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

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

Through highlighting 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. 

This exhibition was originally scheduled for 2020 but was moved to 2021 due to the Covid-19 closure of the FIA.

Support provided by

IFPDA Foundation

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Leana R. Quade, American, b. 1979. Release, 2016. 3:58 seconds. Courtesy of the artist.

Release

May 1, 2021 - May 31, 2021

Media Arts Gallery

Evoking stress, tension, anxiety, and amazement, the video performance Release pushes glass—and the viewer’s nerves—to extremes. Artist Leana Quade reveals the amazing proprieties of glass while mimicking feelings one may have when approaching a simple, yet terrifying task. Using a sheet of tempered glass, a ratchet strap, and nerves of steel to slowly bend a sheet of glass until it explodes, the process as well as the result was more intense and terrifying than she anticipated. Excitement turns to anxiety within the simple process of clicking a ratchet strap. The viewer shares the dread and nervousness of the artist, watching as she struggles every click of the way.

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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

The human form has provided sculptors with inspiration for thousands of years. The very first sculptures created were stylized representations of the human form. In Western Art, the human form has evolved over several centuries from predominantly religious and mythological subject matter to works that come close to abstraction. Traditionally, artists work in materials like metal stone or clay; however, contemporary works incorporate a variety of materials like glass and found objects.

This exhibition explores the rich history of depicting the human form in three dimensions with sculptures spanning over five centuries and includes sculptures by Renaissance and Baroque artists such as Giovanni della Robbia and Gerolamo Campagna, Antonio Canova to Modernist and contemporary works by Auguste Rodin, Pablo Picasso, and Salvador Dali.

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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 as the modern art movement developed and artists began experimenting with different forms, techniques, and materials, sculptors soon realized that their work did not have to look like anything found in the real world, but rather could be an expression of their emotions or creative process. In contrast to the exhibition on view in the Hodge Gallery, 3D: Focus on the Figure, this exhibition presents sculptures by artists who have strayed away from realistic representation and explored abstraction including Louise Nevelson, Michael Dunbar, and George Sugarman.

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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

The Art Nouveau period was Danish porcelain’s renaissance, marked by technical and artistic innovations. From 1885 to 1920, manufacturers Royal Copenhagen and Bing & Grøndahl 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. The objects in this exhibition, amassed over two generations, are from a private collection that spans nearly 250 years of porcelain production in Denmark.

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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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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

September 25, 2021 - January 2, 2022

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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Courtesy of the Artist.

Sons: Seeing the Modern African American Male

January 23, 2022 - April 16, 2022

Henry Gallery Hodge Gallery

This year artist Jerry Taliaferro returns to Flint to photograph the men of our community for Sons: Seeing the Modern African American Male, which will be shown at the Flint Institute of Arts in 2022 on the 5th anniversary of the Women of a New Tribe exhibition. Much more than a photographic study, this exhibition aims to explore perceptions and biases. In Taliaferro’s words: “Recent events point to the urgent need for conversations about the contemporary Black American male. Any effort, however humble, to foster an understanding of this largely misunderstood and often marginalized segment of the American population is of utmost importance.” Visitors will be presented with two photographs of each subject —first a black-and-white image of just a face, and then later in the exhibition a photograph in color, where the subjects are instructed to “be themselves.”  

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