Victor Rodriguez

Mexican, born 1970

Anatomy, 1997

Acrylic on canvas

78 × 116 in. (198.1 × 294.6 cm)

Gift of the Friends of Modern Art 1998.6

Size Matters: Big and Small Works from the FIA Collection

September 16, 2017 - December 30, 2017

Hodge Galleries

Scale (or size) is one of the most effective ways to visually communicate an idea. While an oversized painting may envelop our field of vision, a small one requires us to look more closely. Because we often consider the size of an object relative to our own bodies, things that are very large may have a different impact than those that are very small. Size Matters: Big and Small Works from the FIA Collection gives us the opportunity to ask ourselves how scale shapes the way we experience artwork.  

The work’s relationship to the viewer is not the only thing taken into consideration when determining the size of a work of art. Artists must also grapple with the practical issues of scale. Large works require large studio and storage spaces, can be difficult to transport, and are usually more expensive to make. Small works require patience, a steady hand, and visual acuity in order to depict the illusion of space and perspective. Finding the right equipment and tools to render minute details poses potential issues for artists working in small scale. As viewers, we often take for granted the challenges and decisions the artist must make before applying paintbrush to canvas. 

This exhibition—featuring 24 artworks that date from the late 18th century to the 21st century—allows you to see works in the FIA’s collection in a new way, realizing that for an artist, whether it’s a material manifestation or ideological expression, size always matters.

Exhibition Info


From the Exhibition

  • Ray Parker, American, 1922 – 1990. Untitled, 1980. Oil on canvas, 90 × 218 inches. Museum purchase with funds donated by Mr. William S.White 2013.16

  • David Eichenberg, American, b. 1972. Aimee, 2011. Oil on panel, 7 x 6 1/4 inches. Museum purchase, 2013.3

  • Rod Penner, American, born Canada, born 1965. Day, 2010. Acrylic on panel. 6 × 6 in. (15.2 × 15.2 cm). Museum purchase 2010.282

  • Bryan LeBoeuf, American, born 1975. Father to Son, 2003. Oil on linen. 96 × 80 in. (243.8 × 203.2 cm). Gift of Mary Q. Connelly 2007.117

  • Artist Unknown. Portrait of a Young Female, n.d. Hand painted porcelain plaque. 3 3/8 × 2 5/8 in. (8.6 × 6.7 cm). Museum purchase with funds from the Jill Ford Murray Irrevocable Trust in memory of her parents, Carlotta Espy Ford and George Ross Ford, Jr., and her grandparents, Grace Miller Ford and George Ross Ford, 2017.55

  • John Clem Clarke, American, born 1937. The Banquet of the Civic Guard by Van Der Helst, 1983. Oil on canvas. Dimensions: 88 1/2 × 215 in. (224.8 × 546.1 cm). Gift of Ivan and Marilynn Karp, 2013.66

William Stolpin

American, b. 1942

William Stolpin, 2004

Screenprint on paper

26 x 20 inches

Promised gift of the artist

The Eccentric Vision of William Stolpin

September 16, 2017 - January 7, 2018

Graphics Gallery

When asked how he would sum up his work as a printmaker, Flint native William (better known as Bill) Stolpin used the word “eccentric.” His artwork often revolved around several main themes, including fantasy, landscape, and abstraction. He regularly juxtaposed two or more apparently unrelated elements to encourage the viewer to find relationships where they might not normally see any connection. Regardless of the subject, Stolpin always made images that were interesting to him in the hopes that others would also connect with his eccentric vision. 

From medieval fantasy to the far reaches of outer space, the many passions of William Stopin have inspired and influenced generations. For over a decade, Stolpin taught classes, like printmaking, relief printing, and reduction block printing, at the FIA’s Art School. He also led the Pre-College Portfolio Development Program (PDP), a three-year course for high school students designed to strengthen their visual arts skills and to provide guidance to young artists. The Eccentric Vision of William Stolpin presents the diverse style and subject matter of this prolific printmaker. 


Exhibition Info


William Kidd

American, b. 1961

Crusty Vase, 2003

Earthenware

Promised gift of Sidney Swidler

The Art of Containment – Vessels from the Sidney Swidler Collection

September 16, 2017 - March 31, 2018

Ann K. Walch-Chan Gallery

The Art of Containment: Vessels from the Sidney Swidler Collection features over forty contemporary ceramics recently gifted to the FIA by collector Sidney Swidler. Since 1984, Swidler has collected over 1,000 works by local, national, and international ceramicists. His preference for contemporary work was enriched by the interaction he had with living artists by visiting their studios, exploring galleries, and attending national conventions. 

All the ceramics in this exhibition demonstrate the art of containment, whether utilitarian—to hold food, drink, or flowers—or purely formal expressions of the artist. Some ceramicists consider the straightforward functionality of a bowl, vase, or cup, while others consider the cultural or social implications of the vessel. Playing with the concept of form in these works, ceramicists explore what is possible within the medium of clay. Whether they are traditionally inspired or uniquely modern, these objects illustrate the versatility of vessels. The works in the exhibition take on many forms, as well as show the different types of glazes and surface finishes that can be accomplished.

Exhibition Info


From the Exhibition

  • Judi Tavill, American, b. 1968. Carved Sculptural Vessel, 2012. Wheel thrown and hand carved stoneware. 9 1/4 x 5 inches. Promised gift of Sidney Swidler

  • Brett Freund, American, b. 1983. Gem Pot, 2015. Porcelain. 4 3/8 x 7 inches. Promised gift of Sidney Swidler

  • John Parker Glick, American, 1938 - 2017. Covered Jar, n.d. Stoneware. Promised gift of Sidney Swidler Temp_2017.203

  • Lars Voltz, American. Bowl, n.d. Stoneware. Promised gift of Sidney Swidler Temp_2017.196

Alex Hubbard. “The Border, The Ship,” 2011. Courtesy of the artist and Electronic Arts Intermix (EAI), New York.

The Border, The Ship

September 16, 2017 - October 31, 2017

Fleckenstein Video Gallery

Alex Hubbard’s videos involve carefully choreographed and dynamically composed experimentation with objects, paint, and deconstruction. The Border, The Ship seamlessly blends layers of activity in a reality-defying vision. It is a moving collage of sorts, showing various disjointed objects interacting in front of a white backdrop. Avoiding a single point of focus, Hubbard constructs his videos in layers where movement is multi-directional, time is non-linear, and narrative is convoluted.

Exhibition Info


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