Bo Bartlett, American, born 1955. Serena Sleeping, 2014. Graphite on paper. Framed: 23 x 26 1/2 in. (58.4 x 67.3 cm). The Collection of Bo Bartlett and Betsy Eby

Bo Bartlett: Forty Years of Drawing

July 17, 2021 - October 3, 2021

Graphics Gallery

This exhibition presents graphite drawings and gouache paintings spanning 40 years of Bo Bartlett’s career (from 1976 to 2016). Bartlett is an American realist with a modernist vision, and his artwork celebrates both the commonplace and the extraordinary. According to Bartlett, “The purpose of art is to wake up—to wake up to the numinous now, to the great unfolding of the mysterious universe that we are one with.” These works reveal an intimate peek into a side of the artist’s life and oeuvre rarely seen by the public. Educated at the Pennsylvania Academy of the Fine Arts, Bartlett pushes the boundaries of the realist tradition with his multilayered images. Family and friends are the cast of characters that appear in his dreamlike works, some revealing intimate scenes between two people and others singular portraits.

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Peggy Ahwesh, American, b. 1954. Warm Objects, 2007. 6 minutes. Courtesy of Electronic Arts Intermix (EAI), New York

Warm Objects

July 1, 2021 - July 31, 2021

Warm Objects was produced by Peggy Ahwesh in close collaboration with the engineering research center MIRTHE (Mid-InfraRed Technologies for Health and the Environment), an organization dedicated to the development of optical trace gas sensing systems. Utilizing MIRTHE’s imaging technology, scenes of everyday incidents are transformed by infrared photography into glimpses of our world through an alien lens. Two insertions of on-screen text betray the artist’s ominous implications. The first is a meditation on Rudyard Kipling’s oft-quoted “Truth is the first casualty of war,” while the second takes the form of a hastily crafted e-mail, suggesting that its author has become withdrawn and pessimistic out of fear of some pending disaster. Warm Objects is a portrait of the world in uncertain and paranoid times. 

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Bing & Grøndahl, Danish, founded 1853. Sauceboat, 1888-1890. Porcelain, 5 7/8 x 7 7/8 in. (15 x 20 cm)

Art Nouveau Innovation: Danish Porcelain from an American Collector

June 12, 2021 - November 28, 2021

Ann K. Walch-Chan Gallery

Art Nouveau flourished in Europe and the United States from the 1880s until the First World War. Taking inspiration from nature, this style was a reaction against the popular Neoclassical style of the late 18th and early 19th centuries. This was also a renaissance period for Danish porcelain manufacturers, marked by technical and artistic innovations. The two major manufacturers, Royal Copenhagen and Bing & Grøndahl, explored new forms, techniques, and artistic influences. Like many artists of the Art Nouveau period, the designers and painters of Danish porcelain reflected an interest in the natural world and cultures from around the globe. They reached new heights of artistic achievement, winning numerous awards along the way. Their output influenced the work of companies across Europe and created a global market for Danish porcelain.

Art Nouveau Innovation: Danish Porcelain from an American Collector brings together a wide variety of 19th-century ceramics from Royal Copenhagen and Bing & Grøndahl. Many were first unveiled at international expositions and world’s fairs.

This exhibition is organized by the Museum of Danish America, Elk Horn, Iowa. 

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Boris Lovet-Lorski, American, born Lithuania, 1894 - 1973. Sieglinde, 1930s. Carved plaster with ebony-like finish, 10 3/8 × 5 1/2 × 2 in. (26.4 × 14 × 5.1 cm). Bequest of Mary Mallery Davis 1990.53

3D: Focus on the Figure

May 8, 2021 - August 29, 2021

Hodge Gallery

Although the method and final product may look different, the concept of the human form has been providing sculptors with inspiration for thousands of years. In Western art, the human form has evolved from ancient Greek mythology to religious subjects, to figures that are highly abstracted. As some sculptors in the 20th century opted to turn away from recognizable imagery to begin experimenting with new materials and more expressionistic representations. Traditionally artists worked in materials like metal, stone or clay; however, contemporary artists began to use a variety of materials like glass resin or found objects, as their primary medium. This exhibition explores the rich history of depicting the figure in three dimensions with sculptures spanning over five centuries.


View related exhibition: 3D: Focus on the Abstract


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Claes Oldenburg, American, born Sweden, born 1929. Geometric Mouse, Scale C, 1971. Anodized aluminum, 19 × 20 × 13 in. (48.3 × 50.8 × 33 cm). Gift of Dr. Bernard J. and Arlene D. Harris 1991.30

3D: Focus on the Abstract

May 8, 2021 - August 29, 2021

Henry Gallery

At the turn of the 20th century, the concept of abstract art began to gain traction as artists explored making images that were not based on recognizable forms found in nature. Artists no longer felt the need to imitate the world but rather explored how they could express their emotions through abstract concepts and forms. The artists in this exhibition used a wide range of materials, techniques and concepts, moving away from realistic representation toward abstraction, embracing movements such as Minimalism, Abstract Expressionism, Constructivism, and Kinetic art.


View related exhibition: 3D: Focus on the Figure


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John Miller, American, born 1966. Chicago Dog, 2018. Blown and Hot sculpted glass, mixed media, 16 x 28 x 14 in. (40.6 x 71.1 x 35.6 cm). Courtesy of the artist.

Blue Plate Special

April 10, 2021 - September 26, 2021

Harris - Burger Gallery

Hot dogs, french fries, and milkshakes are staples of American cuisine but for glass artist John Miller they also represent a sense of nostalgia. One of his earliest memories is spending time at his father’s motorcycle dealership in Hamden, Connecticut, and eating lunch across the street at Kitties diner. Since then hot rods, diners, and the pop culture of the 1950s have had a great impact on Miller’s personality and artmaking. His early glass works revolved around serious topics until he realized that “this work revealed only one side of me. The predominant side of my personality is very loose and comical but it had not come out yet.” In 1999, after absentmindedly sketching crinkle-cut fries on napkins every time he went out to eat, Miller made his first oversized glass french fry. The idea exploded, and no food was safe from becoming part of his lighthearted Blue Plate Special series.

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