Artist Unknown
Fullstock High Art Wheelock Pistol, ca. 1680
Wood, steel, ivory, and mother of pearl
16.4375 x 4.8125 x 1.875 inches 
Gift of Dr. and Mrs. George H. Greidinger, 1976.19

Decorative to Dangerous: The Art of Metalwork

October 3, 2015 - April 3, 2016

Ann K. Walch-Chan Gallery

Since the Bronze Age, metal has been used for both utilitarian and decorative purposes. This exhibition explores how craftsmen transformed various metals, from precious to commonplace, into fantastic works of art. From large metal doors to a small silver yo-yo, Decorative to Dangerous showcases a variety of metal objects that illustrate the gamut of metalworking techniques and reveals the artistic development of the medium throughout history.

Graphics Gallery is sponsored by the Founders Society.

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I Want to See How You See is part of The Point of View: An Anthology of the Moving Image Series. 

I Want to See How You See

October 1, 2015 - October 30, 2015

Pipilotti Rist, Swiss, b. 1962, 2003, 4:48 minutes 

Pipilotti Rist explores the macrocosm of humanity where a poetic tale of a witch's coven is played over images of a person where each body part symbolically represents an area of the world. Her lush videos playfully and provocatively merge fantasy and reality to explore pop culture's investment in desire.

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John Baeder
American, b. 1938
Red Robin

lithograph on paper, 1980
15 1/2 x 25 5/8 inches
Gift of Eugene I. Schuster, 1997.44


September 12, 2015 - November 15, 2015

Graphics Gallery

Developed in the 1960s and aligned with Pop Art, Photorealism features ordinary elements of contemporary life such as vehicles, buildings, streets, and consumer products in an objective, almost clinical manner. Artists like Richard Estes, Audrey Flack, and Tom Blackwell use photography as a tool to help them reproduce the image as realistically as possible on paper or canvas. By considering the detailed focus, saturated colors, and highly reflective surfaces of photographic imagery these artists question the differences between reality and artificiality.

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Eugene Atget
French 1857 - 1927
Bassin de la Villette, ca. 1900
albumen print
6 x 8 inches
Collection of Michael Mattis and Judith Hochberg
© Eugene Atget Estate

French Twist: Masterworks of Photography from Atget to Man Ray

September 12, 2015 - November 8, 2015

Hodge Gallery Henry Gallery

Don't miss the final week of French Twist where you can see early 20th-century photographs by artists like Eugène Atget, Henri Cartier-Bresson, and Man Ray. Rapid technological, cultural, and political developments of the early 20th century plunged Europe into a period of intense artistic creativity. Ambitious young photographers from around the world flocked to Paris, where they documented the old ways of life and pushed photographic boundaries to question the reality of the image. 

All works are from the collection of Michael Mattis and Judith Hochberg. This exhibition was organized by art2art Circulation Exhibitions.

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Image copyright of the artist, courtesy of Video Data Bank,

The Dark, Krystle

September 1, 2015 - September 30, 2015

Michael Robinson, American, b. 1981, 2013, 9:34 minutes

A montage of Linda Evans and Joan Collins from the 1980s evening soap opera Dynasty, this video rekindles issues of identity, consumption, and excess in 1980s pop culture. Robinson reconfigures the rival's melodrama in repetition—theatrical breakdowns, nasty glares, excessive drinking—allowing viewers to feel the clichés recharge with new emotional power.

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Courtesy of the Artist and On Stellar Rays, New York.

The Bible

August 1, 2015 - August 31, 2015

Tommy Hartung, American, b. 1979. 2014. (48 minutes)

THE BIBLE is an animated sci-fi docudrama narrative about the Old Testament. The video investigates Tommy Hartung's experiences with evangelicalism and draws parallels between the Bible and contemporary events. Throughout the video references to Big Brother, war crimes, and American ideals represent the fall of humanity. Hartung is influenced by experiments in moving images. His scenes are hand-constructed and later spliced with found footage.

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Edvard Munch
Norwegian, 1863–1944 
Vampyr II (Vampire II), 1895–1902
Lithograph with woodcut printed in color on fine white oriental paper
16 7/8 x 23 5/8 inches
Courtesy of John Szoke Editions, New York, MUNC00002

Edvard Munch

July 5, 2015 - September 6, 2015

Graphics Gallery

Edvard Munch (1863–1944), most well known for The Scream, created visual expressions of anxiety, loss, love, jealousy, and death. Following his introduction to printmaking in 1894, the graphic media became an essential component of his oeuvre. With the capacity to produce multiple works from a single plate, stone, or woodblock, printmaking offered Munch the opportunity to replicate compositions and experiment with imagery. He often referred to his pictures as his children and missed them after they sold, but with printmaking he could create at least one identical image for himself. Comprising 20 works on paper, this exhibition includes lithographs, woodblocks, etchings, drawings, and drypoints by the Norwegian artist.

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Courtesy Electronic Arts Intermix (EAI), New York.

EAI 40th Anniversary Intro

July 1, 2015 - July 31, 2015

Takeshi Murata and sound by Robert Beatty, American, 2011. (1:04 minutes)

Electronic Arts Intermix (EAI) commis-sioned artist Takeshi Murata to create a special introductory piece for EAI's 40th anniversary programming, which took place throughout 2011. Murata is known for producing videos that blur the boundaries between abstraction and recognition. In this video, Murata created an homage to 40 years of experimentation by video artists—it is a dialogue between the analog past and the digital now. 

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Hermann David Salomon Corrodi
Italian, 1844 –1905
Campfire by the River: Kiosk of Trajan at Philae, n.d.
oil on canvas
40 x 25 3/4 inches
The Dahesh Museum Collection,

Beauty, Passion, and Bliss: 19th-Century Masterworks from the Dahesh Museum of Art

May 17, 2015 - August 16, 2015

Hodge Gallery Henry Gallery

In the 19th century, Paris was the art capital of the world and home of the French Academy, which oversaw the premier art school—the École des Beaux-Arts (School of Fine Arts). The Academy also ran the official exhibitions (Salons) where artists showed their works. Following the Academy's path would give hopeful artists (from all over Europe and America) the right of entry to a world of fame, honors, awards, public and private commissions, and an opportunity to become a member of an elite circle that exerted all-powerful influence over the fine arts in France. The Academy stood for well-established traditions, such as an emphasis on draftsmanship and the importance of historical subject matter, which was challenged in the late 19th century by artists such as the Impressionists.

Beauty, Passion, and Bliss spans the 19th century with major examples of works dealing with classical mythology, biblical subjects, landscape and animals, genre (everyday subjects), and Orientalism. The exhibition features 50 works by artists such as Jean-Léon Gérôme, William-Adolphe Bouguereau, Frederic, Lord Leighton, and Jean-Jacques Pradier.

Drawn from the collection of the Dahesh Museum of Art, the exhibition examines the Academy and the making of art in the 19th-century. A full color catalogue titled Academic Splendor: 101 Masterpieces from the Dahesh Museum of Art accompanies the exhibition. The Dahesh Museum of Art (located in New York City) is the only institution in the United States devoted to collecting and exhibiting European academic art of the 19th century. Organized by the Dahesh Museum of Art and the Flint Institute of Arts.

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Courtesy of the Artist and Nancy Hoffman Galleries, New York.

Packing Pieces

May 1, 2015 - June 30, 2015

Asya Reznikov, American, b. Russia, b. 1973. Packing Art History, 2011. My Vanity, 2012. Packing for Delivery (Boy), 2015

Three video art installations by Russian born artist Asya Reznikov will be featured in May and June. Reznikov deals with themes of otherness in her art. Having moved to the United States with her family at a young age, Reznikov continually grapples with topics of immigration, emigration, travel, and cultural differences. The three works on view are part of what Reznikov calls her Packing Pieces—featuring a vanity, a box, and luggage all being packed for different reasons. Reznikov's multi-media works are an intersection of video, performance, sculpture, and installation art.

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Walter Inglis Anderson
American, 1903 – 1965
Horn Island-Fall, n.d.
watercolor on paper
8 ½ x 11 inches 
Collection of Mississippi Museum of Art, Jackson. Purchase. 1967.034. Copyright © Estate of Walter Anderson.

The Islander: Walter Anderson Watercolors

April 11, 2015 - June 28, 2015

Graphics Gallery

In 1947, with their permission, Walter Anderson left his wife and children and embarked on a private and solitary life, returning home infrequently. The artist spent much of his time on the uninhabited Horn Island, 16 miles off shore in the Gulf of Mexico. Anderson would reach the island by rowing out in a one-person rowboat—bringing only the bare necessities and his art supplies.

The works in this exhibition are from Anderson's time on Horn Island, where, through his unique vision, he depicted the flora and fauna with his ink and watercolors. Birds, snakes, frogs, and crabs were rendered in bright, shimmering colors, making them appear often in motion. The works on view are on loan from the Mississippi Museum of Art collection.

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Image copyright of the artist, courtesy of Video Data Bank,


April 1, 2015 - April 30, 2015

Belgian, 2003, by Nicolas Provost, 7 min.

In Bataille, fragments from the Akira Kurosawa's 1951 film Rashomon are subject to a mirror effect. The term rashomon refers to situations in which multiple eye-witnesses give conflicting testimonies. Bataillerecounts the story of a woman being raped and a man being murdered from various rashomon perspectives. The mirror effect turns each character on themself, reiterating that the rashomon can be self-serving and people see only what they want to see.

Special thanks to  

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Nicolas Platon
French, 1888- 1968
enameled glass
12 1/2 x 12 inches
Collection of Ed & Karen Ogul

Style Moderne: French Art Deco Enameled Glass from the Ed & Karen Ogul Collection

March 21, 2015 - September 13, 2015

Ann K. Walch-Chan Gallery

The Art Deco style was focused on modernity and the industrialization of post-World War I Europe. During this time, glass became one of the most versatile and stylish materials. It was blown, molded, cast, cut, carved, sand blasted, engraved, acid etched, and in the case of this collection, enameled. From the collection of Ed and Karen Ogul, each object in this exhibition is wholly unique yet designed in a manner that fits seamlessly with the romantic appeal of the Art Deco style.

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Image copyright of the artist, courtesy of the Eli and Edythe Broad Art Museum at Michigan State University 

Angel Soldier

March 1, 2015 - March 31, 2015

Korean, 2011, by Lee Yongbaek, 23 min..

Angel Soldier is an illusive video that often tricks the eye. At first glance the image on screen filled to the edges with bright, blossoming flowers, appears to be completely still. A closer look, however, reveals a soldier slowly creeping through the scene in complete silence, camouflaged by the multi-colored flowers. The veiled soldier stands as a metaphor for identity and existentialism amid the artifice of contemporary society.

Collection of the Eli and Edythe Broad Art Museum at Michigan State University, MSU purchase, funded by the Emma Grace Holmes Endowment, 2013.6

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Renée Stout 
American, b. 1958 
Marie Laveau
, 2009/2013 
color pencil drawing over lithograph proof on paper
21 x 21 inches 
Flint Institute of Arts. Museum purchase with funds from the Collection Endowment, 2013.64

Common Ground: African American Art from the Flint Institute of Arts, Kalamazoo Institute of Arts, and the Muskegon Museum of Art

February 8, 2015 - April 26, 2015

Hodge Gallery Henry Gallery

Common Ground traces the history of African American art from the 19th-century to today through paintings, sculpture, drawings, and photographs. After slavery was abolished, poverty and prevailing institutional racism made it extremely difficult for African Americans to pursue careers as painters or sculptors. However, African American artists continued to persevere, creating some of the most influential art over the past 150 years.

In the early 20th century, many artists began to form their own artistic identity. During the period of the Harlem Renaissance, African American artists portrayed their people, demonstrating the awakening of an African American consciousness. Responding to the struggle for Civil Rights, artists in the late 20th and into the 21st century created works that expressed political and social concerns including racism, poverty, segregation, and social injustice.

Artists include Benny Andrews, Elizabeth Catlett, Hughie Lee-Smith, Chakaia Booker, Henry Ossawa Tanner, Kara Walker, and Kehinde Wiley. Many of the artists are advocates for social change and believe art can act as a catalyst to transform the world in which they live. The works deal with African American identity and what it means to be an African American during the various time periods presented.

Exhibition Sponsor
Sidney and Margaret Stewart Endowment Fund of the Community Foundation of Greater Flint

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Image courtesy of the artist.

In Ictu Oculi

February 1, 2015 - February 28, 2015

Spain, 2009, by Greta Alfaro, 10:37 min.

In Ictu Oculi (in the blink of an eye) is concerned with the experience of time. The work's title, which alludes to the brevity of human existence, is shared with a number of vanitas paintings from the 17th century. A dinner table, laden with plates of food and wine bottles, its chairs waiting to be occupied, stands in a semi-mountainous landscape, a breeze flickering its tablecloth. The table's placement, in the center of the frame alludes to the Last Supper. From nowhere, vultures descend, bringing instability to the implied order of the scene. The meal's duration, and its strange quietness lend it a human quality. The Birds act out a travesty of human vanities—gluttony, selfish aggression, and the coveting of what will quickly pass away.

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James Perry Walker
American, 1945 - 2014
Praying woman, Lagoshen, Lagoshen Church, Rossville, TN, 1978
gelatin silver print
14 7/8 x 14 7/8 inches
Museum purchase, 2000.31.19

James Perry Walker: The Preacher and His Congregation

January 17, 2015 - April 4, 2015

Graphics Gallery

The photographs by James Perry Walker follow the Reverend Louis Cole and his congregation through rural Mississippi and Tennessee in the late 1970s and early 1980s. Walker, a Mississippi native, became fascinated with Cole and his parishioners after attending a revival service for new believers. Walker was granted permission to do the photographic essay after Cole's entire congregation gave their approval.

Reverend Cole was a circuit preacher—traveling to at least four churches within an 80-mile radius on a regular basis. Despite tough economic conditions, some of the worst in the United States at the time, the churchgoers faithfully attended every week dressed in their Sunday best. Through his photographs, Walker captures the essence of the community in and out of their respective chapels.

Exhibition Sponsor

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Carl Demeulenaere
American, b. 1956
Los Penitentes Diptych, 2001
colored pencil, velvet, brass, and Avonite
5 x 4 inches (each image) 
Collection of Barbara and Ross Bunting

Labyrinth: The Circuitous Life of a Miniaturist

November 1, 2014 - January 4, 2015

Graphics Gallery

In this reflective installation, artist Carl Demeulenaere explores the development of his art over the past 30 years. Demeulenaere designed a maze-like room that takes the viewer on a twisting and winding adventure. In the end, viewers will end up back where they started, paralleling Demeulenaere's self-proclaimed circuitous life as an artist working on a miniature scale.

With over 120 works on view, Labyrinth includes many styles and themes common in Demeulenaere's oeuvre. Highly influenced by his personal experiences, Demeulenaere's art often deals with topics of religion, sexuality, and global/cultural events.

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MassEffect2, 2010
Directed and Produced by Casey Hudson
Written by Mac Walters and Drew Karpyshyn
© 2010 Electronic Arts Inc. 
All trademarks are the property of their respective owners

The Art of Video Games

October 25, 2014 - January 18, 2015

Henry Gallery Hodge Gallery

Don't miss your last chance to view The Art of Video Games! This exciting exhibition explores the 40-year history of video games and the role artists play in gaming. The chronological installation demonstrates the increasing role artists have had in gaming from the very beginning where artists were only involved in designing supplemental materials to today where artists are the key players in design, overseeing a game from concept to final rendering.

The exhibition has 20 interactive kiosks that analyze 80 groundbreaking video games and 20 major at-home gaming consoles. In addition, there are 5 playable games for visitors to enjoy on larger-than-life screens:Pac ManSuper Mario Bros.The Secret of Monkey IslandMyst, and Flower. Be sure to check out original character and landscape concept sketches and interviews with gaming industry leaders.

The Art of Video Games is organized by the Smithsonian American Art Museum with generous support from the Entertainment Software Association Foundation; Sheila Duignan and Mike Wilkins; Shelby and Frederick Gans; Mark Lamia; Ray Muzyka and Greg Zeschuk; Rose Family Foundation; Betty and Lloyd Schermer; and Neil Young. The C.F. Foundation in Atlanta supports the museum's traveling exhibition program,Treasures to Go.

Signature Sponsor



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Jen Lee
b. 1975
True Love
Rives BFK Cream paper, 2010
14 x 30 inches

Indelibly Yours: Smith Andersen Editions and the Tattoo Project

August 9, 2014 - October 15, 2014

Graphics Gallery

Indelibly Yours is one of the most recent projects by Smith Andersen Editions, a small fine arts press in California. For more than 40 years, Smith Andersen Editions has served as a creative hub for artists and printmakers. For this exhibition, 10 artists were invited to dedicate time working on prints that showcase the interconnectedness of tattooing and printmaking. Five of the participants are known for tattooing and five for printmaking. 

The relationship between the two mediums yields a suite of colorful and stimulating images. In some instances it is difficult to distinguish the work of the tattooers from that of the printmakers. For Ross K. Jones, Mary Joy, Jen Lee, Jeff Rassier, and Kahlil Rintye, who generally work with skin and ink, the project afforded the opportunity to colla-borate with a master printer, to experiment with new materials, and to embrace the spontaneity atypical of tattooing. For the printmakers—Enrique Chagoya, George Herms, Kathryn Kain, Kara Maria, and Richard Shaw—the tattoo project encouraged the investigation of new symbols, styles, and ideas.

Graphics Gallery is sponsored by 

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