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


January 1, 2017 - January 31, 2017

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

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

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

2001 Colours Andy Never Thought Of

November 1, 2016 - November 30, 2016

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

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

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

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

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

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

Courtesy of the artist and Carl Solway Gallery

Busby Berkeley 2.0

March 1, 2016 - March 31, 2016

Rachel Rampleman, American, b.1975, 2014, 2:05 minutes 

Rachel Rampleman's Busby Berkeley 2.0 is a kaleidoscope of abstract movements that morph a dance routine arranged by early 20th-century director and choreographer Busby Berkeley into a study of geometric shapes. Berkeley's elaborate productions included dozens of dancing women and innovative camera techniques that revolutionized the genre of the musical in Depression-era America. Rampleman, drawn to the synchronization of a dance from the 1934 musical Dames, pairs the original, upbeat soundtrack with a machine-like hum that transforms the nostalgic routine into something more contemporary and industrial. 

Exhibition Info

Mary Maxtion
American, born 1924
Active Boligee, Greene County, Alabama
Everybody Quilt, ca. 1991 
Cotton, cotton/ polyester blend, polyester, wool, rayon 
84 x 87 inches (213.36 cm x 220.98 cm)
Montgomery Museum of Fine Arts, Montgomery, Alabama,Montgomery Museum of Fine Arts Association Purchase 2004.21.9

From Heart to Hand: African American Quilts from the Montgomery Museum of Fine Arts

January 24, 2016 - April 10, 2016

Hodge Galleries Henry Gallery

For generations, quilt making has occupied a central place in American life, especially in the rural South. Quilts were integral to survival in drafty houses and often the only colorful or decorative furnishing in otherwise plain living space. For many African American women, quilt making was both an art form and a community event that simultaneously strengthened bonds between generations and shaped individual identities.

This exhibition showcases the work of 20th-century African American quilt artists from Alabama, Mississippi, and Louisiana. The quilts were made between 1945 and 2006 and represent major themes in traditional and unconventional design. The exhibition includes examples of pieced quilts, appliqué, as well as the improvisational techniques and alternative materials that are common practices for contemporary quilt makers. Accompanying this exhibition is the catalogue Just How I Picture it in My Mind: Contemporary African American Quilts from the Montgomery Museum of Fine Arts.

This exhibition is organized by the Montgomery Museum of Fine Arts, Montgomery, Alabama.

Exhibition Info

From the Exhibition

  • Nora Ezell, (American, 1919–2007), Active Mantua, Tuscaloosa County, Alabama, Star Puzzle, 2001, Cotton, cotton/polyester blend, 82 1/2 in. x 72 in. (209.55 cm x 182.88 cm). Montgomery Museum of Fine Arts, Montgomery, Alabama, Montgomery Museum of Fine Arts Association Purchase 2008.9.2

  • Lureca Outland, American, 1904 – 2008, Active Boligee, Greene County, Alabama, Roman Stripes Britchy Quilt, ca. 1989, Polyester, cotton, cotton/ polyester blend, wool, wool/polyester blend, 90 x 65 1/2 inches (228.6 cm x 166.37 cm). Montgomery Museum of Fine Arts, Montgomery, Alabama, Montgomery Museum of Fine Arts Association Purchase 2004.21.15

  • Plummer T Pettway, American, 1918 – 1993, Active Gee's Bend, Wilcox County, Alabama, Housetop/Strip Quilt, ca. 1960–1970, Cotton/ polyester blend, polyester, cotton, wool, 85 1/2 x 85 inches (217.17 cm x 215.9 cm). Montgomery Museum of Fine Arts, Montgomery, Alabama, Gift of Kempf Hogan in honor of Robert Johns and Patrick Balch 2005.9.7

  • Yvonne Wells, American, born 1939, Active Tuscaloosa, Tuscaloosa County, Alabama, Rosa Parks I, 2005, Cotton/ polyester blend, polyester, cotton, plastic buttons, 89 1/2 x 73 inches (227.33 cm x 185.42 cm). Montgomery Museum of Fine Arts, Montgomery, Alabama, Montgomery Museum of Fine Arts Association Purchase 2008.9.6

Jacob Lawrence 
American, 1917 - 2000
The Legend of John Brown, 1977
Serigraph on paper
13 15/16 x 20 1/16 inches
Gift of Mr. and Mrs. Keith Davis, 1978.34.13
©2015 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Society (ARS), New York

Jacob Lawrence: The Legend of John Brown

January 23, 2016 - March 26, 2016

Graphics Gallery

Jacob Lawrence's series consists of 22 silkscreen prints that illustrate the events leading up to John Brown's notorious raid on a U.S. Military arsenal in Harpers Ferry, West Virginia. Abolitionist John Brown belonged to a devout family with extreme antislavery views. He ardently believed that the oppression of slavery could be ended by an armed slave rebellion. He therefore planned to break into the arsenal and steal enough weaponry to equip hundreds of slaves. He and his followers were overpowered by federal troops, and Brown was later arrested, convicted, and sentenced to death.

Jacob Lawrence first heard the story of John Brown as a child at the YMCA African American history club. He remembered the story being told in a very "dramatic way," which later shaped his own retelling of the story. The bold colors and crisp lines of these silkscreens reinforce the intensity of the heroic character of the famous abolitionist.

Exhibition Info

Courtesy of the Artist and Habatat Galleries, Royal Oak, Michigan 

The Healing Polyopticon | Opulent Surveillance

January 1, 2016 - February 29, 2016

The Healing Polyopticon
Tim Tate, American, b.1960, 2014 

Opulent Surveillance 
Tim Tate, American, b.1960, 2015 

Two large video installations by artist Tim Tate will be featured in January and February. Tate blends traditional craft with new media technology to give the framework for his artistic narrative. Revelation—and in some cases self-revelation—is the underlying theme of his art. To help deal with a terminal diagnosis, Tate imagined that there were portals from above, each connected to a loved one who would watch over him and keep him safe. He sees The Healing Polyopticonas a physical representation of this healing manifestation. In Opulent Surveillance, Tate explores how video cameras have transformed the way individuals interact with one another and their environment. This work explores how the boundaries between public safety and privacy intrusion shift constantly and that the concern over mass and private surveillance is normal.

Exhibition Info

From the Exhibition