A Space for Dialogue
Metamorphosis and the Feminine
July, through August, 2012
This installation features seven works of art which touch upon moments of feminine metamorphosis. In them, women are agents of change: they cause change and/or are changed themselves. Through these works, the unique relationship between the feminine and transformation becomes clear, and metamorphosis in turn becomes an act that can emancipate women from the confines of their traditional gender roles, to one degree or another.
Views of the Temple of Sibyl at Tivoli across Time
May 19, through July 8, 2012
This installation explores views of ancient Roman ruins and the Italian countryside that have inspired artists for centuries, particularly the Temple of Sibyl at Tivoli. For both American and European artists, ruins such as those at Tivoli have always possessed a seemingly universal and timeless quality.
A Deeper Look at the Animated Figure and Its Presence in Contemporary Works
March 31, through May 13, 2012
This installation asks why animation has been excluded from the Western definition of fine art as "art forms developed mainly for aesthetics" through the juxtaposition of seven different pieces from the Walt Disney animated feature film Pinocchio and three contemporary works of art that feature animation.
Cultural Hybridity in the Funerary Arts of the Roman Provinces
February 11, through March 11, 2012
This installation presents examples of the kind of hybrid visual culture materialized in funeral art from certain key provinces—Syria, Africa Proconsularis (modern Tunisia), and Egypt—created during the era when the Roman Empire was at its greatest extent.
Old and Modern Masters
January 07, 2012, through February 05, 2012
This installation explores the representation of emotion and spirituality in works of art dating from the Renaissance to today in paintings, prints, and video.
October 22, 2011, through January 01, 2012
From ancient times to the present day, portraiture has been a medium in which individuals could create an illusion of themselves in a very selective and proscribed manner. This installation features four portraits, by Sir Joshua Reynolds, George Romney, Elizabeth Louise Vigée Le Brun, and Pompeo Batoni, which suggest that portraits are always a construction of some sort, though the attentive viewer can uncover their secrets.
Early Caricature and Self-Parody in France and England
September 03, 2011, through October 16, 2011
This installation explores the culture of caricature and features five late-eighteenth- and early-nineteenth-century prints, including works by James Gillray and Honoré Daumier.
Portraiture of the Roman Empire
May 14, 2011, through August 28, 2011
March 12, 2011, through May 08, 2011
For anyone who has witnessed its sublimity, above the surface or at its depths, the ocean (from Greek “okeanos”) leaves a powerful, sensuous impression. Contemporary artists Yves Klein, Jennifer Moller, and Hiroshi Sugimoto each reflect upon the experience of ocean via distinct media: Klein with his hyper-saturated, textured canvas; Moller with her darkened, black and white video footage; and Sugimoto with his abstracted photographs of water and air. Whether captured in paint or film, or concentrating on water’s depth or surface, substance or void, stillness or motion, the monochromatic representations of sea depicted by each of the international contemporary artists in this exhibition demonstrate that the experience of ocean is universal.
Grounded in an Infinite Landscape
January 29, 2011, through February 27, 2011
The works of art in this exhibition are all abstracted depictions of landscapes from an aerial perspective, a point of view that draws us into the work through an intensified experience of the entire composition. They all share the same basic focus, evoking some geographical construct or another, and a sense of place. While they have a visually abstract quality, this does not mean that we become lost. Rather, the means through which the artists masterfully render their subjects (including line, color, light, shadow, volume, and depth) encourage us to take an active role in these works’ realization. They ground us, ironically, as we examine them from every angle, following the symphony of marks along the surface and subconsciously constructing the imagined landscape both within and beyond the edges of the frame.