Lev Feigin reviews the exhibition “Picturing Place in Japan,” now on view at the Princeton University Art Museum. [Hyperallergic]
“Nature’s Nation: American Art and Environment” has just finished its run at the Princeton University Art Museum and will be moving to Salem, Massachusetts and Bentonville, Arkansas. Amy Beth Wright dissects its structure and investigates its ecocritical framework [Art in America]
Roberta and Richard Huber have given 119 works from South America to the Blanton Museum of Art at the University of Texas at Austin. A portion of the collection will be on display this fall in the exhibition “Painted Cloth: Fashion and Ritual in Colonial America” [Artforum]
At California Lutheran University in Thousand Oaks, CA, the Rolland Gallery of Art partnered with the Chemistry Department to put on “Traces: Revealing Secrets in Art and History.” This exhibit gives Cal Lutheran students and visitors the opportunity to have “an inside look at the methods used by art detectives to reveal the secrets of artworks, ranging from X-rays and infrared light to solvents that remove varnish. Visitors can compare before and after images, try to identify what has been altered in a work and use ultraviolet light to detect changes.”
This exhibition will be the central focus of a new class: “Chemical Investigations of Art” which Katherine Hoffmann, the John Stauffer Professor of Analytical Chemistry, and Robert Dion, an adjunct professor of chemistry, will teach in January. (California Lutheran University)
Image: Half of this oil painting by Richard Wilson has been cleaned.
In the University of Southern Maine Gallery exhibition, OTHERED: Displaced from Malaga, artist Daniel Minter tells the story of the 1911 forced removal of a interracial fishing community on Maine’s Malaga Island in Phippsburg.
According to the Hyperallergic article, “For the past 10 years, Portland-based painter, children’s book author, and illustrator Daniel Minter has raised awareness of what happened on Malaga. He took part in archaeological digs and designed an information kiosk for people visiting the island. For his seven-week residency with the Department of Art at the University of Southern Maine this past fall, Minter created a series of 11 acrylic paintings, each one measuring 60 by 20 inches, that further his exploration of Malaga.”(Hyperallergic)
Image above: Installation view
Matthew J. Palm, the Orlando Sentinel Arts Writer, reviews “Dangerous Women: Selections from the John and Mable Ringling Museum of Art,” a current exhibition at the Cornell Fine Arts Museum at Rollins College.
“Seductive women are potentially dangerous to men because they invoke the fear of women’s power over them,” writes feminist art historian Mary D. Garrard in the hardcover book that accompanies the exhibition.
The exhibition was curated by the Patricia & Phillip Frost Art Museum at Florida International University in Miami, the John and Mable Ringling Museum of Art in Sarasota and the Cornell. (Orlando Sentinel)
Image above: Left to right: Francesco Cairo (circa 1633-37), Vincenzo Damini (late 1720s), and Fede Galizia (1596)
In the wake of Mary Baldwin University’s decision to shut down “RELEVANT/SCRAP,” a exhibit featuring images of Southern Confederate monuments, Emily Chamlee-Wright and Sarah Skwire reflect on this missed educational opportunity.
They argue, “We in higher education must find ways to negotiate between, on the one hand, our responsibilities to the sensibilities of students trying to find their way in our increasingly partisan and tense culture and, on the other, our responsibilities to the educational value of debate, discussion and disagreement. The use of abusive images and terminology is obviously not acceptable on campuses or any civilized institution. But the discussion of them must be. It is our job to find ways to ensure that such discussions can thrive and that they can be respectful, rich and productive.” (Inside Higher Ed)
Image above: The empty gallery after Mary Baldwin University shut down “RELEVANT/SCRAP” two days after it opened following complaints from students that the artwork was racist.
At Colorado State University, Erika Osborne, an associate professor in the Department of Art and Art History, and Lynn Badia, an assistant professor in the Department of English will teach an interdisciplinary course on energy.
Osbourne and Badia’s course, “Cultural Extraction: Energy in the Humanities,” will focus on “the relatively new concept of ‘energy humanities’ looks at the relationship between energy and our daily lives through a variety of lenses.” The instructors built field trips into to the course and have also “incorporated artists, films, literature and even TV series to provide context around the energy theme.”
In response to what they are learning in class and on field trips to the the Fort St. Vrain Generating Station in Platteville and the National Renewable Energy Lab in Golden, students will create a “‘mock museum’ — a museum set in the future containing artifacts from our current time” which will be installed at the Gregory Allicar Museum of Art’s Robert W. Hoffert Learning Center at the end of the fall 2018 semester. The exhibition will be titled “Museum of Energy Transitions: Real and Speculative.”
The mock museum will be open from Dec. 12 through Dec. 15 during regular museum hours, 10 a.m. to 6 p.m. An opening reception will be held from 5 to 7 p.m. on Dec. 13. (Colorado State University)
Image above: Students tour the Fort St. Vrain Generating Station in Platteville.
“Black Refractions: Highlights from The Studio Museum in Harlem” is an exhibit which will travel for the next two-years while the Studio Museum is closed for construction of the new David Adjaye-designed building.
The exhibit is curated by Connie H. Choi, associate curator of the Studio Museum, featuring the work of 80 artists like Njideka Akunyili Crosby, Kerry James Marshall, Mickalene Thomas, Alma Thomas, Faith Ringgold, and Kehinde Wiley. This exhibit is organized with the American Federation of the Arts.
The show will begin traveling next year, starting at the Museum of the African Diaspora in San Francisco (January 15 – April 14, 2019), then onto the Gibbes Museum of Art in Charleston, South Carolina (May 24 – August 18, 2019); the Kalamazoo Institute of Arts in Michigan (September 13 – December 8, 2019); the Smith College Museum of Art in Northampton, Massachusetts (January 17 – April 12, 2020); the Frye Art Museum in Seattle, Washington (May 9 – August 2, 2020); and the Utah Museum of Fine Arts in Salt Lake City, Utah (August 28 – December 13, 2020). (Art Net)
Image above: Njideka Akunyili Crosby, Nwantinti (2012). © Njideka Akunyili Crosby. Courtesy of the artist; Victoria Miro, London and Venice; and the American Federation of Arts.
University of Oregon History of Art and Architecture graduate student, Emily Shinn, curated the exhibition “Fernand Léger’s ‘Cirque’ and the ‘livre d’artiste’” at the Jordan Schnitzer Museum of Art. Shinn worked under the guidanc eof Danielle Knapp, McCosh Associate Curator, to complete this M.A. terminal project.
“I think the exhibition, my experience behind the scenes, and the final product open to the public, will provide a much needed example of an MA terminal project in Art History,” says Shinn. “It demonstrates the relationships possible for students between the Department of the History of Art & Architecture and the JSMA.” (Art Daily)