Cameron Gray, Swiss, born 1980. Thinking Hurts Too Much, 2013. Museum purchase with funds from the Collection Endowment, 2013.63

Thinking Hurts Too Much

December 1, 2020 - December 31, 2020

Media Arts Gallery

Thinking Hurts Too Much is a slowly scrolling video that incorporates found and manipulated internet footage, creating a panoramic collage of gyrating, pulsing, and writhing characters to expose America’s—and the world’s—desire for the sensational. Cameron Gray pieces together thousands of pop culture images to offer a provocative and poignant depiction of excess and the constant urge to seek new and more extreme visual stimulation. 

The video is an immersive experience that is constantly changing, as your eyes move from one area to the next, dancing across a screen that never stops shifting. In doing so, Gray makes us aware of the passage of time as we witness the reactions of other viewers standing next to us—reminding us of the separation that results from unshared memory.

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Yan Zoritchak, Slovakian, born 1944. Space Messenger, 2002. Cast glass with copper patina and gold leaf,19 9/16 × 16 15/16  x 5 1/8 inches. Courtesy of the Isabel Foundation, L2017.146 Photo credit: Douglas Schaible Photography

Glass in the Fourth Dimension

November 21, 2020 - March 21, 2021

Harris - Burger Gallery

Although our brains are trained to see height, width, and depth, the idea of something beyond that—the fourth dimension—has intrigued artists for generations. Some describe it as time and space; while others have described it as a spiritual realm; the intangibility of a reality beyond our own has inspired many abstract works of art. The plasticity of glass in its molten form has enticed many glass artists to explore non-representational forms since the beginning of the studio glass movement in the 1960s. Whether it is intentional, optical illusions or just the natural properties of glass, each artwork in this exhibition suggests an experience beyond three dimensions.

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Barry Andersen, American, born 1945. Grindavik 2, Iceland, 2016. Archival inkjet print, 12 x 18 inches. Gift of the artist, 2018.189

Field of Vision

October 17, 2020 - January 10, 2021

Graphics Gallery

The photographs in Field of Vision show how landscape continues to be a subject artists turn to when contem-plating the world around us—from the places we live, where we travel, and what we aspire to see. Since the medium was invented in the mid-19th century, photographers have approached landscape in many different ways. Early examples generally mimicked landscape paintings in terms of composition and theme but artists quickly realized the unending potential for creative expression. While some focus on land unaltered by the human element, others see this interaction as a fundamental part of their narrative. Photographers also consider if they want to capture the scene in a realistic, or objective manner or if they want to manipulate the composition to create abstraction. This exhibition includes sixteen photographs that illustrate the diverse ways artists approach the subject of landscape.

Graphics Gallery Sponsored by

Founders Society Logo

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Frank Owen, American, born 1939. Untitled, 1986. Acrylic on canvas, 105 x 105 inches. Gift of Geri and Mason Haupt, 2016.52

Pure Abstraction

October 17, 2020 - January 10, 2021

Henry Gallery Hodge Gallery

Beginning at the turn of the 20th century, artists began exploring the effects of creating purely abstract images where any likeness to a narrative would be coincidental. By composing expressive applications of color, line, and form, that intentionally had no subject, artists found that viewers would experience sensations and feelings not unlike those they have when listening to music. The movement evolved, taking on many forms and leading up to its zenith in mid-century when artists were characterized by powerfully expressive techniques of heavy gestural applications. Artists of the late 20th century through today sought new approaches and methods to maximize the medium’s emotional and expressive potential.

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Qing Dynasty, 1644–1911/12, Chinese, Chime: Dragon in Clouds, 1765, Jadeite, 26 7/8 x 29 3/4 x 12 1/4 inches. Gift of Mrs. Fredrick B. Miner, FIA 1968.13

Art of Jade

August 15, 2020 - May 23, 2021

Ann K. Walch-Chan Gallery

In ancient China and Mesoamerica, jade items had profound cultural implications. They were used as symbols of social identity, hierarchy, status, wealth, and power in Chinese culture. In Mesoamerican cultures, jade was highly prized and often connected to rulers and spirituality. The stone continues to be an important artistic medium to this day. 

Artists need to be highly skilled because working with jade is labor intensive, time-consuming, and detailed. Traditional methods of carving like chipping the surface with a chisel are not effective because of the stone’s hardness. Instead, artists must employ a three-part process that includes cutting, grinding, and polishing. They often allow the material’s natural features to determine the completed form. Dark spots in a stone transform into the details of an animal’s fur or streaks of color delineate the wings of a bird. This exhibition includes 75 objects that illustrate the endless aesthetic possibilities of jade.

To hear the sound of the jade chimes, click here.

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