chameckilerner (Rosane Chamecki and Andrea Lerner), Brazilian. Eskasizer–Jennifer, Sally, Hillary, and Gabri, 2014 . 15 minutes. Courtesy of the artists.

Eskasizer - Jennifer, Sally, Hillary & Gabri

February 1, 2021 - February 28, 2021

In the 1950s the Eskasizer belt machine came out as one of the first electric machines that promised to firm women’s bodies. In Eskasizer–Jennifer, Sally, Hillary, and Gabri, choreographers and video artists Andrea Lerner and Rosane Chamecki present four women, each with a different body shape, age, and background. They move in repetitive, and yet, unpredictable ways, reflecting the constant force of the machine that manipulates their bodies. The work is a collection of extreme slow-motion takes, in which the camera is zoomed in to the point that the women’s identity gradually blurs into abstraction. Their bodies are not acting on their own impulses and desires. Instead, they are passive—with their hips, knees, and legs yielding to the external forces.

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Renee Cox, American, born 1960. Chillin’ with Liberty, 1998. Archival digital print. 39 3/4 x 29 3/4 inches. Courtesy of the artist.

Posing Beauty in African American Culture

January 31, 2021 - April 18, 2021

Hodge Gallery Henry Gallery

Posing Beauty in African American Culture explores the contested ways in which African and African American beauty have been represented in historical and contemporary contexts. The exhibition does this by presenting a diverse range of media including photography, video, fashion, advertising, and other forms of popular culture. The first of three thematic sections, “Constructing a Pose,” considers the interplay between the historical and the contemporary, between self-representation and imposed representation, and the relationship between subject and photographer. The second section, “Body and Image,” questions the ways in which our contemporary understanding of beauty has been constructed and framed through the body. The last section, “Modeling Beauty & Beauty Contests,” invites us to reflect upon the ambiguities of beauty, its impact on mass culture and individuals, and how the display of beauty affects the ways in which we see and interpret the world and ourselves.

Jack Willson Thompson Fund and the Truth, Racial Healing, and Transformation Program Fund of the Community Foundation of Greater Flint 

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Purvis Young, American, 1943 - 2010. Big Smiling Head in Landscape with People, 1980's. Mixed media on found wood panel, 24 7/8 x 21 7/8 x 2 in. (63.2 x 55.6 x 5.1 cm). Gift of Selig D. Sacks 2019.313. © Larry T. Clemons / Gallery 721 / Artists Rights Society (ARS), New York

Found Objects: The Art of Purvis Young

January 16, 2021 - April 11, 2021

Graphics Gallery

At first glance, what looks like chaotic and abstract brushstrokes and pencil marks are actually meaningful images­—all part of Purvis Young’s rich visual lexicon. Boats, horses, warriors, and prisoners fill his canvases (wood panels, discarded receipts, and pages ripped from books)exploring themes of both freedom and imprisonment. Although he was considered the unofficial historian of his neighborhood of Overtown, Miami, the themes in his work are universal to the Black experience. Young’s paintings and drawings became his voice of protest for the injustices he and his community experienced. On his bicycle, he circled his neighborhood, gathering materials, supplies, and inspiration for his works. In 1964, while serving three years in prison for breaking and entering, Young studied art books and pored over Old Masters such as Rembrandt and El Greco. It was during this period that he experienced a shift in consciousness in which he realized that he could use his art to express himself and his grievances with the world. After his release and move to Miami’s neighborhood of Overtown, he began painting and never stopped until his death in 2010. 

Sponsored by

Founders Society

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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

While we live in a three-dimensional world and our brains are trained to see height, width, and depth—mathematicians, physicists, and artists have long considered the fourth dimension and its possibilities for alternative realities. Although authors and scientists have sought to describe the concept, it is inherently intangible and invisible. Einstein defined it as “spacetime,” a mathematical model that fuses the three dimensions of space and the one dimension of time into four dimensions. Philosophers consider a metaphysical meaning, seeing it as the connection between the mind and reality. Artists, since the early 20th century, tried to represent the fourth dimension, moving beyond realistic representations of the world toward abstraction. The plasticity of glass in its molten form has enticed many artists to explore non-objective, or abstract, forms since the beginning of the Studio Glass movement in the 1960s. Whether it is an intentional optical illusion or just the natural properties of glass, each artwork in this exhibition implies something beyond height, width, and depth. In this exhibition, you are encouraged to look at the object from multiple angles to allow for different viewing experiences. 

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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

Art of Jade explores the history of the cultures that work with jade, as well as the functional, stylistic, and technical developments of jade as an artistic medium. The artworks in this exhibition were made by artists who patiently ground and drilled the material, a process that could take days, months, and even years to complete. Because of the stone’s beauty, strength, and rarity, jade has become a symbol of social identity, hierarchy, status, wealth, and power in Chinese and Mesoamerican cultures. This exhibition features 75 objects dating back as early as 3200 BCE.

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

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