Louise Wilde, British, b. 1973. Animated Prints, 2023. On loan courtesy of
the artist.

Louise Wilde: Animated Prints

March 1, 2024 - April 30, 2024

Security Credit Union Gallery

British artist Louise Wilde loves to make things move, a seemingly counterintuitive desire when her medium of choice is printmaking (a still-image on paper). But, using pre-cinematic frame-by-frame techniques Wilde creates whimsical animations. By spinning printed imagery on a disk at just the right speed she creates the illusion of movement. Wilde works with traditional and experimental printmaking methods to make these disks, using etching, photo-lithography, screen printing, and laser-engraving to illustrate playful characters. The unique visual effects these print methods produce contribute to the ominous and dream-like quality of Wilde’s animations. 

The artist starts with traditional and digital drawings that are edited together to devise a moving image sequence. The stills from this sequence are then applied to discs using the aforementioned printmaking methods. The visual illusion this creates is similar to that of a flipbook, where images presented in rapid succession showing progressive phases of a motion can appear to move because our minds retain a visual impression of the preceding image as a new image appears.

When Wilde was a master’s student at the Royal College of Art, London she explored cameraless frame-by-frame animation processes like scratching into and painting directly onto frame stock. After several years working on digital animation productions, the artist craved a return to more tangible, traditional and experimental drawing approaches, and rediscovered her love for intaglio printmaking. Observing the work of old world artists inspired Wilde to experiment in animating her prints. In the artist’s own words, she says:

“When I first saw the way Rembrandt created alternative print states from the same
etching plate by drawing into, burnishing away, inking, and wiping the surface, I could see a direct correlation between etching and experimental filmmaking. Both processes feel familiar yet exciting.”

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Colima Mexico. Dog, ca. 200 BCE – 200 CE. Ceramic, 10 1/2 x 7 1/2 x 16 in. Gift of The Ted Weiner Family 2022.134

From Earth to Sky: Ancient Art of the Americas

May 11, 2024 - August 25, 2024

Hodge Gallery Temporary Exhibition Gallery

This exhibition features ancient ceramic sculptures from Mexico and Costa Rica (200 BCE–200 CE). Since they did not leave a written record, these clay objects, many of which depict ancestral figures, ball players, warriors, animals, and shamans, offer a glimpse into the lives of people living more than 2,000 years ago. Also included are vessels used to store or serve food or drink, as well as other objects that would have been used in ceremonies or community events. Like other ancient cultures, their strong belief in the afterlife is evidenced by the practice of placing objects of significance in the tomb.  These underground shaft-tombs contained clay sculptures that were intended to serve as companions, guides, and guardians of the spirit of the deceased. Many objects in this exhibition now tell us something about how these cultures/peoples viewed themselves and their environment, how they honored the dead, and how they celebrated life. 

All of the artwork in From Earth to Sky was collected in the mid-20th century by Texas oil operator Ted Weiner. His interest in art sparked in the early 1940s, when he purchased a landscape painting while redecorating his parent’s home. By 1951 he began actively collecting both contemporary and ancient sculpture. He amassed one of the largest collections of sculpture west of the Mississippi and was involved in arts organizations until his death in 1979. In 2022 Ted’s daughter Gwen donated his collection to the FIA.

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South India, Karnataka/Maharashtra. Tussi/Thushi Necklace, late 19th century. Gold, precious stones, 19 in. Gift of Dr. Prasad and Jayashree Kommareddi. 2021.277

Meditations in Gold: South Asian Jewelry

May 16, 2024 - February 2, 2025

Ann K. Walch-Chan Gallery

From prehistoric necklaces made of shells and bones to contemporary ornaments of gold and gemstones, jewelry is a universal form of adornment and one of the most accessible forms of art. Since the beginning it has had many functions; to represent cultural beliefs, to indicate status and wealth, to act as a fashion statement, to serve religious purposes, to symbolize relationships and rites of passage, to serve as a type of currency, and as heirlooms connecting families to their heritage, or in some cases to protect the wearer.

With its own mines yielding gold, diamonds, and many other precious and semiprecious stones India has been a vibrant center for wearable arts for centuries. Whether it is an opulent creation covering much of the body or a simple amulet worn around the neck on a cotton string, every detail holds important cultural connections. This exhibition will include jewelry worn for religious, ceremonial, and daily purposes and because every element of jewelry design in India is intentional, it will consider the importance of motifs from the natural and spiritual world. It will also explore why materials—like gold and pearls—are deeply symbolic and how they are utilized to create meaning beyond aesthetics.

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