Alex Hubbard, American, b. 1975. Color, sounds. Duration: 5 minutes. Courtesy of Electronic Arts Intermix (EAI), New York

Hit Wave

October 1, 2020 - October 31, 2020

Media Arts Gallery

Alex Hubbard’s videos involve carefully choreographed and dynamically composed studio experiments with objects, paint, construction, and deconstruction. Hubbard is a Los Angeles- based artist whose work encompasses video art and painting, exploring the boundaries of each via a cross-examination that invigorated both media in new and inventive ways. Avoiding a single point of focus, Hubbard constructs his videos in layers, engulfing the viewer with bold colors, performative gestures, and evolving compositions in which movement is multi-directional and time appears to be non-linear. Often described as “moving painting,” the videos are a record of physical creation and  destruction, with the hand of the artist tangible, and sometimes visible, in the frame.

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Barry Andersen, American, born 1945. Grindavik 2, Iceland, 2016. Archival inkjet print, 12 x 18 inches. Gift of the artist, 2018.189

Field of Vision

October 17, 2020 - January 10, 2021

Graphics Gallery

Since the medium was invented in the mid-19th century, photography has been employed to try to reproduce the grandeur of nature. Anyone who has used a camera or cell phone to capture a scenic moment knows that it is not easy because of the limitations of equipment or the inherent challenges of being outdoors. Photographers who specialize in nature photography must consider such factors as time of day, lighting, place, and weather. They must decide if they want to capture the landscape in a realistic, or objective manner, or if they want to manipulate the composition to create abstraction. While some focus on land unaltered by the human element, other photographers see this interaction as a fundamental part of their narrative. From the arid climate of Death Valley, California, to the lush green peat of Ireland, this exhibition will feature highlights of nature photography from the FIA collection.

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Frank Owen, American, born 1939. Untitled, 1971. Acrylic on canvas, 58 1/8 x 68 1/8 inches. Anonymous gift, 2000.3

Pure Abstraction

October 17, 2020 - January 10, 2021

Henry Gallery Hodge Gallery

For some, the biggest challenge when walking through the galleries in an art museum is encountering paintings that don’t look like anything they’ve seen in the real world. Images that have no reference to people, places, or things can be perplexing and lead to comments like “That’s not art,” or “My kid could do that.” The exhibition Pure Abstraction is aimed at demystifying this often-elusive art form to help visitors better understand the abstract movement in art. 

Beginning at the turn of the 20th century, artists began exploring the effects of creating purely abstract images where any likeness to recognizable things in nature would be coincidental. By composing expressive applications of color, line, and form, that intentionally had no subject, artists found their viewers would experience sensations and feelings not unlike those they have when listening to music. The movement evolved, taking on many forms leading up to its zenith in mid-century when artists were characterized by powerfully expressive techniques of heavy gestural applications. Artists of the late 20th century through today sought new approaches and methods to maximize the medium’s emotional and expressive potential. 

The litany of art historical terms used to differentiate the various approaches can be overwhelming­—Abstract Expressionism, Color Field, Post-Painterly Abstraction, Minimalism, Op Art, Neo Expressionism, and Neo-Geo—and the distinctions are well represented in the exhibition, featuring important works by American and European artists including Hans Hofmann, Robert Motherwell, Karel Appel, Robert Goodnough, Larry Poons, Joseph Albers, Helen Frankenthaler, Morris Louis, Paul Jenkins, and many others.

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Michael Robinson, American, born 1981. The Dark, Krystle, 2013. 9:34 minutes. Image copyright of the artist, courtesy of Video Data Bank, www.vdb.org, School of the Art Institute of Chicago

The Dark, Krystle

November 1, 2020 - November 30, 2020

Media Arts Gallery

The Dark, Krystle features a montage of Linda Evans and Joan Collins from the 1980s evening soap opera Dynasty. The film rekindles issues of identity, consumption, and excess in 1980s pop culture. Michael Robinson reconfigures the rivals’ melodrama in repetition—theatrical breakdowns, nasty glares, excessive drinking—allowing viewers to feel the clichés recharged with new emotional power.

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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

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. It is inherently intangible and unseeable, so, many describe it as space/time relationship while others relate it to metaphysics or the connection between the mind and reality. Artists since the early 20th century have moved beyond realistic representations of the world toward abstraction, perhaps to visually interpret the fourth dimension. 

The plasticity of glass in its molten form has enticed many glass artists to explore non-objective, or abstract forms since the beginning of the studio glass movement in the 1960s. Whether it is intentional optical illusions, or just the natural properties of glass, each artwork in this exhibition suggests something beyond height, width, and depth.

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Lauren Kelley, American, born 1975. Pickin’, 2007. Color-coupler print. Courtesy of Curatorial Assistance Traveling Exhibitions.

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 through a diverse range of media including photography, film, video, fashion, advertising, and other forms of popular culture such as music and the Internet. Throughout the Western history of art and image making, the relationship between beauty and art has become increasingly complex within contemporary art and popular culture. The exhibition challenges contemporary understanding of beauty by framing notions of aesthetics, race, class, and gender within art, popular cultures, and politics.

Posing Beauty in African American Culture is curated by Deborah Willis and organized by Curatorial Assistance Traveling Exhibitions, Pasadena, California.

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Robert Arrington, American, born 1950. Self-Portrait, 1985. Etching and silkscreen on paper. 12 13/16 x 9 15/16 inches. Gift of Mr. Jack B. Pierson, 1986.3

Political and Personal: Images of Gay Identity

April 17, 2021 - July 11, 2021

Graphics Gallery

Featuring selections from the Jack B. Pierson Print Collection of 856 works on paper by 404 artists from around the globe, Political and Personal: Images of Gay Identity draws on Pierson’s experience as a gay man and sheds light on the important role sexual identity played in informing his collecting habits. The exhibition highlights several well-known and lesser-known gay artists, as well as the works of heterosexual artists, contextualized through their homoerotic subject matter (informed by classical mythology and an admiration for male athleticism) or the supportive content of their political messages.

Through emphasis on public identity and activism, dissecting historic complexities of the gay male gaze, and considering the pensive and private moments of gay love and attraction, this exhibition captures the multi-dimensional nature of gay identity in the 20th century.

Support provided by

IFPDA Foundation

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Yigal Ozeri, Israeli, born 1958. Untitled; Kendall, 2016. Oil on canvas, 36 x 54 inches. Collection of the Artist, NY.

​Brush with Reality: Yigal Ozeri

May 8, 2021 - August 29, 2021

Henry Gallery Hodge Gallery

Based in New York City, Yigal Ozeri is an Israeli artist best known for his meticulously crafted large-scale images of women in lush landscapes. These works have the appearance of photographs, but they are actually paintings. In varying degrees, painters have been using the camera or photograph to inform their work since the medium was invented in the mid-19th century. Typically the use of the camera was disguised or alluded to only in stylistic terms. In the late 1960s, however, artists in California and New York began to deliberately reference the photograph in their works by making the paintings look exactly like a photograph, re-creating sharp precise details, alongside fuzzy, out-of-focus elements. This movement in art was called Photorealism. 

In the 21st century, Yigal Ozeri is taking Photorealism in new directions. In his choice of subject matter, he employs intricate, realistic brushwork to create a narrative that blurs the lines between what is real and fantasy. He uses the medium of digital photography and processes the image on a computer until he arrives at the desired image, which he then carefully creates on canvas using a brush and paint. Brush with Reality offers highlights from the last decade of Ozeri’s works, from his first depiction of Priscilla in the jungles of Costa Rica in 2007 to his latest series that captures people on the streets of New York City. Ozeri has shown his work around the world, with several solo exhibitions in Europe, Mexico, and China.

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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

Bo Bartlett is an American realist with a modernist vision. His artwork can be classified within the tradition of American realism, celebrating both the commonplace and the extraordinary. 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. This exhibition presents drawings from forty years of the artist's career (from 1976 to 2016).

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