Photographs by James Nachtwey and Kevin BubriskiThe 2015 Nepal Earthquake
Life in the city is lived in daily patterns of mobility. Each day, most of us stroll past the same shops and cafés, or distractedly gaze across receding rooftops from the vantage of an elevated train. We often think of time spent in transit as lost time, life on the periphery of real living. But as the French anthropologist Marc Augé has shown us, traveling through the city is a practice of history and memory. Instead of life lost, cities unfold at the stop-and-go pace of a crowded bus line. Along the way, monuments to the city’s collective history spark personal, individualized memories. In those fleeting moments, as the bus rolls along, we may be struck by the memory of a childhood trip to Central Park or suddenly recall a moment of heartbreaking loss. On the commute, the past and the present intermingle in barely recognized flashes of illumination, all in the time it takes to glance up from the morning newspaper.
Trevor Fairbrother, John T. Kirk, and the Hood Museum of ArtCollecting and Sharing
Sources of AbstractionGesture, Emotion, Shape
Abstraction comes from many different sources. It may begin with a concrete object, or something less tangible, such as an emotion or thought. Artists use abstraction to express that which cannot be conveyed through representation and to explore other sources of art-making. The works in the exhibition date from immediately after World War II until the present. Some were strongly influenced by abstract expressionism, and others stem from later movements, such as minimalism and conceptualism. This exhibition highlights three important sources of abstraction: gesture, emotion, and shape.
This exhibition was curated by Philip Dytko, Class of 2017, Pauline Lewis, Class of 2016, and Molly Siegel, Class of 2016, each of whom was enrolled in Professor Mary Coffey’s ARTH 71: The American Century. This course provides a thematic overview of American art in the twentieth century. Students in the class were placed into curatorial teams of three, and each team identified a theme, selected six objects from the permanent collection, drafted labels, and proposed an installation design for the exhibition. The teams presented their proposals to the entire class at the end of the term, and students voted on their favorite. Gesture, Emotion, Shape: Sources of Abstraction was the winning exhibition.