Kawita Vatanajyankur

Thai, b. 1987

The Scale 2, 2015

2:46 minutes

Courtesy of the artist

The Scale 2

January 1, 2018 - January 31, 2018

Fleckenstein Video Gallery

Kawita Vatanajyankur’s art offers a powerful examination of the psychological, social, and cultural ways of viewing and valuing the continuing challenges of women’s everyday labor. In her videos, the artist undertakes physical experiments that playfully, often painfully, test her body’s limits—a challenge that is both unavoidably compelling and perplexing to watch. 

The repetitive and arduous tasks that Vatanajyankur performs parody a pervasive slippage between human and machine, and spotlight the forgotten body within a technologically accelerating world. Beyond this literal translation, these gestures also make visible the invisible mechanisms that govern women’s everyday labor in her birthplace of Thailand. It is a place where, for many, daily chores aren’t always assisted by machines but are time-consuming, physically exhausting, and often the task of women.

It is telling that she describes her performances as “meditation postures,” when such grueling tests of resilience are the opposite of what might be considered Zen. But, for Vatanajyankur, extreme physical endurance offers a way to free herself from her mind: a mechanism to lose her sense of being. This deliberate objectification, she says, turns her body into sculpture. The Scale 2 and Squeezers explores the limitations of our bodies, the continuing challenges of mundane labor, and the ongoing tasks for feminism in a globalized and digitally networked world. 

Exhibition Info

Nina McNeely

MORPH, 2014

American, b. 1983

3:39 minutes

Courtesy of the artist


December 1, 2017 - December 30, 2017

Fleckenstein Video Gallery

MORPH is a playful and visually spellbinding performance by choreographer and animator Nina McNeely. Through the use of projection mapping and synchronized movements, she is transformed into a colorful array of creatures and characters. Inspired by the concept of shape-shifting in both folklore and contemporary culture, MORPH journeys through surrealist pop, a mythical animal kingdom, and into a divine realm of apparitions and deities. This piece narrows the line between dreams and reality while inviting the viewer to be transported back into a childlike state of innocence where color is omnipresent, time is nonlinear and illusion is endless. 


Animation  Nina McNeely
Choreography  Nina McNeely
Music  Robbie Williamson and Anna Sitko
Costume  Sara Sachs and Briana Gonzales

Exhibition Info

Jason Mitcham

Head Full of Doubt/Road Full of Promise, 2010

American, b. 1979

4:20 minutes 

Music by the Avett Brothers

Courtesy of the artist

Head Full of Doubt/Road Full of Promise

November 1, 2017 - November 30, 2017

Fleckenstein Video Gallery

Head Full of Doubt/Road Full of Promise, described as a moving painting, explores notions of temporality, evolution, and modernity. Artist Jason Mitcham made 2,600 alterations to a single canvas to produce this stop-motion video. Creating in this way becomes less about the final painting and more about the evolution of the narrative. According to Mitcham, the purpose of each brushstroke “is to bridge the one before it and the one that will follow it. More than likely it will be overlayed later on, by other marks needed to tell another part of the story. The painting must be allowed to destroy itself in order to become itself. This correlates to the concepts within the work, and the video excavates the painting, allowing its history and narrative to be revealed.”

View the making of Head Full of Doubt/Road Full of Promise.

Exhibition Info

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, 1942–2017

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

Well-known local artist William (Bill) Stolpin knew he wanted to explore the possibilities of printmaking in junior high school. One year, he made a linoleum block Christmas card that had seven different blocks and 15 colors, a highly technical project for a novice printmaker. He became well-versed in all printmaking techniques, but focused his career on screen printing, relief, intaglio, and lithographic artworks. His subjects were as varied as his techniques. He explored everything from nature and abstraction to fantasy and outer space. Twenty-nine works from the artist’s prolific career are on display in The Eccentric Vision of William Stolpin

Exhibition Info

From the Exhibition

  • William R. Stolpin, American, 1942–2017. Mott Foundation and More, 2000. Screenprint on paper. 26 x 13 1/2 inches. Gift of Mr. and Mrs. William R. Stolpin, 2011.116

  • William R. Stolpin, American, 1942–2017. … and the Santa Maria,” 1969. Lithograph on paper. 19 x 26 inches.

  • William R. Stolpin, American, 1942–2017. Figurehead, 1983. Etching and drypoint on paper. 19 x 26 inches.

  • William R. Stolpin, American, 1942–2017. Smith Bridgman’s - Flint, 1956, 1998. Serigraph on paper. 20 x 26 inches. Gift of Deborah and Charles Gossel, 2000.3

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 18, 2018

Ann K. Walch-Chan Gallery

Don’t miss the final days of this exhibition featuring over 40 vessels made by local, national, and international contemporary ceramicists. Each object is part of a large collection recently gifted to the FIA by ceramics collector Sidney Swidler. He has collected ceramics since 1984 and his gift of more than 100 works is an important addition to the museum’s permanent collection.

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. Gift of Sidney Swidler, 2017.76

  • Brett Freund, American, b. 1983. Gem Pot, 2015. Porcelain. 4 3/8 x 7 inches. Gift of Sidney Swidler, 2017.87

  • John Parker Glick, American, 1938 - 2017. Covered Jar, n.d. Stoneware. Gift of Sidney Swidler, 2017.95

  • Lars Voltz, American. Bowl, n.d. Stoneware. Gift of Sidney Swidler, 2017.88

  • Adam Egenolf, American, b. 1979. Fluted Vase, ca. 2009. Porcelain. 7 3/8 x 4 inches. Gift of Sidney Swidler, 2017.116 

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

Flint Youth Media Project

July 1, 2017 - July 31, 2017

Fleckenstein Video Gallery

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

Exhibition Info

Hans Alexander Mueller

American, b. Germany, 1888–1962

Self-Portrait, ca. 1950

Woodcut on paper

15 7/8 x 11 1/8 inches

Gift of Mr. Jack B. Pierson, FIA 1985.25

Self-Expression: University of Michigan-Flint Student Organized Exhibition

May 13, 2017 - July 30, 2017

Graphics Gallery

When artists create self-portraits, they reveal more than just their likenesses. Self-portraits are often windows into artistic psyches, giving viewers a glimpse at how artists see themselves or wish to be seen. In a self-portrait, an artist materializes the abstract and internal on paper, deliberately choosing how to present themself. Self-portraits merge the artist’s objective physical likeness with a subjective and self-composed portrayal of their identity. Self-Expression is a selection of 20th-century self-portraits on paper drawn from the FIA’s permanent collection, including woodcuts, lithographs, and etchings. The styles of self-presentation vary widely, featuring realistic to surreal portrayals, in serious to playful, and straightforward to complex approaches. Carefully constructed, and as individual as the artists who created them, these self-portraits explore intersections of self and artistic identity.

This exhibition is organized and curated by University of Michigan-Flint students enrolled in Dr. Sarah Lippert’s Museum Studies course. The students developed, researched, and curated the exhibition.

The Graphics Gallery is sponsored by

Exhibition Info

From the Exhibition

  • Daniel Serra-Badue, Cuban, 1914–1996, Self-Portrait at Age 48, 1973. Lithograph on paper, 13 3/4 x 17 5/8 inches. Gift of Jack B. Pierson in memory of Robert Martin Purcell, FIA 1979.195

Auguste Rodin

French, 1840 – 1917

Large Hand of a Pianist, modeled 1885; Musée Rodin, cast 9 in 1969


7 1/4 × 10 × 4 7/8 in. (18.4 ×25.4 × 12.4 cm)

Lent by Iris & B. Gerald Cantor Foundation

Rodin: The Human Experience – Selections from the Iris and B. Gerald Cantor Collections

May 6, 2017 - July 30, 2017

Hodge Galleries

In commemoration of the hundredth anniversary of the death of sculptor Auguste Rodin (French, 1840–1917), the Flint Institute of Arts presents Rodin: The Human Experience/Selections from the Iris and B. Gerald Cantor Collections. At the peak of his career, Rodin was regarded as the greatest sculptor since Michelangelo. Leaving behind 19th-century academic traditions, Rodin focused on conveying the vitality of the human spirit. His vigorous modeling emphasized his personal response to the subject, and he captured movement and emotion by altering traditional poses and gestures. Rodin’s sculpture is often considered a crucial link between traditional and modern art.

Rodin: The Human Experience showcases over more than 45 bronze sculptures from the Iris and B. Gerald Cantor Collections, from small-scale to monumental works. Included are some of the artist’s best-known pieces, such as studies for his monuments to Balzac and The Burghers of Calais, works from The Gates of Hell, and portraits of well-known people, like writer Victor Hugo and artist Claude Lorraine.

Between 1945 and the early 1990s, B. Gerald Cantor (1916–1996) and his wife, Iris, created the world’s largest and most comprehensive private collection of works by Auguste Rodin. Over 500 objects from the Cantor Collection have been donated to the Cantor Foundation, as well as to more than 100 museums worldwide, including the FIA.

This exhibition has been organized and made possible by the Iris & B. Gerald Cantor Foundation

Check out this video » Plaster, Mold, Wax, & Fire The Lost Wax Casting Process

Exhibition Info

From the Exhibition

  • Auguste Rodin, French, 1840 – 1917, Narcisse, modeled about 1882,enlarged and retitled 1890; Musée Rodin, cast 8/8 in 1985, Bronze, 32 × 13 × 12 1/4 inches. Lent by Iris & B. Gerald Cantor Foundation.

  • Auguste Rodin, French, 1840 – 1917, Three Faunesses, modeled before 1896; Musée Rodin, cast in 1959, cast number unknown, Bronze, 9 1/4 × 11 1/2 × 6 1/2 inches. Lent by Iris & B. Gerald Cantor Foundation.

  • Auguste Rodin, French, 1840 – 1917, Fallen Caryatid with Urn, modeled 1883, enlarged 1911-17; Musée Rodin, cast 4 in 1982, Bronze, 45 1/4 × 36 3/4 × 31 1/8 inches. Lent by Iris Cantor.

  • Auguste Rodin, French, 1840 – 1917, Bust of Victor Hugo, modeled 1883; cast number and date unknown, Bronze, 17 × 10 1/4 × 10 3/4 inches. Lent by Iris Cantor.

  • Auguste Rodin, French, 1840 – 1917, Hand of God, modeled 1898; cast number and date unknown, Bronze, 12 3/4 × 11 1/4 × 11 3/4 inches. Lent by Iris Cantor.

  • Auguste Rodin, French, 1840 – 1917, Large Clenched Left Hand, modeled 1884; Musée Rodin, cast 3 in 1966. Bronze, 18 1/4 × 10 3/8 × 7 5/8 inches. Lent by Iris & B. Gerald Cantor Foundation

Video courtesy of the artist and Mark Moore Fine Art


May 1, 2017 - June 30, 2017

Fleckenstein Video Gallery

2011, Allison Schulnik, American b. 1978, 4:23 minutes

In Mound, Allison Schulnik creates an alternate world where over 100 hand-sculpted and sewn figures morph with fluid movements. Their bodies dance and sway in a melancholic fashion to the haunting 1969 recording of It’s Raining Today by Scott Walker. 

Schulnik uses traditional stop-motion techniques, shooting each image frame by frame, without the use of special effects or digital manipulation. Comprising over 6,000 frames, the film took nearly eight months to create. Schulnik received a BFA in experimental animation from the California Institute of the Arts. In addition to art making, she has a background in dance and music. 

Exhibition Info

From the Exhibition

  • Allison Schulnik, Artist

  • Still from Mound

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, www.vbd.org


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, www.vbd.org

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, www.vbd.org

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

Chinese, Qing Dynasty, 1644–1911/12
Pair of Cranes, late 19th century 
14 1/4 inches high, each 
Gift of Miss Carol C. Pierson, 2005.193.1-.2

Art of Jade

November 19, 2016 - July 30, 2017

Ann K. Walch-Chan Gallery

Since the Neolithic period, jade has been valued for its rarity as well as its beauty. Varying from pure white to dark black, deep green to vibrant red, the color of jade has endless aesthetic possibilities. The artworks in Art of Jade were made through patiently grinding and drilling for days, months, and even years. Little by little, the objects transformed from solid masses into works of art.

Because of the stone’s beauty, strength, and rarity, jade artworks have become symbols of social identity, hierarchy, status, wealth and power in both Chinese and Mesoamerican cultures. This exhibition features over 70 objects from Mesoamerican cultures, dating back as early as 1800 BCE, and from China dating from 3,200 BCE.

Exhibition Info

From the Exhibition

  • Maya culture, Central America, Mosaic Mask, ca. 600–900. Jade with shell, obsidian, 3 x 3 1/4 x 1 1/4 inches. Gift of Barry Fitzmorris, FIA 2011.219

  • Qing Dynasty, 1644–1911/12, Chinese, Chime: Dragon in Clouds, 1765, Jadeite, 26 7/8 x 29 3/4 x 12 1/4 inches. Gift of Mrs. Fredrick B. Miner, FIA 1968.13

  • Chinese, Qing Dynasty, 1644–1911/12, Palette, 19th century. Jadeite, 3 3/4 x 6 x 15/16 inches. Gift of Miss Carol C. Pierson, 2005.83