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)
When students enter the Lehman College Art Gallery in the Bronx, NY to see the current exhibition, “Castles in the Sky: Fantasy Architecture in Contemporary Art,” they are asked “What’s your fantasy structure?”
“None of the artists in the show are trained architects,” gallery director Bartholomew Bland said, “but they all engage in building in a sort of way that I think is very imaginative and sort of appeals to the dream that we all have about the perfect home, or the perfect building, or the perfect place we would want to spend time.”
“Castles in the Sky” is the product of Bland’s interest in “18th century Italian artist Giovanni Battista Piranesi and 19th century American painter Thomas Cole” and “where artists go in their minds.” The exhibition is up through January 26, 2018. (The Riverdale Press)
David LaChapelle’s ‘Burning Down the House’ is a portrait of late fashion designer Alexander McQueen that appeared in Vanity Fair in 1997.
(Courtesy of David LaChapelle)
The Wolfsonian–Florida International University is presenting a special exhibition co-organized with The Wolfsoniana, the museum’s sister institution in Genoa, Italy, in cooperation with the Consulate General of Italy in Miami. Made in Italy: MITA Textile Design 1926–1976, on view November 16, 2018–April 28, 2019. Pulling works from both the Wolfsonian and Wolfsoniana collections in a rare joint presentation, Made in Italy reflects the expert craftsmanship and full diversity of MITA’s production over its five-decade span. (Art Daily)
Image above: Rug design, 1927. Fortunato Depero (1892–1960), designer. Collage on paper Loan, MITA Archive of M. A. Ponis, on loan to The Wolfsoniana–Palazzo Ducale Fondazione per la Cultura, Genoa.
“The Un-Heroic Act: Representations of Rape in Contemporary Women’s Art in the U.S.” features a diverse range of artists addressing depictions of sexual violence in the history of art, and the psychological implications for the women involved. The Anya and Andrew Shiva Gallery is the primary fine art gallery at John Jay College of Criminal Justice, City University of New York, in Midtown Manhattan, New York City. (The New York Times)
The Met Museum recently opened Art of Native America: The Charles and Valerie Diker Collection, marking the first time the museum has held a show of Native American art in its American wing. (artnet news)