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

Image courtesy of the artist.


March 1, 2017 - March 31, 2017

Fleckenstein Video Gallery

Jacek Jerzy Kolasinski, Polish, 2004, 7:07 minutes, Museum purchase, FIA 2006.81

Jacek Jerzy Kolasinski’s installations are rooted in the experience of growing up in two worlds: the “Old World” of Krakow, Poland, and the “New World” of the United States. The search for identity in the vortex of cultural displacement surfaces often in his work. Civitas is a small-scale re-creation of a medieval town destroyed by fire. It serves as a parable describing the devaluation of various social institutions like religion and family. The dilapidated buildings are emblematic of urban decline. The projected images are captured, transmitted, and transformed by a small video camera situated in the center of the installation. This imagery gives the impression of an anonymous explorer documenting the ruins in the heart of an unnamed village devastated by some unknown disaster.

Exhibition Info

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 

Images copyright of the artists.

Papillon d’amour

February 1, 2017 - February 28, 2017

Fleckenstein Video Gallery

Nicholas Provost, Belgian, 2003, 4 minutes

By subjecting fragments from Akira Kurosawa’s film Rashomon to a mirror effect, Provost creates an imaginative scene of a woman’s reverse chrysalis into an imploding butterfly. This physical audio-visual experience produces skewed reflections upon love, its lyrical monstrosities, and a wounded act of disappearance.

Exhibition Info

Jerry Taliaferro
American, b. 1953
Audrey E. Dismond, 2016
Digital print
43 x 30 1/2 inches 
© Jerry Taliaferro

Women of a New Tribe

January 22, 2017 - April 15, 2017

Hodge Galleries

Women of a New Tribe features black-and-white photographic portraits of women from Flint’s African American community by artist Jerry Taliaferro. For more than a decade, Taliaferro has traveled across the country photographing women from all walks and stages of life. His primary motivation is “to celebrate unheralded women who have, until recently, been largely ignored and underappreciated. It is an attempt to see in a new light and, in a new way, an incredible group of women.”

Women featured in this exhibition include: Deanetris Armstrong, TaShanda Arthur, Kendra Batson, Kenya Batson, Sandra Branch, Semaj Brown, Precious Buckner, Derenda Collins, Audrey Dismond, Kenyetta Dotson, Janice Harden, Remonia Hawkins, Larfayette Hayes, Thressa Horton, Valorie Horton, Kathy Jackson, Mildred James, Bernadel Jefferson, Kayla Latham, Erica Leverette-Traoré, E. Yvonne Lewis, Velynda Makhene, Felicia Martin, Patricia Miller, Sheila Miller-Graham, Candice Mushatt, Sharri Newman, Okola Senika Nigina Afi Nicholson, Gail Buckner Odom, ZsaZsa Orr, Lula Pea, Claudia Perkins-Milton, Lorene Randall, Brenda Rogers-Grays, Gwendolyn Sanders, Kathryn Kacey Seay, Mary Shufford, Sharon Simeon, Alverma Denise Smith-Sanders, Edith Prunty Spencer, Theresa Stephens-Lock, Vlenaetha Stewart, Phyllis Sykes, Ernelle Taylor, Natasha Thomas-Jackson, Marcia Watkins, Brenda Williams, Lynn Williams and Essence Wilson.

A fully illustrated catalogue accompanies this exhibition and is available for purchase in the Museum Shop.

These images are for marketing purposes only. Final images are featured in the exhibition.

Exhibition Info

From the Exhibition

  • Jerry Taliaferro, American, b. 1953, Dr. Sharon A. Simeon, 2016, Digital print, 41 x 31 inches. © Jerry Taliaferro

  • Jerry Taliaferro, American, b. 1953, Natasha Thomas-Jackson, 2016. Digital file © Jerry Taliaferro

  • Jerry Taliaferro, American, b. 1953, Semaj Brown, 2016, Digital print, 40 7/8 x 31 7/8 inches. © Jerry Taliaferro

  • Jerry Taliaferro, American, b. 1953, Edith Punty Spencer, 2016. Digital file © Jerry Taliaferro

  • Jerry Taliaferro, American, b. 1953, Theresa A. Stephens-Lock, 2016. Digital file © Jerry Taliaferro

  • Jerry Taliaferro, American, b. 1953, Candice C. Mushatt, 2016. Digital file © Jerry Taliaferro

Images copyright of the artists, courtesy of Video Data Bank,


January 1, 2017 - January 31, 2017

Fleckenstein Video Gallery

Suzie Silver and Hilary Harp, American, 2007, 9:45 minutes 

Nebula is a hallucinogenically immersive spectacle: a complex, long-form audiovisual composition, which pays playful homage to science fiction fantasies. Captured using stop-motion photography, objects made of glass, glitter and tulle, are nestled within a kaleidoscope of computer-generated imagery. By creating illusions of distant galaxies out of craft materials they highlight the imagination’s power to transform the banal into the infinite. 

Images copyright of the artists, courtesy of Video Data Bank,

Exhibition Info

Thure de Thulstrup
American, b. Sweden, 1848–1930
The Strike at East St. Louis - Firing Into the Crowd, 1886
Engraving on paper
16 x 19 21 7/8 inches
Gift of Mr. Jack B. Pierson, 1990.69

Work on Paper

December 3, 2016 - January 29, 2017

Graphics Gallery

The subject of work has inspired artists across the United States. Work on Paper features 19th- and mid-20th-century artists’ drawings and prints depicting the men and women who worked to build the infrastructure and industry of America. Some artists, for commercial or aesthetic reasons, idealized the subject of work, showing laborers in contented harmony with their environments. Others cast a more realistic and critical eye on work and its difficult aspects—in both the factory and in the countryside—often reflecting their own liberal and leftist beliefs.

The artworks in this exhibition range from the late 19th century to the late 20th, but the majority were made in the 1930s and 1940s, the turbulent time in American labor history during and following the Great Depression. Several artists benefitted from federal art programs such as the Works Progress Administration (WPA), which commissioned artists to create public art. They frequently turned to printmaking as a way to produce multiple copies of their artwork that would be accessible and affordable to the masses. 

Graphics Gallery is sponsored by


Exhibition Info

From the Exhibition

  • Andrea Kantrowitz, American, b. 1959, Picket Line, Watsonville Canning, 2/2/87 12:00 p.m., 1987, Silkscreen on paper, 14 1/2 x 18 1/16 inches. Gift of Mr. Jack B. Pierson, 1991.20.1

  • Basil Hawkins, American, 1903–1982, Shop Workers, Linocut on paper, 6 1/8 x 8 7/8 inches. Gift of Madeline Anthony, 2000.130

  • Winslow Homer, American, 1836–1910, Bell-Time (from Harper’s Weekly, Saturday, July 25, 1868), 1868, Engraving on newsprint paper, 10 15/16 x 16 1/8 inches. Gift of Mr. Jack B. Pierson, 1994.11

Images copyright of the artists, courtesy of Video Data Bank,

Mad Ladders

December 1, 2016 - December 31, 2016

Fleckenstein Video Gallery

Michael Robinson, American, 2015, 10:00 Minutes

In Mad Ladders, the prophetic ramblings of an unseen narrator recount fantastical dreams of the coming Rapture, as crystalline imagery of rolling clouds gives way to heavily-processed video of moving stage sets from The American Music Awards telecasts of the 1980s and early 1990s. Blooming and pulsing in and out of geometric abstraction, this swirling storm of rising curtains, spinning set pieces, and unveiled pop idols forms a surreal spectacle, driven by its impassioned narrator. Like a half-remembered dream of mythology, television, and religion, the film strikes a hypnotic balance between storytelling and free-falling.

Exhibition Info

Images copyright of the artists, courtesy of Video Data Bank,

2001 Colours Andy Never Thought Of

November 1, 2016 - November 30, 2016

Fleckenstein Video Gallery

George Barber, b. Guyana, English, 2015, 5:43 minutes

2001 Colours Andy Never Thought Of transforms Warhol’s infamous screen prints of Marilyn Monroe through a process of color manipulation. The viewer witnesses a flurry of changing tones, colors, and shades that pulse alongside entrancing music. George Barber was a leading figure in the Scratch Video phenomenon of the 1980s, which exploited newly available video-editing technologies and their potential for rhythmic-editing and moving-image collage. 

Images copyright of the artists, courtesy of Video Data Bank,

Exhibition Info

Gift of Cynthia Griffin, 2016.3

All Things Being Equal

October 1, 2016 - October 31, 2016

Fleckenstein Video Gallery

Sam Jury, English, 2009, 11:58 min.

Throughout her career, British artist Sam Jury has focused her attention on the psychological impact of film and how ubiquity shapes our understanding of self and society. All Things Being Equal is a looped video that explores the notion of suspended trauma; the idea that dramatic and traumatic incidents from the past are continually repeated and replayed, no longer just as personal memories but also vicariously through the ever-expanding shared experience of mass media depiction. In both, the document is detached from its original time and place. It perpetually hangs in the conscience, seemingly without conclusion. All Things Being Equal depicts the repetitive movements of a figure in confinement, beleaguered by water: an element that is both destructive and sustaining. Here the water moves almost as an independent agency, and the figure is neither suffocating nor surviving.

Exhibition Info

Edgar Hilaire Germain Degas
French, 1834–1917
Danseuse á la barre (Dancer at the Bar), ca. 1885 
Charcoal and pastel on paper
19 3/8 x 22 inches (sheet) 
9 x 12 1/4 inches (image) 
Gift of The Whiting Foundation in memory of Alice D. Johnson, 1988.1

Drawn to the Figure

September 24, 2016 - November 27, 2016

Graphics Gallery

Drawn to the Figure features drawings that explore how human bodies hold powerful potential for artistic expression. Utilizing live models, photographs, memory, or the imagination each artist in this exhibition represents the human form in their own unique manner. Some seek to perfectly replicate the proportions, musculature, and fine details, while others treat the depiction of the human form more abstractly. 

During the Renaissance, drawing became the foundation for the academic principles of art. Before artists learned to paint, they learned to draw. Since then, countless subjects have been rendered in graphite, chalk, and pastel but none has been more prominent than the human body. Because drawing the figure was a requisite skill, artists carefully studied the structure of the human body, at first from cast-plaster statuary and eventually live models. A figure drawing may be created in preparation for a more finished work such as a painting or it may be the final artwork in and of itself. A naturalistic approach to drawing the human figure prevailed until the late 19th century when many artists, liberated from past traditions, began to experiment with abstraction by choosing to exaggerate or distort proportions emphasizing the pose or mood of the models.

Exhibition Info

Giovanni Battista Piranesi 
Italian, 1720–1778 
Title Plate from The Carceri, 1761 
Etching on paper 
22 1/4 x 16 3/16 inches 
Gift of Mr. and Mrs. Keith Davis

Pressed for Time: History of Printmaking

September 17, 2016 - December 30, 2016

Hodge Galleries Henry Gallery

Don’t miss your opportunity to see Pressed for Time: The History of Printmaking. This exhibition is a survey of relief, intaglio, planographic, and stencil—the four major processes of printmaking in the Western world from the 15th century to the 21st. These prints highlight what artists have made possible within the remarkable diversity and ingenuity of this medium. Included in the exhibition are works by artists such as Albrecht Dürer, Rembrandt van Rijn, James Abbot McNeill Whistler, Henri de Toulouse-Lautrec, Pablo Picasso, Joan Miró, Mary Cassatt, Romare Bearden, Andy Warhol, Bridget Riley, and Shepard Fairey.

This exhibition is drawn primarily from the collection of the Flint Institute of Arts with additional loans from the Kalamazoo Institute of Arts and private collectors. The FIA has been collecting prints since 1930 and continues to actively pursue both historical and contemporary works of art. Of the 8,000 objects in the permanent collection, more than 3,000 are prints. 

If you are interested in starting your own print collection, you will not want to miss the 2016 Flint Print Fair. 

The exhibition has been organized by the Flint Institute of Arts and the Kalamazoo Institute of Arts.

Exhibition Info

From the Exhibition

  • Francisco Goya, Spanish, 1746–1828, Modo de Volar (A Way to Fly), no. 13 from Los Disparates (The Follies), ca. 1812–20, Etching and aquatint, 8 5/8 x 12 3/4 inches. Kalamazoo Institute of Arts. Director’s Fund Purchase, 1968/9.28.13

  • Roy Lichtenstein, American, 1923–1997, Sweet Dreams, Baby!, 1966, Silkscreen on paper, 37 1/2 x 27 1/2 inches. Museum purchase, 1966.6

  • Jenny Morgan, American, b. 1982, True Blue, 2015, Silkscreen on paper, 27 x 24 inches. Gift of the artist and Driscoll Babcock, New York, 2015.58

  • Albrecht Dürer, German, 1471–1528, Christ Before Caiaphas, 1512, engraving on paper, 4 5/8 x 2 15/16 inches. 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, 2013.62

  • Henri de Toulouse-Lautrec, French, 1864–1901, Partie de campagne (Country Outing), 1897, lithograph on paper
    14 5/16 x 19 1/16 inches. Gift of the Whiting Foundation through Mr. Donald E. Johnson, 1979.202

Image courtesy of the Artists

Eskasizer - Jennifer, Sally, Hillary & Gabri

September 1, 2016 - September 30, 2016

Fleckenstein Video Gallery

chameckilerner (Rosane Chamecki and Andrea Lerner, Brazil), 2014, 4:22 min.

Who does not remember the 1950’s Eskasizer belt machine, one of the first electric machines that promised to firm our bodies? In Eskasizer- Jennifer, Sally, Hillary and Gabri, choreographers and video artists Andrea Lerner and Rosane Chamecki present four women, each with a different body shape, age, and background. They move in repetitive, and yet, unpredictable ways, reflecting the constant force of the machine that manipulates their bodies.

The work is a collection of extreme slow-motion takes, in which the camera is zoomed in to the point that the women’s identity gradually blurs into abstraction. Their bodies are not acting on their own impulses and desires. Instead, they are passive­—with their hips, knees, and legs yielding to the external forces. The belt vibrates each body, morphing it into a mesmerizing landscape of moving flesh, the movement organic despite its source.

Exhibition Info

Flint Youth Media Project

August 1, 2016 - August 31, 2016

Fleckenstein Video Gallery

In conjunction with the Flint Youth Film Festival, the FIA will be exhibiting a number of works by young, local filmmakers throughout the month of August. The Flint Youth Media Project introduces the art of filmmaking to people ages 13–25 and college students regardless of age. In addition to a series of free filmmaking workshops, the program has provided opportunities for participants to share their work with peers, the public, and professional filmmakers and screenwriters.

Exhibition Info

Joseph Raffael
American, b. 1933
New Cycle, 2009–10
Watercolor on paper
73 1/2 x 89 x inches
Courtesy of Nancy Hoffman Gallery, New York, NY

Moving Toward the Light

June 18, 2016 - September 18, 2016

Graphics Gallery

Known for his monumental paintings celebrating flora and fauna, Joseph Raffael’s work in Moving toward the Light takes the viewer deeper and deeper into the mysteries of nature. Raffael captures the wonders that surround him at his home and garden in France, transforming what he sees into a heightened vision in watercolor. His large-scale works typically depict flowers, water, and fish swimming in ornamental ponds but Raffael asserts, “I don’t paint flowers; I paint energy.”

Growing up in Brooklyn, he helped his mother with the fruits, vegetables, and flowers in her garden, where he came to regard the changing of seasons as a form of magic: “Seeing blossoms come alive is the same as watching a painting come forth out of the white space of a page or a canvas. The garden is another example of how one begins with nothing but seeds and the brown-colored space of the earth from which, little by little, the garden emerges.” In Moving Toward the Light, Raffael’s watercolors invite the viewer into moments of discovery, though a contemplation of nature and harmony.

Exhibition Info

From the Exhibition

  • Joseph Raffael, American, b. 1933, Crescendo, 2013, Watercolor on paper, 53 1/2 x 75 1/2 inches. Courtesy of Nancy Hoffman Gallery, New York, NY

  • Joseph Raffael, American, b. 1933, Inauguration, 2009, Watercolor on paper, 60 x 87 inches. Courtesy of Nancy Hoffman Gallery, New York, NY

  • Joseph Raffael, American, b. 1933, Orchids Dream, 2013, watercolor on paper, 55 x 78 inches. Courtesy of Nancy Hoffman Gallery, New York, NY

Richard Notkin
American, b. 1948
Heart Teapot: Ironclad Hostage II, 2009
6 3/8 x 10 3/4 x 5 1/2 inches
Collection of Dr. Robert and Deanna Harris Burger  

Function, Form, and Fantasy: Ceramics from the Dr. Robert and Deanna Harris Burger Collection

May 7, 2016 - August 14, 2016

Hodge Galleries

Drawn from the collection of Dr. Robert and Deanna Harris Burger, this exhibition offers a unique look at the recent history of ceramics—from the 1960s to the present day—highlighting the diversity of styles and intense creativity of expression in the medium of clay. Function, Form, and Fantasy is divided into three sections that survey the historic roots of ceramics as craft and examine the artistic and technical experimentation, along with social commentary, that ceramicists have explored.

Ceramics that are more traditional in form or shape will be explored, as will the artwork of ceramicists who used a more sculptural and fantastical approach. Many began with familiar shapes but manipulated the forms so that the original shape is no longer recognizable. While some ceramicists used this new freedom from function to push the possibilities of form, shape, and color, others ventured into figuration, narrative subject matter, and manipulation of historical and traditional forms.

The ceramics in Function, Form, and Fantasy range from bold, expressionistic forms to simple, elegant motifs, from sizes smaller than 3 inches tall to larger-than-life. Inspired by the beautiful forms, colors, and innovative techniques used by well-known ceramicists, including Peter Voulkos, Viola Frey, Adrian Saxe, and Patti Warashina, artworks in the exhibition are both thought-provoking and mysterious, blurring the lines between craft and fine art.

Dr. Robert and Deanna Harris Burger have been collecting contemporary ceramic works of art since the 1970s. Mrs. Burger has ties to Flint, having enjoyed ceramic classes at the Flint Institute of Arts in her youth. Today, the Burgers reside in Florida and together have built an impressive art collection using the knowledge they have gained through studying and visiting exhibitions, galleries, studios, private collections, and taking studio classes. Since 2005, Dr. and Mrs. Burger have donated nearly 250 works of art to the FIA, including over 180 ceramic works and 40 works on paper.

Exhibition Info

From the Exhibition

  • Bennett Bean, American, b. 1941, Untitled, 2000, Earthenware, 12 x 11 x 6 inches. Collection of Dr. Robert and Deanna Harris Burger

  • Carol Gouthro, American/Canadian, b. 1952, Aurlia gouthroii Barnaclette, 2012, Terracotta, 7 3/4 x 8 1/4 x 11 7/8 inches. Collection of Dr. Robert and Deanna Harris Burger

  • Adrian Saxe, American, b. 1943, Torso Jar with Oryx Finial, 1985, Porcelain, Stoneware, Raku, 22 1/2 x 10 3/8 x 5 5/8 inches. Collection of Dr. Robert and Deanna Harris Burger

  • Akio Takamori, Japanese, b. 1950, Karoko with Striped Kimono, 2005, Stoneware, 35 1/2 x 27 x 16 inches. Collection of Dr. Robert and Deanna Harris Burger

  • Irina Zaytceva, Russian, Twins, 2013, Porcelain
    10 3/4 x 7 1/4 x 3 5/8 inches. Collection of Dr. Robert and Deanna Harris Burger

  • Viola Frey, American, 1933–2004, Answering Woman, 1988–89
    Ceramic with glazes, 110 x 41 x 34 inches. Collection of Dr. Robert and Deanna Harris Burger. Art © Artists' Legacy Foundation/Licensed by VAGA, New York, NY

Thinking Hurts Too Much

May 1, 2016 - July 31, 2016

Fleckenstein Video Gallery

Thinking Hurts Too Much is a slowly scrolling video that incorporates found and manipulated Internet footage, creating a panoramic collage of gyrating, pulsing, and writhing characters which reveals America’s—and the world’s—desire for the sensational. The glut of disparate, disconnected, and disembodied figures; some real and some imaginary perform on layered keyhole stages, serving as a reminder of our profound knowledge of images aimed at the edge of acceptability and decency. The thousands of images pieced together become a provocative and poignant portrait of excess and the constant desire for new and more extreme visual stimulation. 

The video is an immersive experience that is constantly changing, as your eye moves from one area to the next, dancing across the screen that never stops moving. In this way, the artist envelops the viewer in a kinetic clamor of pop culture icons, putting us on a super highway of memory, both singular and shared. In doing so, Gray makes us aware of the passage of time as we witness the reactions of other viewers standing next to us—reminding us of the separation that results from unshared memory.

Exhibition Info

Qing Dynasty, 1644–1911/12


Brush Washer: Zhi-Long Dragon, 18th century

Porcelain with celadon glaze

2 1/2 x 4 1/4 diameter 

Gift of F. Karel Wiest, 1982.328

Clay Through Time: Ancient to Contemporary Ceramics

April 23, 2016 - October 30, 2016

Ann K. Walch-Chan Gallery

Ceramic art is one of the oldest human activities, shedding light on the cultures where it was made and revealing technological and artistic achievements. Whether molded into a simple bowl or transformed into an ornate figure, clay is one of the basic artistic materials used in nearly all regions of the world. After the discovery that fire could transform soft, malleable clay into hard, durable objects, the art of ceramics was born.

Ceramics are one of the most technically challenging forms of art. The modeling methods are vast, the glazes are complex, and the firing processes are precise. Unlike a painting where forms develop with each brushstroke, the outcome of ceramic art is not immediate. It is only at the end, after the firing is compete, when the final result is revealed.

The FIA has a diverse collection of nearly 900 ceramic objects that include everything from Chinese Neolithic vessels to works by contemporary artists.Clay Through Time will feature about 50 objects and explores the many styles and functions of ceramic art, as well as various forming, glazing, and firing techniques.

Exhibition Info

After J. M. W. Turner
English, 1775–1851
Engraved by James Tilbitts Willmore
English, 1800–1863
The Fighting Temerare
Steel engraving on paper 
10 3/4 x 14 7/8 inches 
Gift of Mrs. Fenton Davison, 1972.57.19

The Engraver and Mr. Turner

April 2, 2016 - June 12, 2016

Graphics Gallery

During the 19th century, when most people could not embark on a costly trip overseas to see original paintings and sculpture, one way to experience the artist's vision was to look at reproductive prints. These engravings, printed in black and white and on a smaller scale than the original work, were still recognized as being representative of the artist's work, even if never touched by the artist himself. In the case of English artist J. M. W. Turner (1775–1851), many of his paintings were in England (Tate Gallery, London), where they still remain today. While the printed versions do not take the place of seeing the original paintings and watercolors, the works in The Engraver and Mr. Turner demonstrate the creative and inventive enterprise of the engraver, who had to not only reproduce Turner's infamous painting style in precise lines, but had to do it in reverse.

Exhibition Info

Courtesy of the artist and Carl Solway Gallery

Bellmer Burlesque

April 1, 2016 - April 30, 2016

Fleckenstein Video Gallery

Rachel Rampleman, American, b.1975, 2013, 4:02 minutes

Common in many of Rachel Rampleman's videos, Bellmer Burlesque exhibits repetitive motion that borders on the hypnotic. This video pays tribute to Hans Bellmer's 1936 book La Poupée (The Doll), that featured photographs of a life-size female doll made out of modular, jointed body parts, arranged in a variety of contorted postures. The photographs often featured limbless torsos, conjoined bodies, and severed heads. Rampleman was "a bit shocked but utterly intrigued, kind of simultaneously slightly offended and totally bemused" when she discovered Bellmer's surreal figures. Years later, while experimenting with footage of a pair of burlesque dancers, she discovered a technique that allowed her to bisect and mirror their lower bodies. The result is an animated, re-imagination of Bellmer's dolls. 

Exhibition Info