansay, Amber Britton, Rachael Cumbaa, Charla Gee Derek Walter Grubaugh, Andrew Haley, Tyler Hays Taylor Kraft Adam Milner, Jerry Wayne Morris, Annie Pariseau, David Pavicich
2011.7.29 - 2011.8.18 Abstract Delight: Selections from the Polly and Mark Addison Collection
This exhibition is part of the CU Art Museum outreach traveling exhibitions, which showcases the museum's permanent collection at various Colorado museums and community centers. This exhibition is on view at the Center for the Arts in Evergreen, CO.
ABSTRACT DELIGHT: Selections from the Polly and Mark Addison Collection, CU Art Museum, University of Colorado Boulder presents over 30 pieces of abstract works on paper from the CU Art Museum’s Permanent Collection, which includes over 500 works of modern and contemporary art gifted by or purchased with support from noted Boulder collectors, Polly and Mark Addison.
Presenting various approaches to abstraction, including geometric abstraction, biomorphic abstraction, and expressionist abstraction, the exhibition features a wide variety of solutions to the challenges of abstraction and features a broad array of artistic methodologies and aesthetic inclinations. The exhibition includes works by many noted artists including Josef Albers, Herbert Bayer, Sonia Delaunay, Helen Frankenthaler, Ellsworth Kelly, Sol LeWitt, Elizabeth Murray, Louise Nevelson, Frank Stella, Barbara Takenaga, and Fred Tomaselli, among others and includes works produced in the 1960s through the 2000s thus highlighting the prolific focus on abstraction across numerous generations of modern and contemporary artists. The exhibition not only foregrounds the ongoing pull of abstraction and its challenges, delights, and pleasures for artists working today, but features works by many seminal artists who influenced the course of art history through their abstract explorations.
Lastly, it is significant to note that the exhibition was planned to resonate with the concurrent Evergreen Jazz Festival in celebration of the rich relationship between abstract visual art and Jazz music, two traditions in differing sensorial media that have nonetheless exerted a large influence on each other over the course of art and musical history throughout the 20th century and continuing today.
2011.9.8 - 2011.10.22 Image Clash: Contemporary Korean Video Art
This exhibition is curated by Dr. Keum Hyun Han, Adjunct Visiting Assistant Professor in Film Studies at the University of Colorado at Boulder and a specialist in contemporary Korean photography, film, and video art.
A society tends to fix the individual along axes of race, ethnicity, gender, religion and nationality. However, individual identity is an ongoing process formed by recognizing diversity and differences in a society, not just receiving a system of values that already exist. The exhibition Image Clash includes works by three artists from Korea who disturb the logics of the dominant culture in a society characterized by both tradition and modernization. The artists present various methodological approaches to video art including musical video projection, fictionally reconstructed documentary film, and theatrical video performance.
Schedule of works on view in the CU Art Museum Video Gallery
On view from September 8 - 24, 2011:
Hwayeon Nam, Do Not Harm Your Ghost, 2010, projected HD video transferred to HD-CAM, color and stereo sound, 17:56min.
On view from September 26 - October 8, 2011:
Inhwan Oh, The Real Man, 2009, sound & video installation, 7:13min. On view from October 10 – 22, 2011
On view from October 10 - 22, 2011:
Chan-Kyong Park, Sindoan, 2008, projected HD film, 45min.
A related symposium is being planned. Date, time, and location to be announced.
2011.9.8 - 2011.12.17 Points of View: Selections from Seven Colorado Collections
The exhibition includes works from the following collections:
Collection of Polly and Mark Addison
Collection of Teresa and Paul Harbaugh
Collection of Jean and Michael Micketti
Collection of David and Annette Raddock
Collection of Ann Tanenbaum
Collection of Tom and Michelle Whitten
Collection of Wayne F. Yakes, MD
Featuring salon-style installations of artwork selected from the collections of seven of Colorado’s most significant and passionate collectors, Points of View highlights the breadth and range of collecting in the Front Range Colorado community and allows audiences a view into the remarkable breadth of collections that continue to develop in our region. The exhibition features traditional Chinese scrolls, as well as modern and contemporary art from Russia, China, the United States, Europe, and elsewhere. Artists on view include Luis Cruz Azaceta, Herbert Bayer, Henri Cartier-Bresson, Genia Chef, Lesley Dill, Laura Gilpin, Ilya Kabakov, Komar and Melamid, Wifredo Lam, Liao Yibai, Luo Brothers, Paul Outerbridge, Pu Jin, Oscar Rabine, Jean-Paul Riopelle, Sheng Qi, Yinka Shonibare, Frank Stella, Walasse Ting, Wei Rong, Zao Wou-Ki, and many other noted artists.
2011.9.8 - 2011.12.17 The Anxiety of Influence: Selections from CU Art Museums Ceramics Collections
Curated by Lisa Tamiris Becker, Director, CU Art Museum and Kim Dickey, Professor, Department of Art and Art History, University of Colorado Boulder
Drawing on Harold Bloom's seminal work of poetic criticism, "The Anxiety of Influence," to interpret the significant role that "influence" plays within the global history, culture, and tradition of ceramics, this exhibition will present Modern and Contemporary Ceramics as well as selected historic works from the CU Art Museum's permanent collection. The exhibition will feature major pieces by Scott Chamberlin, Rick Dillingham, Arthur Gonzalez, Wayne Higby, Anne Kraus, Graham Marks, Jim Melchert, Linda Sikora, Suo Tan, Peter Voulkos, Betty Woodman and many others. The exhibition will also include works on paper by noted ceramic artists such as Robert Arneson and Ken Price to further explore the conceptual, aesthetic, and methodological influences on Modern and Contemporary ceramic artists. While many previous exhibitions have chronicled the decorative and technological influences of various ceramic traditions as they travelled across Eastern and Western cultures, this exhibition is the first to apply Bloom's complicated post-Freudian theories of "influence" to the realm of ceramics and its poetics, in order to construct a more complex understanding of the medium.
2011.9.8 - 2011.10.22 Through Soviet Jewish Eyes: Photography, War, and the Holocaust
Curated by David Shneer, Professor of History, University of Colorado and Lisa Tamiris Becker, Director, CU Art Museum
Based on David Shneer's critically acclaimed book, Through Soviet Jewish Eyes radically shifts our vision of World War II by showing it through the lens of Soviet photojournalists. The exhibition presents 58 photographs, printed at numerous scales over six decades, by the most important Soviet photojournalists including Evgenii Khaldei, Georgii Zelma, and Dmitrii Baltermants. These photographers took aesthetically arresting war images and were also the first to document the liberation of Nazi atrocity sites, three years before better-known photographers like Margaret Bourke White and Lee Miller saw their first concentration camps in Germany. The exhibition presents photographs that span the Nazi-Soviet war, from June 22, 1941 until V-Day on May 9, 1945, with an opening section that contextualizes the war-time images within the Constructivist and Socialist Realist traditions of Soviet photography in the 1920’s and 1930’s. Canonical images appear side by side with photographs that have never before exhibited, which the curators found in private collections of the photographers’ archives. We also show that a large number of Soviet photographers were Jewish and ask what this might have meant when confronting the war and Nazi atrocities through Soviet and Jewish eyes.
The show also includes three vitrines of archival materials, including contact sheets, glass negatives, scrap books, diaries, Soviet publications, and the photographers’ personal book maquettes.
2011.11.4 - 2011.11.17 Fall 2011 MFA Graduate Thesis Show
The CU Art Museum and the Department of Art & Art History present the Fall 2011 Graduate Thesis Show, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado Boulder campus.
About the artists:
Max Bernstein's multi-channel, video installations are situated at the crossroads of cinema, theater, and performance. The meandering narratives explore existential ontology, phenomenological inquiry, and semi-autobiographical content. Without the perimeters of a traditional narrative, Bernstein creates a space for the inclusion of the spectator and their presence functions as critical aspect for the resolution of the work.
Davis makes abstract sculpture influenced by nature, the process of drawing, and the potential of empty space. Blending formalism with unconventional materials, emotional content, and humor, she explores the potential of the art object to stimulate the senses and nurture a fuller human experience.
Tobias Fike looks to human physiology, family relationships and the cosmos for inspiration and material. By focusing on the minutiae of these larger entities, he asks himself and the viewer to rethink what is already known.
Gordon's embroideries are miniature spaces that weave together narrative with ornamentation in thousands of minute stitches. Through the reinterpretation of the etiological myth of Hagar and Sarah, Gordon's work creates new commentary on the history and language of embroidery as well as redefines the controversial myth that divides Islamic and Judeo-Christian worlds.
In projects as varied as coating a floor with corn syrup to dragging a friend across the desert, Harris explores not only his physical relationship to the world, but also his mental relationship to it. In hopes of finding expressions that are not taught but discovered through actual experience, Harris relies on his intuition in creating works that playfully question how society values time, intelligence, and beauty.
Dawn Hollison uses the moving image for the poetic exploration of narrative structures. Her work draws upon questions about the nature of visual language, while examining themes of allegory, myth, and archetypes.
Matthew Weedman’s practice consists of an habitual, bordering on compulsive, exquisite corpse of research; digging through antique stores, scouring the internet, questioning family, friends and strangers, searching through personal and public documents, wandering areas of commerce, eavesdropping conversations, cataloging social behaviors, reading historical and theoretical based texts, all while frantically trying to draw lines of connection to fuel the never-ending quest of understanding.
Hundreds of white daisies cover a glowing sugar coated landscape. A shell of their mortal selves, they serve as reminders of the opposites desires that exist at core of mortal consciousness: the infinite and the ephemeral, the eidetic and the distorted, mortality and preservation. Casey Whittier’s work explores the psychological and physical relationship to notions of landscape, sense of place, beauty, loss and longing.
2011.12.3 - 2011.12.16 with[in]: The Fall 2011 BFA Exhibition
The CU Art Museum and the Department of Art & Art History present with[in]: The Fall 2011 BFA Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
The exhibition features: Heidi Hillenbrand, Euikyung Kim, Elizabeth Plum, Rebecca Preston, Caitlin Savage
2012.2.3 - 2012.5.12 Keeping it Real: Korean Artists in the Age of Multi-Media Representation
Opening Reception February 2, 2012, 6-8pm with a major related symposium February 4, 2012 in ATLAS 100. Further details about the symposium to be announced.
Curated by J.P. Park, Assistant Professor of Art History, University of Colorado Boulder
This exhibition comments on the contemporary state of South Korean art by offering a unique and unprecedented opportunity to experience new art forms pioneered by emerging Korean artists working in Seoul, New York, and Europe. The artists in this exhibition lead us into a mysterious, ironic, and hybrid reality, a reality that completely challenges our perceptions of the world as we are conditioned to think about it. The works on view are a series of dialogues that illuminate conjunctures between real life and fantasy which present objects and human behaviors through a creative and conceptual kaleidoscope. The virtual reality in their art—a hyper-reality materialized in scientific, technological, and global idioms—unerringly subverts our intellectual, experienced, and intuitive knowledge about art and society. These artists belong to a new generation, born since the tumultuous social and political phase of modern Korean society subdued; without the Cold War, without riot police, yet possessing access to the larger world via the internet, opportunities to travel abroad, and products promoted locally by global corporations. The exhibition features photography, video, site-specific installation, and sculpture and includes the work of eight artists including:
Kyung Woo Han, Yong-ho Ji , Yeondoo Jung , Shin-il Kim, Sun K. Kwak , Hyungkoo Lee, Jaye Rhee, Kiwoun Shin
This exhibition is generously supported in part by the NBT Charitable Trust, the HBB Foundation, Arts Council Korea, Wayne F. Yakes, MD, the CU Art Museum benefactors and members, as well as by the CU Boulder Student Arts and Cultural Enrichment (ACE) fees. Additional funding for the related symposium is generously provided by the James and Rebecca Roser Visiting Artist Program and the Center for Asian Studies, University of Colorado Boulder.
2012.2.27 - 2012.3.9 The Art of Michel Fingenstein: Selections from the CU Art Museum’s Permanent Collection
curated by Davide Stimilli, Associate Professor of German, Comparative Literature, and Jewish Studies and Lisa Tamiris Becker, Director, CU Art Museum
Davide Stimilli will be giving a lecture titled, The Life and Work of Michel Fingesten during CU Boulder’s Week of Jewish Culture on March 7 at 7 pm in the ATLAS Black Box Theater. The CU Art Museum will remain open until 7 pm that evening preceding the lecture.
Michel Fingesten (originally Michl Finkelstein) was born in 1884 in the village of Buckovice (Buczkowitz), Silesia, in the Habsburg Empire, now part of the Czech Republic, from a Czech-Jewish father and an Italian-Jewish mother, and died in 1943 in Cerisano, Southern Italy, after the liberation by the allies of the camp in which he had been interned since 1941. He was one of the most original and productive graphic artists and bookplates designers of the twentieth century. He is especially noted for his Surrealist and Cubist influenced prints and paintings that capture the darkening mood of Europe as it slides into the brutality and devastation associated with Fascism, Nazism, and World War II.
In March 2011, Davide Stimilli, Associate Professor of German, Comparative Literature, and Jewish Studies, recommended the purchase of a large collection of Fingesten’s works, including 154 items, that had been assembled by an unknown collector, possibly bibliophile Fridolf Johnson, editor of theAmerican Artist Magazine for several years, and was being offered by a New York State antiquarian. The CU Art Museum purchased this collection with funds generously provided by the Program in Jewish Studies, and the Fingesten Collection is now part of the CU Art Museum’s Permanent Collection.
The selection on display during CU Boulder’s Week of Jewish Culture includes fifteen works and is only meant to provide a first glimpse of the extraordinary range and virtuosity of Fingesten’s art, which includes provocative and often humorous Kafkaesque imagery and potent literary citations, which increasingly echo the darkness enveloping Europe.
Little is known about Fingesten’s early years, though there is agreement that he studied art in Vienna and Munich, and traveled to America, where he spent four years and witnessed the 1906 earthquake in San Francisco. It is also known that he traveled to China and Australia, until in 1913 he settled in Berlin where he enjoyed great popularity as a book and magazine illustrator. He fled Nazi Germany in 1936 and settled in Milan, where he built a circle of patrons who commissioned and avidly collected his works, including the architect Gianni Mantero, his greatest collector, for whom Fingesten created more than 90 bookplates—three of which are here displayed—until he was confined to the Fascist internment camp of Civitella del Tronto in 1940, and then transferred in 1941 to that of Ferramonti-Tarsia near Cosenza, Calabria. He died shortly after the liberation of the camp in 1943, apparently as the result of a wound infection after surgery in a military hospital.
2011-12 CU Art Museum exhibitions and programs are made possible in part through the generosity and support of the HBB Foundation, the College of Arts and Sciences, the Student Arts and Cultural Enrichment (ACE) fees, and the generosity of the CU Art Museum’s benefactors and members.
Please visit http://cuartmuseum.colorado.edu/ for more information about CU Art Museum exhibitions and Programs or call: 303-492-8300
CU’s Week of Jewish Culture incorporates the theme of Movers: Art and Conscience this year with authors, scholars and artists from around the world highlighting the visual aspects of Jewish culture paying close attention to Jewish forms of visual arts. The Week of Jewish Culture is dedicated to the exploration of 3500 years of Jewish culture, including its current, most cutting-edge manifestations!
Please visit jewishstudies.colorado.edu or call 303.492.7143 for more information.
2012.4.7 - 2012.4.19 The Eye be Not Assailed: The Spring 2012 MFA Exhibition
The CU Art Museum and the Department of Art & Art History present The Eye Be Not Assailed: The Spring 2012 Graduate Thesis Show, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado Boulder campus.
OPENING RECEPTION: FRIDAY, APRIL 6,
5 - 7PM IN THE CU ART MUSEUM LOBBY
About the artists:
Employing intricate re-photography and compositing techniques, Sarah Biagini's multi-layered films demonstrate the evolution of materials and images through many stages of transformation.
Adán De La Garza
Adán De La Garza's sound installation and performance works explore the territory between socially accepted auditory norms, the act of democratizing audio, and sonic warfare. De La Garza's work reflects on the growing practice of societies appropriating technologies from military tactics in everyday interactions with its citizens. He demonstrates how one can counteract the auditory invasion through small scale acts of repurposing everyday objects and take back control over their own sonic environments. Simultaneously simplistic and urgent, these calls to action suggest that individual political gestures can amass into a collective, stronger force.
Laura Shill is a maximalist artist who makes work that is a collision of collecting, costuming, performance, installation and photography. Using reclaimed textiles and laborious craftwork, and drawing upon early photographic practices and the hidden mother tintypes of the 19th Century, Shill reimagines the photographer's studio as a feminine, domestic, bodily space where subjects reveal and conceal themselves for the camera.
2012.4.28 - 2011.5.12 Something but Definitely Not Nothing: The Spring 2012 MFA Exhibition
The CU Art Museum and the Department of Art & Art History present Something but definitely not Nothing: The Spring 2012 BFA Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
The exhibition features: Preston Cram, Kristina Keeter, Catherine Nelson, Adam Siefkas, Logan Young
2012.6.15 - 2012.7.14 Michael Theodore: Field Theory
ART/TEKNE: Part 1*
The CU Art Museum at the University of Colorado, Boulder is pleased to present 'Field Theory,' a solo exhibition of the work of Michael Theodore. While scientists build mathematical models to better explain the mechanistic structure of the universe, musician and new media artist Michael Theodore builds models in software and hardware to better explore perceptual sensations. Using various media Theodore creates dynamic fields of color, light, and sound that are inspired by observation and experiences of the natural world. In 'Field Theory' Theodore explores the two seemingly contradictory impulses that drive his work as an artist. The first is the need to experience as deeply as possible the continuous flood of sounds, shapes, and colors streaming in from the world around him. The second is the attempt to grab onto some small piece of this magic and distill it into coded instructions that a machine can understand.
Theodore was born and raised in New York City, and joined the faculty of the University of Colorado College of Music in 1998, where he is an Associate Professor of Music Composition and Technology, and the Director of the ATLAS Center for Media, Arts and Performance. Theodore's technology-informed work with sound, visual media or both has been presented across the United States, and in Mexico, Trinidad y Tobago, Greece, Spain, Germany, Sweden, France, Australia, Japan, and China. An active collaborator, Theodore has created a number of pieces with performance artist Michelle Ellsworth, has performed in venues such as the Newport Folk Festival with punk-folk artist Tim Eriksen, and recently released a recording with Glen Whitehead(Psychoangelo/Panauromni) that received airplay on the BBC, and a "Top Ten Classical Music Recordings of 2010" pick from Timeout Chicago. He earned his BA from Amherst College, his MM from Yale School of Music and his PhD from the University of California, San Diego.
*The ART/TEKNE series, curated by Lisa Tamiris Becker, Director, CU Art Museum, is a three-part series planned for the summers of 2012-2014. ART/TEKNE will feature solo-exhibitions of internationally known Colorado new media artists whose work charts new relationships between technology, aesthetics, and society.
The exhibition is generously supported in part by the NBT Charitable Trust, the HBB Foundation, Wayne F. Yakes, MD, the CU Art Museum benefactors and members, as well as by the CU Boulder Student Arts and Cultural Enrichment (ACE) fees. Additional support for the exhibition was provided by a CU Innovative Seed Grant and the ATLAS Institute.
2012.9.7 - 2012.10.27 Hockney and Hogarth: Selections from the CU Art Museum’s Collection of British Art
The exhibition Hockney and Hogarth: Selections from the CU Art Museum's Collection of British Art builds on the remarkable strengths of the CU Art Museum’s collection of British art and features David Hockney’s first major print series, A Rake’s Progress (1961-63), alongside the 1735 series by William Hogarth that inspired it.
A large selection of additional works from the 119 William Hogarth engravings included in the CU Art Museum’s permanent collection are also on view, such as the complete Marriage A-la-Mode and The Four Times of Day series, selections from the Industry and Idleness andThe Four Stages of Cruelty series, the plates created for Hogarth’s aesthetic treatise The Analysis of Beauty, as well as numerous individual prints. Also on view are published Hogarth works from the Special Collections Department, Norlin Library, University Libraries as well as a video of the 1975 Glyndebourne Festival Opera production of Igor Stravinsky’sThe Rake’s Progress, with stage and costume designs by David Hockney, allowing audiences to experience a major performance inspired by the similarly titled Hogarth and Hockney print series.
Curated by Lisa Tamiris Becker, Director, CU Art Museum and Catherine Labio, Associate Professor of English, University of Colorado Boulder
This exhibition is generously supported in part by the HBB Foundation and the CU Art Museum Benefactors and Members as well as the Arts and Culture Enrichment (ACE) student fees. Additional support for the related lecture by Frédéric Ogée is generously provided by the Center for British and Irish Studies, the Program in Art History, and the Department of English, each at the University of Colorado Boulder.
2012.9.7 - 2012.12.22 Liminality Luminosity and the Everyday: Selections from the CU Art Museum’s Painting Collection
Liminality, Luminosity, and the Everyday: Selections from the CU Art Museum's Painting Collection features over 40 paintings selected from the CU Art Museum’s growing permanent collection of over 240 paintings including 19th and 20th century American and Mexican paintings by artists such as George Inness, Jasper Cropsey, Henry Varnum Poor, Marsden Hartley, John Sloan, Eve Drewelowe, Valetta, Robert Henry, Elizabeth Murray, Roland Reiss, Judy Rifka, Alan Shields, Peter Dean, Agustin Portillo, and Deborah Remington, as well as recently acquired contemporary paintings by artists such as Margaret Evangeline, Callum Innes, Barbara Takenaga, and Peter Wegner. The exhibition will also feature a selection of watercolors and paintings on paper by artists such as Bill Haveron, Frank G. Applegate, and Peter Plagens and selections from the CU Art Museum’s collection of European Renaissance and Baroque paintings.
The exhibition explores the enduring relationship of painting to luminous and liminal space and the ability of painting to create awareness of these qualities in our experiences of the everyday. Ranging from landscapes to minimalist fields to depictions of social space, the exhibition explores liminality and luminosity through multiple lenses.
This exhibition is generously supported in part by the HBB Foundation and the CU Art Museum Benefactors and Members as well as the Arts and Culture Enrichment (ACE) student fees.
2012.11.10 - 2012.11.29 Fall 2012 MFA Thesis Exhibition
The CU Art Museum and the Department of Art & Art History present the MFA Fall 2012 Thesis Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
Each of the major works presented by Abby Bennett, Ryan Everson, Chase Folsom, Nicholas O'Brien, Joanna Powell, and Summer Ventis in this fall's MFA exhibition focuses our attention on a constructed landscape that challenges our assumptions about what is interior vs. exterior and about what constitutes our notions of the pastoral, of home, or of childhood utopias. These sculptural installations or "imagined spaces" act as theatre sets or backdrops for actions that are about to unfold or whose narratives have been disrupted. All these works present environments hauntingly devoid of human life. What remains is only the evidence of habitation, together with a relevant display of their constituent objects. There is also a search launched, either directly or indirectly, by these projects, presenting the viewer with the echo of unanswered questions. Where are we? Who lives here? What has happened or is about to happen? Absence, longing, interrupted play, and human intervention in natural (bucolic) environments all factor as critical elements in these assembled installations. It is with anticipation that we enter and explore unfamiliar paths leading us to an expanded sense of wonder about who we are and who we once were.
-Kim Dickey, Ceramics Professor, University of Colorado Boulder
The exhibition features: Abby Bennett, Ryan Everson, Chase Folsom, Nicholas O'Brien, Joanna Powell, and Summer Ventis
2012.12.08 - 2012.12.21 Fall 2012 BFA Exhibition
The CU Art Museum and the Department of Art & Art History present the Fall 2012 BFA Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
This exhibition features Alysia Davis, Nick Gagnon, Garrett Henry, Sarah Johansen, Andrew Odlin, and Jacob Vasquez.
2012.2.9 - 2012.3.23 From Cherry Blossoms to Snow Gardens: The Floating World of Japanese Prints
FROM CHERRY BLOSSOMS TO SNOW GARDENS features woodblock prints by famed ukiyo-e masters of the 19th century including Utagawa Hiroshige, Utagawa Kunisada, Utagawa Kuniyoshi, and Katsushika Hokusai. These artists documented the everyday life of Edo (present day Tokyo) through vibrant images of landscape, travel, commerce, and leisure. Among the many subjects represented in FROM CHERRY BLOSSOMS TO SNOW GARDENS are sumo wrestlers, logging and bamboo harvesting, images of the passing seasons, fireworks, and boating. Also included are selections from Hiroshige’s series “Fifty-three Stations of the Tokaido,” “One Hundred Views of Famous Places in Edo,” and “Fashionable Genji.” The exhibition also features twentieth century Japanese prints by artists including Shiro Ikegawa, Hashiguchi Goy?, Kaoru Kawano, and Kiyoshi Saito. Also on view are examples of popular 20th century Japanese print culture including selections of mid-century Chiyogami prints as well as prints that reflect both the evolution and continuity of Japanese visual narratives.
This exhibition is generously supported in part by the HBB Foundation, the CU Art Museum benefactors and members, as well as by the CU Boulder Student Arts and Cultural Enrichment (ACE) fees. Additional support for this exhibition and related programs is generously provided by the Center for Asian Studies, University of Colorado Boulder.
2012.2.9 - 2012.5.11 David Maisel/Black Maps: American Lanscape and the Apocalyptic Sublime
DAVID MAISEL / BLACK MAPS is a solo show surveying four chapters of Maisel’s larger ongoing series titled Black Maps. Composed of large-scale photographs, this exhibition leads the viewer on a hallucinatory journey through landscapes in the American West that have been transformed through the physical and environmental effects of industrial-scale water diversion projects, open-pit mineral extraction, and urban sprawl. Maisel’s powerful aerial photographs exist as aesthetic and political archives documenting the impact of both human consumption and inhabitation. More than mere records, these photographs evoke sublime beauty and apocalyptic destruction, positioning Maisel at the forefront of a complex new approach to framing and interpreting issues of contemporary landscape and culture. Maisel’s mineral-based, painterly color prints transform poisonous human-altered landscapes into subjects and objects of extreme beauty while simultaneously unveiling the magnitude of hidden ecological devastation that punctuates the vast interior of the American West, a space that is often represented in the visual, cinematic, and literary arts as endless and eternal.
Curated by Lisa Tamiris Becker, Director, CU Art Museum and Helmut Müller-Sievers, Director, Center for the Humanities and the Arts, Eaton Professor of Humanities, University of Colorado Boulder
This exhibition is generously supported in part by the HBB Foundation, the CU Art Museum benefactors and members, the CU Boulder Student Arts and Cultural Enrichment (ACE) fees, and by the Center of the American West. Additional support for the related artist/curatorial lecture and discussion was generously provided by the Center for Humanities and the Arts, University of Colorado Boulder and The Roser Visiting Artist Grant.
2013.4.6 - 2013.4.18 Spring 2013 MFA Thesis Exhibition
The CU Art Museum and the Department of Art & Art History present the MFA Fall 2012 Thesis Exhibition, held in the Projects Gallery of the CU Art Museum, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
The work in this exhibit explores new ways of communicating with and understanding the natural landscape. The artists, through distinct approaches, show the complicated, poetic, and often unexpected relationship we have with our larger environment.
This exhibition features Jenna Maurice Montazeri, Ryan Wade Reuhlen, You Jin Seo, and Ashley Eliza Williams
2013.4.27 - 2013.5.10 Spring 2013 BFA Exhibition
The CU Art Museum and the Department of Art & Art History present the Fall 2012 BFA Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
This exhibition features Louisa Albanese, Katie Bowman, Eric DeLand, Sarah Derosier, Suzanne Claire Ellis, Jackson Ellis, Scott Ferguson, Benjamin Schreck, Megan Gross, Kyle Monks, Djavan Nascimento, Kevin O'Hara, Michael Whitley, and Joe Wilkinson.
2013.6.1 - 2013.7.27 Jen Lewin: It's Electric
ART/TEKNE: Part 2*
The CU Art Museum at the University of Colorado, Boulder is pleased to present It’s Electric, a solo exhibition featuring six new playful, interactive light and sound sculptures by new media artist Jen Lewin. These works are intended to inspire experimentation and group collaboration while encouraging participants to become part of the artwork through direct interaction and active collaboration with the work on view.
Lewin has spent the last fifteen years honing her highly technical medium through the fabrication of large-scale interactive sculptures that she has exhibited in public spaces throughout the country. From responsive sound and light forms that incorporate dance, to woven fiber video curtains that reflect movement, to giant robotic moths that flutter in response to human touch, Lewin’s ability to utilize technology as a medium challenges many pre-conceived limits and conceptions of new media works. At once organic and electronic, Jen Lewin’s playful sculptures leave viewers enchanted and surprised while encouraging delight through the viewer’s engagement with the work.
Jen Lewin is an internationally renowned interactive sculptor whose studio is located in Boulder, Colorado. Her technically complex works have been featured at the Gwangju Art Biennale, Tisch School of the Arts, Lincoln Center, Burning Man, WIRED Magazine’s NextFest, and SXSW. In 2010, Lewin collaborated with Claes Oldenburg to internally illuminate The Paint Torch, one of Oldenburg’s large-scale public sculptures in Lenfest Plaza, Philadelphia. Her design and multimedia work has been featured in publications such asNational Geographic, Siggraph, Computer Aided Architectural Design Futures, Bon Appétit, WIRED, The New York Times, and Automation in Construction. Lewin served as Creative Director for the Ceren Project and Ivee Project at Sundance Laboratory for Computing in Design and Planning, as well as a lead designer for ITN (Saber) in Palo Alto. Lewin earned her BA in Environmental Design from the University of Colorado Boulder and an MPS in Interactive Telecomunications from New York University.
*The ART/TEKNE series, curated by Lisa Tamiris Becker, is a three-part series planned for the summers of 2012-2014. ART/TEKNE features solo-exhibitions of internationally known Colorado artists whose works chart new relationships between technology, aesthetics, and society.
This exhibition is generously supported in part by the HBB Foundation, the CU Art Museum benefactors and members, as well as by the CU Boulder Student Arts and Cultural Enrichment (ACE) fees.
2013.9.6 - 2014.6.21 PAPER/PRODUCT: Portfolios from the Polly and Mark Addison Collection
PAPER/PRODUCT: Portfolios from the Polly and Mark Addison Collection features selections from the significant modern and contemporary art collection of Polly and Mark Addison.
The works chosen for this exhibition explore the relationship between the function of the portfolio and the viewer’s experience. Featured is Christian Marclay’s "Graffiti Composition," a documentation of an interactive public art event as well as a score to be interpreted by musicians, emphasizing the reciprocal relationship between sight and sound, art object and music. Josef Albers' "Interaction of Color" is a portfolio that invites viewers to participate in experiments devised to instill an understanding of and sensitivity to the intellectual and physical realms of color.
Also featured are portfolios by Gunther Gerzso and Octavio Paz, Jenny Holzer, Sol LeWitt, Joan Mitchell, Walasse Ting and Sam Francis, and Edda Renouf.
2013.9.6 - 2013.12.21 Heart Lines: Expressions of Native North American Art
Heart Lines: Expressions of Native North American Art features artwork from the CU Art Museum’s Permanent Collection and from Melanie Yazzie’s extensive private collection, as well as a multimedia installation by C.Maxx Stevens.
Artists featured in the exhibition include Norman Akers, Maile Andrade, Kenojuak Ashevak, Pitseolak Ashoona, Corwin Clairmont, Jimmie Durham, Joe Feddersen, Craig George, Hachivi Edgar Heap of Birds, Imoona Karpik, Sonya Kelliher-Combs, Larry McNeil, Kay Miller, Norval Morrisseau, Harinani Orme, Laura Shurley-Olivas, Kananginak Pootoogook, Jaune Quick-to-See Smith, Shawna Sunrise, Hulleah Tsinhnahjinnie, Kay WalkingStick, Marie Watt, Will Wilson, and Melanie Yazzie.
The works on view explore themes of history, politics, cultural memory and persistence, the significance of landscape and place for Native communities, animal relationships, contemporary urban experience, and the continuing relevance of cultural traditions.
2013.10.9 - 2013.11.21 Figure/Object. Time/Place.: Fall 2013 MFA Exhibition
The CU Art Museum and the Department of Art & Art History present Figure/Object. Time/Place., the Fall 2013 Graduate Thesis Show, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado Boulder campus.
About the artists:
Ashley Jonas is a collector of objects and experiences. Through a sensitive and accepting handling of materials, the works become souvenirs of, and portals to, recollections of tender, peculiar, honest and personal moments in one’s life.
Arthaya Nootecharas’s work is about reconstructing the past and reenacting the memories of her life; from her childhood to the present. Being raised in a different culture and cultural environment; she explores her own personal emotions of loss, longing, and the unknown of the future.
Julie Rooney will present video, musical, and sculptural elements of The Split Wild, a contemporary transmedia opera of her creation. The Split Wild tells the story of four characters – Bobcat, Otter, Rabbit, and Bear - as they struggle with their relationships and dualities within themselves. In an emotional and powerful combination, each one character in the opera is played by two people on stage; one musician and one dancer each. Projected images, characters within videos, costuming, animal imagery, and moving setpieces enhance the innovative classical music score and help bring to life a narrative that blurs the distinction between individualism, humanity, and The Wild.
Clarissa Rose Peppers
Clarissa Rose Peppers utilizes the moving image to explore the body as the root for extraordinary discoveries. Peppers’ work investigates the relationship between body, mind, and social norms. She represents the human body’s ability to cause burden and distress but attempts to lift this negativity through humor and absurdity.
Technological advancements in communications and transportation have ushered in an era of globalization that is unprecedented in human history. Visual art, in particular, is on the forefront of transcribing global movements in culture. Michael Holmes uses the theme of global mobility as the basis for his mixed media print and collage work.
Stimulate senses, fill underneath. Sift over dreams and imagine their reality. Explore the details, then zoom out to the whole, imagine how something that you cannot touch feels. Be repulsed or attracted and ask why. From the minute to the massive, consider the relationships between all life forms and their environments and how their actions affects the other. Notice the complexity in confined moments.
2013.12.7 - 2013.12.20 You, Me, and Everyone We Don’t Know: Fall 2013 BFA Exhibition
The CU Art Museum and the Department of Art & Art History present You, Me, and Everyone We Don't Know,
the Fall 2013 BFA Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
This exhibition features AJ Davis, Taylor Lawrence, Leif V. Newberg, George P. Perez, and Susan Walicki.
2014.2.7 - 2014.3.22 Interlaced: Selections from the CU Art Museum’s Video Collection
Curated by Stephen V. Martonis, Interim Director, CU Art Museum, University of Colorado Boulder.
Interlaced features selections from the CU Art Museum’s emergent video collection including Jeremy Blake, Dan Boord/Luis Valdovino/Greg Durbin, Mary Lucier, Bruce Nauman, Liliana Porter, Rick Silva, and Diana Thater.
The CU Art Museum’s permanent collection contains over 8,000 works of art. The collection was started in 1939 as a teaching tool for students. It has grown into a comprehensive art collection that enriches the educational experience of students, faculty, and the broader campus community, as well as the Colorado public, through exposure to original works of art. The collection also facilitates art historical research about larger societal issues through a greater understanding of the arts.
2014.2.7 - 2014.6.14 American West: Selections from the CU Art Museum’s Permanent Collection
Curated by Kirk Ambrose, Associate Professor of Art History, Chair of the Art & Art History Department, Editor-in-Chief of Art Bulletin, and Stephen V. Martonis, Interim Director, CU Art Museum, University of Colorado Boulder.
American West features selections from the substantial nineteenth- and twentieth-century holdings of the CU Art Museum’s Permanent Collection.
This exhibition explores how artists documented, as well as mythologized, the western United States. Included in this exhibition are works by Charles Partridge Adams, Thomas Hart Benton, Eve Drewelowe, and Muriel Sibell Wolle. The questions these works raise touch upon the representation of history, the significance of landscape, the uses of natural resources, and the effects of cultural encounters.
2014.4.5 - 2014.4.17 MFA 2014 Spring Thesis Exhibition
The CU Art Museum and the Department of Art & Art History present the MFA Spring 2014 Thesis Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
The Spring 2014 MFA Exhibition features the art of Mark Banzhoff, Taylor Dunne, Paul Echeverria, Amber Farnell, Jason Garcia, Nick Hay, and Andrew Williams-Dremeaux. Their works, encompassing a wide range of artistic media, engage processes of transformation, articulations of memory and desire, and notions of place and physical distance.
- Kirk Ambrose
Associate Professor of Art History
Chair of the Art and Art History Department
2014.4.26 - 2014.5.9 Blind Optimism: Spring 2014 BFA Exhibition
The CU Art Museum and the Department of Art & Art History present the Spring 2014 BFA Exhibition, held in the Projects Gallery of the CU Art Museum building, part of the Visual Arts Complex on the University of Colorado at Boulder campus.
This exhibition features Griffin Beste, David Brookton, Seth Caparelli, Hannah Green, Grant Gustafson, Molly Lofton, Rachel Machovec, Renluka Maharaj, Megan McGrain, Dakota Clay Nanton, and Sarah Touslee.
2014.9.6 - 2014.12.20 ART/TEKNE: Part 3 “Metaphorming Nature: Connecting Human/Nature’s Creative Potential”
Todd Siler’s large-scale installation Metaphorming Nature features a selection of artworks that interpret what nature makes and what we make of nature. The installation replicates the limbic system—the heart of the human brain—where intuitions, feelings and emotions are integrated and interpreted. Wrapping around curved walls for over 100 feet, Thought Assemblies explores the world of real and imaginary structures generated by the billions of neurons that make up the brain’s creative engine of innovation. The immersive environment presents a mosaic of interrelated paintings, sculptures, drawings, and photomontages produced over the last four decades. Other artworks visualize nano- and macro-scale processes and physical matter, in which the invisible sparks between atoms seem to transform into a swirling cosmos of possibilities. Large swathes of fiery reds morph into subdued blues, tapping into the range of human emotions triggered by aesthetic experiences. Siler highlights the human brain’s handiwork in everything it creates, connecting it all back to nature’s innovations. The empirical work of pioneer nanochemist Geoffrey Ozin and his colleagues, who apply nanoscience and nanotechnology to help solve today’s most urgent environmental challenges, inspire many of Siler’s recent artworks.
In 2011 Geoffrey Ozin and Todd Siler co-founded ArtNano Innovations, (www.ArtNanoInnovations.com) meeting by chance at the World Cultural Council’s Awards Ceremony where Dr. Ozin received the Albert Einstein World Award for Science and Siler received the Leonardo da Vinci World Award of Arts. Siler has been represented by Ronald Feldman Fine Arts since 1981 and his artworks are in the Metropolitan Museum of Art, The Museum of Modern Art, The Whitney Museum of American Art, and the Denver Art Museum, among others.
Geoffrey Ozin studied at King’s College London and Oriel College Oxford University. He is the Tier 1 Government of Canada Research Chair in Materials Chemistry and Nanochemistry, and Distinguished University Professor at the University of Toronto. Most recently, Dr. Ozin was nominated for the 2014 Kavli Nanoscience Prize in recognition of the originality and significance of his visionary work in the field of Nanochemistry.
2014.9.6 - 2014.12.20 A Table (Somewhat): Conversations Between Objects
The title of Richard Artschwager’s Table (Somewhat) proposes a parenthetical quandary. If its existence as a table is called into question one might reasonably wonder "What, if not a table?”
A Table (Somewhat) is the first in a series of exhibitions subtitled Conversations Between Objects, which provoke a dialog between artworks that span different times and places. CUAM’s Dillon Collection of Scholar’s Rocks stems from an ancient Chinese tradition in which certain characteristics are treasured for containing the infinite within gnarled and veined forms. Contemplating these palm-sized rocks from different perspectives slows down looking. Shifts in scale guide human perception from the finite realities of physical matter to macrocosmic associations. Animals, cascading rivers, and otherworldly mountain formations reveal themselves to the mind's delight. Artschwager's miniaturized formica table is deceptively straightforward, but also disorients thought. A cube of faux tigerwood legs framing blocks of grass green and blue sky begs the question "What, if not a Table?"
This is the inaugural exhibition curated by Director and Chief Curator Sandra Q. Firmin.
2014.9.6 - 2014.12.20 zin*dath*in*a, (zin ‘däth i n?) n. : Fall 2014 Bachelor of Fine Arts Exhibition
December 6–19, 2014
Fall 2014 BFA Exhibition 2: Michael Battey Sean Faling Nathaniel Goodman Luke Patrick Camalang O'Halloran Cassidy Robison Michelle M. Sparks Joseph Vinson
February 14 - May 9, 2015 Anonymous: Contemporary Tibetan Art
Anonymous: Contemporary Tibetan Art explores the tensions between an ancient culture’s unbroken artistic tradition and the personality-driven contemporary art world. Historically, Himalayan works of art were used to support the transmission of Buddhism and rarely attributed to the individual artist. The artworks selected for Anonymous reflect how Tibetan artists around the world examine questions of identity, self-expression and the roles of tradition in an increasingly globalized society.
Largely drawn from the Shelley and Donald Rubin Private Collection, the exhibition features painting, sculpture, installation and new media works by artists living in the Himalayas and around the world. In addition to artists from Lhasa, others from Dharamsala, Kathmandu, New York City, Oakland, Paris, Thimphu and Zürich provide a range of diasporic perspectives on topics ranging from ideas of place to cultural appropriation, and the commodification of Buddhist traditions.
Many of the works were created expressly for this exhibition, which originated at the Samuel Dorsky Museum of Art at SUNY New Paltz before traveling to the Fleming Museum of Art at the University of Vermont, and most recently the Queens Museum in New York.
In addition to Anonymous, and to highlight developments since Waves on the Turquoise Lake in 2006—our first museum exhibition dedicated to contemporary Himalayan art in America—the CU Art Museum exhibits other contemporary Tibetan works drawn from our permanent collection and on loan from CU faculty members.
Anonymous: Contemporary Tibetan Art was supported by the Shelley & Donald Rubin Foundation. Anonymous at the CU Art Museum was supported in part by the HBB Foundation, CU Art Museum members and CU Boulder Student Arts and Cultural Enrichment fees.
April 4–16 - Spring 2015 Master of Fine Arts Thesis Exhibition
While the four MFA students, graduating either from the Film Studies Program or Interdisciplinary Media Art Practices, developed their thesis work separately, narratives that teeter on the cusp of life lived (or dreamt) and fiction, connect them. The tone of their work in photography, film and virtual reality ranges widely from somber black-and-white photographs to aesthetics of early Internet art with sparkles, synthesizer music and LSD trails.
Sandra Q. Firmin
director, CU Art Museum
Artists featured: Usama Alshaibi, Melanie Clemmons, Shokoofeh Z. Dezfuli, Taylor McIntosh
April 25–May 8, Must Be Continued... Spring 2015 Bachelor of Fine Arts Exhibition
Artists featured: Amanda Caitlin Baker, Jonathan Taylor Bartlett, Chloé Jane Besson, Ashley Lorraine Bestel, Jordan Felix, Dylan Gebbia-Richards, Bryce Johnson, Steven Andrew Thomas Knapp, Shae Meyer, Steffen Joel Myers, Helenayu Biying Su.
September 18, 2015 - May 14, 2017 - Animals in Antiquity - CU Museum of Natural History
The desire to assign symbolic meanings to animals that share our world links human cultures across time. Whether rendered figuratively or abstractly, depictions of animals remind us not only of themselves but also of the qualities and traits we assign to them. They can illustrate human traits—the coyote as trickster, the cat aloof—and teach children behaviors and ideals from fables. Humans have worshipped animals, hunted and consumed them for food, and altered the natural environments of animals, all in the name of humanity.
This exhibition is a celebration of animals in art and animals as artifacts. The objects are from across the Earth and span the last 4,000 years of human history. We invite you to ponder what these objects represented and how the makers used them in their daily lives.
Curated by Erin Baxter, doctoral candidate in anthropology
This exhibition is generously supported by the Department of Classics, CU Boulder Student Arts and Cultural Enrichment fees, and CU Art Museum members.
November 7 - 19 Fall 2015 Master of Fine Arts Exhibition
Exhibition venues (Tues-Sun 11am-5pm):
Boulder Museum of Contemporary Art
1750 13th St, Boulder
The Jensdotter Project
5470 Conestoga Ct, Boulder
Oren Franklin film screening
University of Colorado Boulder
November 6, at 8:30pm
Questions around identity, familiar relations, and cultural, religious or political inheritance inform the work we do throughout our lives. Yet it is often in graduate school, behind the closed doors of studios, unwatched, where we first focus our attentions on these influences, examine their importance, and construct our response. Uncanny installations of domestic environments, family traditions re-imagined, emblems of childhood stories, and symbols of a future filled with health and reconciliation are offered to the viewer in these exhibitions. The richly imagined worlds we enter offer unfolding dramas of lives just now being fully and independently lived. Despite separate presentations of these works in three different venues, threads of connection exist among them.
professor, department of art & art history
Artists featured: Emily Bayless, Chris Blume, Sam Cikauskas, Oren Franklin, Stephanie Kantor, Judd Schiffman.
BMoCA artists: Bayless, Blume, Kantor
Jensdotter Project artists: Cikauskas, Schiffman
Screening at ATLAS: Franklin
Friday, November 6, 2015
Boulder Museum of Contemporary Art 5-7pm
1750 13th St, Boulder
The Jensdotter Project 6-8pm
5470 Conestoga Ct, Boulder
Oren Franklin film screening
University of Colorado Boulder 8:30pm
On view February 12 - June 28, 2016 - Shikioriori: Living Through the Seasons in Edo Japan
During the Edo period (1603–1868), the rhythm of the year included activities and events tied to the changing seasons. The Japanese expression shikioriori, or “season by season,” describes these delicate changes in nature. This installation juxtaposes ukiyo-e prints—literally “Pictures of the Floating World”— alongside selections from popular literature and comic poetry (senryū), to show how people lived day to day, and season by season.
Curated by Leah Justin-Jinich, masters candidate, department of Asian languages and civilizations
February 12–June 25, 2016 - Life and Afterlife: Selections of Ancient Chinese Art from the King Collection
From elegant porcelain vessels enjoyed by the living to charming pottery statuettes created to serve the dead, this exhibition showcases artifacts dating to China’s prehistoric beginnings through its classic imperial dynasties. Gain insight into Chinese life as it evolved, as well as a better understanding of Chinese views of the afterlife.
Curated by Virginia Bower, independent curator and adjunct associate professor, University of the Arts, Philadelphia.
This exhibition is generously supported by CU Boulder Student Arts and Cultural Enrichment fees, and CU Art Museum members.
February 12–July 9, 2016 - Janelle Iglesias: Even a Simple Call Can Turn Into A Complex Racket -
Janelle Iglesias is the CU Art Museum’s inaugural artist-in-residence—a program in which artists are invited to mine CU Boulder’s creative and intellectual resources and collaborate with faculty and students to produce new artwork. Fascinated by the human impulse to collect and throw things away, Janelle is always on the lookout for natural and cultural artifacts that present an archeology of place. She amasses materials like driftwood, Styrofoam and glass that have been processed by time and nature and up-cycles them into intricate environments. Janelle will incorporate actual and copied objects from CU Boulders’ various collections, including the Museum of Natural History, the Evolutionary and Ecology Greenhouse and trees on campus, into an ever-evolving sculptural installation. Her mechanisms of display employ translation, mimicry, and mirroring to heighten the interconnectedness of things and people. The museum will become a flexible space: a site for viewing and performance, a think tank and a playground, where audiences can interact with the artist and participating students as they transform the gallery over time.
Curated by Sandra Q. Firmin, director, CU Art Museum.
This exhibition is generously supported by a Roser Visiting Artist Endowment, an Arts Mini Grant funded by the College of Arts and Sciences, CU-Boulder Student Arts and Cultural Enrichment fees, and CU Art Museum members.
February 12–March 23, 2016 - Be Here Now: Conversations Between Objects
Be Here Now is the second exhibition in a series subtitled Conversations Between Objects, which provokes a dialogue between artworks that span different time periods and geographic locations.
Setting the stage for this exhibition of recent acquisitions are the photographs of Lou Stoumen (1917–92), which consider the fragile nature of the human body expressed through the objects we create and their inevitable deterioration over time. These black-and-white images document human intimacies, labor, leisure and loss from all over the United States and elsewhere in the world.
Curated by Sandra Q. Firmin, director, CU Art Museum.
This exhibition is generously supported by CU Boulder Student Arts and Cultural Enrichment fees, and CU Art Museum members.
Close Looking: details from our collection
Presented in the Theatre Gallery, Liniger Building at CU South Denver
April 5 - October 2, 2016
Presented as part of BMoCA at Macky
January 11 - February 29, 2016
What makes a museum? For us at the CU Art Museum an important pillar is our collection of over 8,000 objects spanning human history. Each photograph in this exhibition is a highly magnified detail of an object selected by a different member of our museum staff. These objects inspire us—from small ancient coins to large contemporary paintings—and the personal connections we make with them inform how we look at our collection as a whole.
This project illustrates our desire to promote new ways of looking at artworks. Interested in seeing more? Visit the museum, located at the Visual Arts Complex, to make your own personal connections.
April 1 - 14, 2016 - Spring 2016 Master of Fine Arts Thesis Exhibition
"There is no document of civilization that is not at the same time a document of barbarism."—Walter Benjamin
Terry Campbell, Catherine Cartwright, Kellye Eisworth, Megan Gafford, Nicole Krou, Zak Loyd and Eric Stewart explore the rationale and irrationality of the current disquiet that pervades our time. In our postmodern, post-9/11, even post-human experience, the occurrence of crisis has become a break in the mundane, a way to mark time. These moments of disruption allow us to see the spaces in which privilege, stereotypes and irrational fear are upheld and even valued. They open a hole through which we can work away at broken institutions, conventions and values that appear natural. The regularity of crisis allows us to begin to re-evaluate perception, to pull the curtain back to reveal not answers—but further questions about authority and authenticity.
Terry Campbell guides us through questions about how his work can extend beyond its own subjective limits, illustrated by film stills from his mind. While he questions whose position it is to substantiate narrative, he uses particularly abnormal events to illustrate the impossibility of documenting reality without one foot firmly planted in the mundane. Megan Gafford and Nicole Krou present constructed environments that are meant to draw our attention to the unnatural and supernatural. While Nicole deconstructs tropes of the natural history museum, revealing the conflicting values at play in such an unnatural space, Megan explores the sublime—allowing viewers to glimpse subatomic particles dancing in an isopropanol cloud, forcing us to reconcile fears of radioactivity with wonder and awe. Catherine Cartwright and Kellye Eisworth delve into the ways women’s bodies are inscribed dually by the gaze of culture and internalized experience. Kellye’s vignettes portray emotional and physical pain inscribed on the body. She shows us secret spaces that represent traumas, forcing us to consider the position of power from which we are able to look. Catherine’s collaboration with her daughter Victoria demonstrates the performative act of motherhood, an exercise in balancing conflicting needs of two individuals who are interminably linked. Zak Loyd and Eric Stewart utilize outmoded technologies that are the subjects of intense personal engagement. Eric mines the archive of film technologies to re-animate the popular genre of Internet GIFs onto black and white celluloid film, questioning shifting values of authenticity and reproducibility, materiality and ephemerality. Zak’s installation foregrounds the importance of the Cathode Ray Television in his personal iconography, which also includes symbolism from American pop culture, occult spirituality and commercial television with its inherent sexuality and violence.
Whether investigative, humorous, transgressive or cautiously skeptical, the works in this exhibition are taking the temperature, probing beyond the crises that punctuate our times and looking critically at the state of our culture. While ultimately these introspections produce more questions than answers, we believe that we must confront our barbarity to grasp at the possibility of civility.
- Arielle M. Myers, masters candidate, department of art & art history
April 23 - May 7, 2016 - Spring 2016 Bachelor of Fine Arts Exhibition
Artists featured: Jessica Akselrad, Emily Brent Bankston, Joy Bergeron, David Clay Bridges, Zoe Goldsmith, Anthony A. Kascak, Puttichai Kupadakvinij, Hanna Le, Katharine Lee Robbins, Daniel Louis Stolberg.
June 24 - October 22, 2016 - Ana Maria Hernando: We Have Flowers
This exhibition features new works in which Ana Maria Hernando contemplates the duality of the nocturnal life of flowers and their daytime existence. The exhibition expands upon Hernando’s repeated use of flower and circle imagery in her performances, poetry, drawings, collages, sculptures and large-scale installations.
During Hernando’s productive career, which spans more than 25 years, she has touched the lives of many people—from the communities of women she collaborates with to fabricate artwork, to the audiences immersed in the sensual colors, fabrics and words of her art. Hernando is drawn to communities in which women live and labor together— for example, villagers in the Peruvian mountains where she buys petticoats and Carmelite cloistered nuns in Buenos Aires, Argentina. Memories of her childhood in Buenos Aires include her elders sharing stories while performing repetitive tasks of domestic labor—sewing, washing, ironing, folding—that always resulted in their work being undone through daily use. In her work, Hernando pays homage to these jobs performed with love that are often invisible, and mostly taken for granted, by representing them with a poetic sensibility grounded in devotion and respect.
This exhibition is generously supported by CU-Boulder Student Arts and Cultural Enrichment fees, and CU Art Museum members.
The exhibition catalog is generously supported by Mark and Polly Addison, Mardi and Brown Cannon, Mary Caulkins and Karl Kister, the Elizabeth Firestone Graham Foundation, Joanne and Ron Katz, Martha Records and Rich Rainaldi, Jim Robischon and Jennifer Doran of Robischon Gallery, and Bud and Barbara Shark.
July 25 - October 15, 2016 - Can You See Me Now?
By challenging stereotypes and confronting colonial histories the artists in this exhibition invite us to see the historical and contemporary experiences of Indigenous peoples. In the works on view, they bring past events into the present, disrupting and augmenting histories of contact providing an alternate, Indigenous perspective. Jimmie Durham’s sculptural assemblage combines natural materials and found objects, reclaiming and connecting plastic and wood. Jaune Quick-To-See Smith’s Paper Dolls series addresses the historical traumas experienced by Indigenous peoples and misperceptions surrounding cultural identities as constructed by colonial ideologies. Fritz Scholder confronts the romanticized depictions of Indigenous women and warriors that prevail in American visual culture. Edgar Heap of Birds uses reversed text to question the association between Indigenous and “Natural” and to think historically about exploitative representations of Native Americans in Western culture.
These contemporary artists address ideas of Indian art, through strategies of trickster irony and reversal of expectations that provoke reflection and challenge stereotypes and colonial perspectives.
August 9-31, 2016 - First Folio! The Book that Gave Us Shakespeare
First Folio! The Book that Gave Us Shakespeare, on tour from the Folger Shakespeare Library, will be open to the public at the CU Art Museum August 9-31, 2016. The First Folio is the first complete collected edition of Shakespeare’s plays, published in 1623, seven years after his death. Compiled by two of Shakespeare’s fellow actors, it preserves 36 of Shakespeare’s plays. Without it, we would not have 18 of those plays, including Macbeth, Julius Caesar, Twelfth Night, The Tempest and Antony and Cleopatra.
The First Folio itself was opened to the most quoted line from Shakespeare’s Hamlet, “to be or not to be.” A multi-panel exhibition exploring Shakespeare’s impact, then and now, was accompanied by digital content and interactive activities.
Learn about the months of programming that celebrated the arrival of the First Folio at the website:
First Folio! The Book that Gave Us Shakespeare, on tour from the Folger Shakespeare Library, was a national travelling exhibition organized by the Folger Shakespeare Library in Washington, DC, to commemorate the 400th anniversary in 2016 of Shakespeare’s death. It was produced in association with the American Library Association and Cincinnati Museum Center. First Folio! The Book that Gave Us Shakespeare, on tour from the Folger Shakespeare Library, was made possible in part by a major grant from the National Endowment for the Humanities: Exploring the human endeavor, and by the generous support of Google.org and Vinton and Sigrid Cerf, the British Council, Stuart and Mimi Rose, and other generous donors.
August 9 - December 17, 2016 - Mysterium Tremendum: collecting curiosity
Mysterium Tremendum: collecting curiosity is inspired by the arrival of Shakespeare’s First Folio at CU-Boulder. The installation celebrates the important roles curiosity and wonder play in the pursuit of knowledge. Mysterium Tremendum presents a “cabinet of curiosities” that brings together materials from libraries, special collections, departments and research centers at CU. Among the highlights on view are materials gathered by the artists from collections near and far alongside objects and implements that inspire the work of faculty.
September 16, 2016 - February 4, 2017 - Pioneers: Women Artists in Boulder, 1898-1950
This exhibition celebrates the little-studied artistic contributions of women, who were the drivers of cultural life in the first half of the twentieth century within Colorado, and provides as an important case study into the ways in which women contributed to the development of American art. Artists include: Eve Drewelowe, Gwen Meux, Muriel Sibell Wolle, and Virginia True among others.
Curated by Kirk Ambrose, professor of art history, chair of the Department of Art and Art History; and Stephen V. Martonis of the CU Art Museum.
This exhibition is generously supported by CU-Boulder Student Arts and Cultural Enrichment fees, and CU Art Museum members.
This exhibition is on view concurrently with a community-wide event launching September 29, 2016 called "History of the Visual Arts in Boulder." For more information on this event please visit: http://hovabcelebrations.org/
November 5 - 17, 2016 - Fall 2016 Master of Fine Arts Thesis Exhibition
Artists featured: Ariana Kolins, Emily Quinn, Roberta Restaino, Kim Shively.
Ariana Kolins’ socially-engaged practice examines community exchange, emotional labor, and representation. Through collecting mundane objects and enacting repetitive gestures, she records her experiences and questions the function of the archive, while advancing a convivial and laborious program. Emily Quinn’s large-scale paintings interiorizes the fragility of domestic spaces. She uses muted colors and elevated vantage points, highlighting the indeterminable threshold between security and uncertainty. Roberta Restaino works at the intersection of printmaking and ceramics. Extracting subtleties from the biological world, her investigation of the natural world can be characterized as aesthetic and ontological. Kim Shively explores Denver’s gentrification at its most poignant—in real time, we see residents who are “not ready,” setting the stage for one “last party.” Through hand-drawn maps and nametags, Shively orients us to those who have no choice but to “ride it out,” offering a dystopian collage of Denver’s past, present, and future.
—Carrie Miller, Alexander Penn, and Sara Sisun
November 14, 2016 - June 24, 2017 - Narrative Im[press]ions: 200 Years of Printed Illustrations
This exhibition was curated by students in the University of Colorado’s English course "Introduction to Media Theory in the Humanities". Over the course of the semester, students selected and researched prints from CU Art Museum’s collection, exploring print technology from the hand-press period, which began in 1450 with the invention of moveable type by Johannes Gutenberg and ended in the 1830s with the advent of mechanized steam printing. In this era, the primary print technologies were woodcut and copperplate etching and engraving. Each print in this exhibition illustrates a text. Some were made for books and magazines, while others were designed as framed wall art. Regardless of whether they were meant to hang on a wall or appear tipped between the pages of a book, engravings and woodcuts transformed narrative content into reproducible images. These works interpret and render visible scenes from either literary texts or historical events. Together with texts, printed images helped stories and events come alive to readers. This exhibit offers examples of the array of narratives that were presented as reproducible images well before the advent of photography.
December 2 - 17, 2016 - Fall 2016 Bachelor of Fine Arts Exhibition
Fall 2016 Bachelor of Fine Arts Exhibition December 2 - 17, 2016 Artists featured: K.C. Gillaspie, Darla Pienciak, Parker D. Rush.
February 2 - June 24, 2017 - Bawdy Bodies: Satires of Unruly Women
Raucous physical humor and over-the-top visual comedy are foregrounded in this exhibition of British caricatures and satires made in the late 1700s. Bawdy humor was frequently deployed in popular images to deprecate the political follies and social foibles of royals, politicians, entertainers and men and women of fashion. This form of humor was especially cutting when used to critique the behavior of accomplished women whose growing prominence and engagement in the public sphere elicited the criticism of commentators and drew the attention of graphic satirists. Featuring a selection of prints from Yale University’s Lewis Walpole Library, Bawdy Bodies offers a view into the manners of an era over two hundred years ago, revealing parallels between the eighteenth-century and today.
This exhibition was co-curated by Cynthia Roman, curator of prints, drawings and paintings, The Lewis Walpole Library, Yale University Libraries and Hope Saska, curator of collections and exhibitions, CU Art Museum. This traveling exhibition is courtesy of The Lewis Walpole Library.
This exhibition is generously supported by CU-Boulder Student Arts and Cultural Enrichment fees, and CU Art Museum members.
Read an interview with our curator Hope Saska previewing the exhibition here: http://www.colorado.edu/today/2017/01/25/pushing-boundaries-caricatures-satirized-18th-century-bawdy-women
March 2 - July 15, 2017 - Home: American photography at the CU Art Museum
Is home “where the heart is”? Is it a building, a landscape or a state of mind? Drawn from the photography collection of the CU Art Museum, Home investigates how American photographers working from the late 1800s to today have engaged with these questions. Through a presentation of landscapes, family photos and candid portraits visitors are invited to consider central themes of the exhibition, including environment, nostalgia and family.
What does home mean to you?
We invite our guests to respond to the images and ideas presented in the exhibition by visiting a special programming space in our FlexSpace gallery, open from February 2, 2017–March 25, 2017.
This exhibition was curated by Hope Saska, curator of collections and exhibitions, CU Art Museum.
Spring 2017 Master of Fine Art Thesis Exhibition
Artists featured: Erica Day, John DeFeo, Corrina Espinosa, Ben McQuillan, Carissa Samaniego, Adam Sekuler, Britland Tracy, Lilly Zuckerman.
Spring 2017 Bachelor of Fine Arts Exhibition
Artists featured: Linsey Dodaro, Jamie Jaye Fletcher, Beth Fonseca, Adeline Jadot, Shir Kampeas, Drew Mathisen, Truitt Parrish, Logan Reynolds, Jadrian Ueji, Eva Weinberg, Natasha Zoghlin.
August 17– December 23, 2017 - Faculty Exhibition: 2017
Opening reception 5–7 p.m. Thursday, September 7, 2017
Faculty Exhibition: 2017 celebrates the creative work of faculty at the University of Colorado Boulder whose scholarship and teaching is grounded in an art-making practice. CU Art Museum brings together works by faculty from across campus to showcase the collective creativity of CU faculty artists for campus and community audiences. Ceramics, film, multimedia and sculptural installations, painting, photography, and video works will be on view in CU Art Museum’s galleries throughout the 2017 fall semester.
For a full list of upcoming programs and events for this exhibition please visit: https://www.colorado.edu/cuartmuseum/programs
This exhibition was curated by Sandra Q. Firmin, director, and Hope Saska, curator of collections and exhibitions, CU Art Museum.
Mark Amerika, College Professor of Distinction; Professor of Digital Arts, Interdisciplinary Media Art Practices; Founding Director and Professor, Intermedia, Art, Writing, Performance (College of Media, Communication and Information)
Michael Bietz, Assistant Professor, Foundations
Dan Boord, Founding Department Chair, Critical Media Practices
Scott Chamberlin, Professor, Ceramics
Albert Chong, Professor, Photography
Kim Dickey, Professor, Ceramics
Erin Espelie, Assistant Professor, Film Studies & Critical Media Practices
Alvin Gregorio, Associate Professor, Painting and Drawing
Deborah Haynes, Professor Emerita, Art and Art History
Marina Kassianidou, Assistant Professor, Painting and Drawing
Jeanne Liotta, Associate Professor, Associate Director of Graduate Studies, Film Studies
Geoff Marslett, Assistant Professor, Film Studies
Beth Osnes, Associate Professor of Theatre, Associate Faculty with Environmental Studies
Jeanne Quinn, Associate Professor, Ceramics
Erika Randall, Associate Professor, Dance; Chair, Theatre & Dance
George Rivera, Professor Digital Arts, Interdisciplinary Media Art Practices
Yumi Roth, Associate Professor, Sculpture and Post-Studio Practice
Richard Saxton, Associate Professor, Sculpture and Post-Studio Practice
Kelly Sears, Assistant Professor, Film
C. Maxx Stevens, Associate Professor, Foundations
Joel Swanson, Assistant Professor, ATLAS Institute
Ross Taylor, Assistant Professor, Photo Journalism
Michael Theodore, Associate Professor, Composition
Luis Valdovino, Professor, Interdisciplinary Media Art Practice, Video
Melanie Walker, Associate Professor, Photography
Mike Womack, Associate Professor, Painting and Drawing
Melanie Yazzie, Professor, Printmaking
Fall 2017 Master of Fine Arts Thesis Exhibition
Master of Fine Arts Thesis Exhibition on view November 10 - 30. Artists featured: Joanna Bugajska, Peter Cullum, Michael Foster, Jennifer Shenk, Matt Smith, Christin Turner.
November 16, 2017 - January, 2018 - ARGUSEUM: Curating the Controversial
This exhibit was curated by Thora Brylowe’s First-Year Seminar students as part of her class "Saving the World: Museums, Collections, and Archives". Over the course of the semester students learned why and how people and institutions collect and display artifacts. For this exhibition, the class, under the guidance of the art museum staff, thought carefully about the concerns public museums face as they display objects of controversial origin or with controversial content. They selected items that cover an array of subject matter, from objects that depict death to those that exploit for the purposes of propaganda to those that turn the conventions of the Western nude on its head. Students were challenged to maintain respect for the objects and for museum visitors as they curated a collection of artifacts the museum must display with care.
Special thanks to:
Jen Shannon, curator and associate professor of cultural anthropology, and David Shneer, Louis P. Singer Endowed Chair in Jewish History and chair of the Department of Religious Studies
Fall 2017 Bachelor of Fine Arts Exhibition
Bachelor of Fine Arts Exhibition on view December 9 - 21. Artists featured: Schuyler DeMarinis, Benjamin Stockman, Matthew Vivirito, Marie Williams.