Paul Peter Piech
American, 1920–1996
Star Wars Terrorism, 1985
Linocut on paper 
30 x 21 1/16 inches
Gift of Mr. Jack B. Pierson, FIA 1986.12.2

Reaction: The Art of Social Commentary

February 4, 2017 - May 7, 2017

Graphics Gallery

In the 1930s, works on paper showing scenes of union organization, racial violence, fascism, and other political and social issues became more prevalent. Artists used the print medium as a tool of social commentary, creating the artistic and political movement called Social Realism. The Social Realism movement often used art as a tool to expose the struggle of the working class.

Although some of the issues have changed, artists still create imagery that expresses their opinion and comments on social, political, and economic subjects. Some have faced intense criticism for their art while others have been commended for their courage. This exhibition examines works by Social Realist artists such as Hugo Gellert, George Grosz, and Ben Shahn, as well as contemporary social activist artists such as Sue Coe, Andy Warhol, Rupert Garcia, and David Wojnarowicz. 

Exhibition Info


From the Exhibition

  • Isac Friedlander, American, b. Latvia, 1890–1968, Lest We Forget, 1942, Etching on paper, 12 5/8 x 17 1/4 inches. Gift of Mrs. Gilda Friedlander in memory of her husband, 1984.6.1

  • Rupert Garcia, American, b. 1941, The Most Dangerous Woman in America, 1989, Silkscreen on paper, 30 x 22 1/8 inches. Gift of Mr. Jack B. Pierson, FIA 1991.18

  • Fritz Scholder, American, 1937–2005, American Indian #4, 1972, Lithograph on paper, 30 1/8 x 22 1/16 inches. Museum purchase, 1974.29 

Courtesy of the artist.

Madame Perfetti & the Tree

April 1, 2017 - April 30, 2017

Fleckenstein Video Gallery

Laetitia Hohenberg, American, b. 1962, 4:04 minutes

“Madame Perfetti is a person I visit. She has dementia. My piece is a replica of the space we both share. It is a suspended moment; an exquisite present lived at a glance, with no past or future.”    

    — Laetitia Hohenberg

Exhibition Info


Chinese, Qing Dynasty, 1644–1911/12
Pair of Cranes, late 19th century 
Jadeite
14 1/4 inches high, each 
Gift of Miss Carol C. Pierson, 2005.193.1-.2

Art of Jade

November 19, 2016 - July 30, 2017

Ann K. Walch-Chan Gallery

Since the Neolithic period, jade has been valued for its rarity as well as its beauty. Varying from pure white to dark black, deep green to vibrant red, the color of jade has endless aesthetic possibilities. The artworks in Art of Jade were made through patiently grinding and drilling for days, months, and even years. Little by little, the objects transformed from solid masses into works of art.

Because of the stone’s beauty, strength, and rarity, jade artworks have become symbols of social identity, hierarchy, status, wealth and power in both Chinese and Mesoamerican cultures. This exhibition features over 70 objects from Mesoamerican cultures, dating back as early as 1800 BCE, and from China dating from 3,200 BCE.

Exhibition Info


From the Exhibition

  • Maya culture, Central America, Mosaic Mask, ca. 600–900. Jade with shell, obsidian, 3 x 3 1/4 x 1 1/4 inches. Gift of Barry Fitzmorris, FIA 2011.219

  • 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

  • Chinese, Qing Dynasty, 1644–1911/12, Palette, 19th century. Jadeite, 3 3/4 x 6 x 15/16 inches. Gift of Miss Carol C. Pierson, 2005.83

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