Margaret Sutton: Life + Work

Ridderhof Martin Gallery

Opening Reception: April 19, 5-7pm

April 19- June 29, 2017

This exhibition examines a rich moment in American art through artist Margaret Sutton’s work and long career. Students in Professor of Art History Marjorie Och’s Laboratory in Museum Studies class are curating the exhibit in collaboration with the UMW Galleries.

Opening Reception

Margaret Sutton, Untitled (Stage with eye, fish), ca. mid 1940s. Watercolor on paper, 50.3 x 63.4 cm. Gift of Alfred Levitt. University of Mary Washington Galleries, accession no. 1993.11.0055

Margaret Sutton, Untitled (Stage with eye, fish), ca. mid 1940s. Watercolor on paper, 50.3 x 63.4 cm. Gift of Alfred Levitt. University of Mary Washington Galleries, accession no. 1993.11.0055

Annual Student Art Exhibition

duPont Gallery

Opening Reception: April 12, 4-6pm

April 12- April 30, 2017

Awards Ceremony: April 19, 3pm

The ASAE features a guest curated exhibition of UMW studio art students’ work. This year the guest juror is distinguished artist and Associate Professor of Art at University of Maryland, Hasan Elahi. Each year student artwork is purchased from the exhibition to become part of the UMW Galleries permanent art collection through the Melchers Gray Purchase Award. The recipient of this award will be announced at the Awards Ceremony on April 19th.

Award Winners:

Melchers Gray Purchase Award: Emily Dabbs, Trophy Nights, 2017. Fabric, plaster, foam core, nail polish, paint.

Emil R. Schnellock Award for Excellence in Painting: Haleigh Fitzpatrick-Owen, Karen Cassine, 2017. Oil on canvas.

Ann Elizabeth Collins Memorial Art Award: Martha Keegan, Diamond Back & Sidewinder, 2017. Cotton, copper nails, bleach.

Award of Excellence: Emily Dabbs, Umbilical, 2017. Thread, fabric, pins, wood, plaster.

Award of Excellence: Lily Radolinski, I Forgot I Was Time Capsuled, 2017. Digital double exposed photograph.

Award of Excellence: Regine Eleazer, American Baggage, 2017. Stoneware.

Award of Excellence: May Shorten Townley, Pearls Before Swine, 2017. Ceramic.

Opening Reception:

Artist Talk: Hasan Elahi

Tuesday, April 4th, 2017

5pm HCC Digital Auditorium

The UMW Department of Art and Art History presents visiting artist Hasan Elahi.

In 2002 Hasan Elahi, a Bangladeshi born American citizen, was mistakenly associated with terrorist activities, and was detained by the FBI at the Detroit airport. The FBI opened an investigation on him, and instead of resisting he started a project in self surveillance, sharing every detail of his whereabouts with the FBI and the world.
Hasan Elahi is an interdisciplinary artist whose work examines issues of surveillance, citizenship, migration, transport, and borders and frontiers. His work has been presented in numerous exhibitions at venues such as SITE Santa Fe, Centre Georges Pompidou, Sundance Film Festival, Kassel Kulturbahnhof, The Hermitage, and at the Venice Biennale. Elahi was recently invited to speak about his work at the Tate Modern, Einstein Forum, the American Association of Artificial Intelligence, the International Association of Privacy Professionals, World Economic Forum, and at TED Global. His awards include grants from the Creative Capital Foundation, Art Matters Foundation, and a Ford Foundation/Phillip Morris National Fellowship. His work is frequently in the media and has been covered by The New York Times, Forbes, Wired, CNN, ABC, CBS, NPR, and has appeared on Al Jazeera, Fox News, and on The Colbert Report. He is currently Associate Professor of Art at University of Maryland and from 2011 to 2014 was Director of Design | Cultures + Creativity in the Honors College. In 2010, he was an Alpert/MacDowell Fellow and in 2009, was Resident Faculty at Skowhegan School of Painting and Sculpture.
Website:

http://elahi.umd.edu

Emotional Etiquette

duPont Gallery

Opening Reception: March 15, 5-7pm

 March 15-March 26, 2017

Featuring the work of UMW Studio Art Students: Catie Morton, Elisa Pritchard, Lauren Rauch, Olivia Gallagher, Zachary Norrbom, Clara Doin, Crystal Montgomery, Ellen Wilson, Isabel Soble, Margeaux Ducoing, May Townley, Megan Lee Crockett, Michael Evart, Michelle Pierson, Morgan Wallace, Evelyn Savaria, and Derek Kim.

Opening Reception

Senior Exhibition: Unknown Caller

duPont Gallery

Opening Reception: February 15, 5-7pm

Feb. 15- Feb. 26, 2017

Featuring work by UMW Senior Studio Art students: Megan Carey, Rachel Chivers, Emily Dabbs, Sarah Eells, Regine Eleazer, Heather Evans, Dominique Giles, Gabrielle Gatzke, Rachel Harkrader, Dani Issing, Jessica Martinez, John McQuaid, Eliza Nolen, Maddox Palmer, Lily Radolinski, and Sierra Williams.

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Opening Reception

A Hot Smidge

Sidney Mullis

duPont Gallery

January 26- February 5, 2017

Opening Reception: January 26, 5-7pm

A Hot Smidge by Sidney Mullis is the inaugural exhibition in the series Origin, Celebrating UMW Studio Art Alumni

Exhibition Statement

In my creative research, I find myself wedged in a space where gender matters tremendously and matters not very much at all.

Gender, agreed to be a social construct, regularly flirts with sexuality. They can be distinct from one another, but are usually involved. Both are serious subjects of study consistently under scrutiny and interrogation to understand what they really are; yet they operate on fluid spectrum(s) of ever-expanding lexicons and are celebrated for this inclusivity. Again, mattering to admit to not mattering at all. It is this very instability of their categories that produces such intrigue and pleasure for me as a maker. Driven by haptic obsession, it is through making that I try to understand them.

A Hot Smidge is an exhibition of video, projection, interactive objects and sculpture to ask what it means to woman – and to understand the narrow bandwidth in which it is performed despite its shifting reality.

Considering gender to be a stylized repetition of acts, I study how woman is looped in social space. In my work, I think about woman from a coming-of-age transition meaning that I focus on when bodies learn to repeat gestures that communicate gender. I employ materials, such as spandex leotards and fake fingernails that are introduced to young girls as they grow up. Withholding their cultural signifiers associated with to-be-woman, I merge these materials to interrupt existing codes and scripts. These combinations are then situated in space or on the body to be recorded for video to speculate how form and movement carry gender.

This exhibition is a visual playground to probe how gender exists – despite whether we tacitly agree or disagree that it does.

Artist Bio

Sidney Mullis lives and works in State College, PA. Her work has been exhibited in a number of locations including Berlin, Germany and Tokyo, Japan. She has had solo shows at the Leslie Lohman Museum of Gay and Lesbian Art (NYC), Future Tenant Gallery (Pittsburgh), and Lock Haven University. Recent group exhibitions include Trestle Gallery (NYC), Galleri Urbane (Dallas), pehrspace (LA), and Woman Made Gallery (Chicago). Sidney Mullis was the recipient of the Ox-Bow MFA Residency and a Creative Achievement Award from Penn State University. Sidney Mullis is represented by Galleri Urbane (Dallas, TX).

Mullis has taught Beginning Sculpture and 3D Foundations at Penn State conveying the impact objects can have in space and assisting students to navigate this within their own work. She is currently the program coordinator of the John M. Anderson Endowed Lecture Series, the visiting artist program at Penn State. She is a studio assistant to ecoartist Stacy Levy, as well as a contributing writer for Maake Magazine.

 

Sidney Mullis, Wiggle Biddy Brigade, (video projection).

Sidney Mullis, Wiggle Biddy Brigade, (video projection).

Opening Reception

American Perspectives on Modernism

Ridderhof Martin Gallery

January 26 – April 2, 2017

Opening Reception: January 26, 5-7pm

Drawn from the KIA collection, this exhibition includes works by American modernists including Stuart Davis, Marsden Hartley, John Marin, Charles Sheeler, Max Weber and others. Responding to the artistic developments in Europe, these artists sought new ways to picture the rapidly changing times of the early 20th century.

The Modernist dictate was to “make it new,” to look beyond appearances for an essential truth in things. Honest, forthright expression was a longstanding American artistic tradition, and American Modernists felt even the most ordinary things could be transformed through fresh eyes and the imagination. Marsden Hartley’s Fruit Basket is anything but a “still life.” After reducing its contents to what he perceived as their essence, they emerge as powerful forms surrounded by surging energy—more reminiscent of rocks and waves than a basket of fruit.
The American landscape—both urban and natural—inspired many artists. The rising skyscrapers of New York and the rocky coast of Maine equally obsessed John Marin. In New England seaport towns, Stuart Davis discovered the fascinating structures of ships and wharfs framed by the expanse of sea and sky. For artists such as Miklos Suba and Charles Sheeler, it was the clean, modern forms of industry that suggested a new abstract beauty on a vast scale—the American equivalent to Greek temples and Gothic cathedrals.
Perhaps Yankee rugged individualism and a love of the nuts-and-bolts aspect of reality are the qualities that most distinguish American artists from their European contemporaries. “Put off intellect and put on imagination,” wrote Marsden Hartley. Rediscovering and reaffirming the experience of an emerging nation, these artists brought an American perspective to the Modernist imperative to “make it new.”

Programming:

Lecture by Dr. Leo Mazow, “Defining American Modernisms”

February 2, 6-7pm

Hurley Convergence Center, Digital Auditorium

More information

Preview and listen to a selection of artwork from our Culturespots audio tour

Francis Littna, Metropolis, 1959. Oil on board, canvas 25 3/4 x 23 inches (65.4 x 58.4 cm) overall: 26 x 23 x 2 inches. Gift of the Friends of Victoria and Francis Littna. Kalamazoo Institute of Art. 1981/2.69

Francis Littna, Metropolis, 1959. Oil on board. Canvas 25 3/4 x 23 inches (65.4 x 58.4 cm) overall: 26 x 23 x 2 inches. Gift of the Friends of Victoria and Francis Littna. Kalamazoo Institute of Arts. 1981/2.69.

Opening Reception

Lecture by Dr. Leo Mazow: Defining American Modernisms

February 2, 2017

6-7pm

Hurley Convergence Center, Digital Auditorium

Dr. Leo G. Mazow, Louise B. and J. Harwood Cochrane Curator of American Art at the Virginia Museum of Fine Arts will give a lecture entitled, “Defining American Modernisms.” The lecture is in association with  the exhibition American Perspectives on Modernism on view in the Ridderhof Martin Gallery.

Dr. Mazow has been at the VMFA since 2016. A specialist in nineteenth- and twentieth-century American painting and cultural history, he received his PhD at the University of North Carolina at Chapel Hill. From 2010 through 2016 he was an associate professor of art history at the University of Arkansas in Fayetteville. From 2002 through 2010 he was curator of American art at the Palmer Museum of Art at Penn State University.

Among the exhibitions and accompanying publications he organized there are Picturing the Banjo; Taxing Visions: Financial Episodes in Late Nineteenth-Century American Art; and Shallow Creek: Thomas Hart Benton and American Waterways. His book Thomas Hart Benton and the American Sound was awarded the 2013 Eldredge Prize for Distinguished Scholarship in American Art, presented by the Smithsonian American Art Museum. Mazow has published articles on Edward Hopper, Regionalism, New York Dada, and American landscape painting in such journals as Art Bulletin, American Art, and Winterthur Portfolio. In 2015 he held a Paul Mellon Senior Visiting Fellowship at the Center for Advanced Study in the Visual Arts at the National Gallery of Art, where he worked on his book project, Hopper’s Hotels, which will also be the subject of his first exhibition project at the Virginia Museum of Fine Arts.