Dr. Ruth Morris Bakwin Class of 1919 Art Lecture
Dr. Ruth Morris Bakwin Class of 1919 Art Lecture
Claire Bishop: "Déjà Vu: Contemporary Art and the Ghosts of Modernism"
Claire Bishop is Professor of Art History at the PhD Program in Art History at CUNY Graduate Center, New York. Her books include Installation Art: A Critical History (2005) and Artificial Hells: Participatory Art and the Politics of Spectatorship (2012), for which she won the 2013 Frank Jewett Mather award for art criticism. Her curatorial projects include the performance exhibition "Double Agent" at the ICA, London (2008) and the PRELUDE.11 performance festival at CUNY Graduate Center (2011). She is a regular contributor to Artforum, and her next book, Radical Museology, or, What’s Contemporary in Museums of Contemporary Art?, has just been published by Koenig Books.
“Like a Great Roman Ruin”: The College Hall Fire and Anne Whitney at 100
March 17th – July 20th, 2014
Lawrence and Ina Lee Brown Ramer Gallery, Davis Museum
Co-curated by Jacqueline Marie Musacchio ’89, professor and chair of the Art Department, and Andrew Shennan, provost and dean of the College, this exhibition includes objects and documents from the Davis, Archives, and Special Collections, as well as loans from the alumnae community. It examines art and life in College Hall from the founding of the College in 1870, to the great fire that decimated the building and its contents in 1914, to the fundraising and rebuilding efforts that followed. The exhibition focuses particular attention on Anne Whitney’s legendary 1883 statue of sociologist Harriet Martineau (Gift of Mrs. Wilson Payne (Elizabeth Rogers ’26)), a sculpture with a surprising role in the life of College Hall and a fascinating history.
This exhibition is generously supported by Wellesley College Friends of Art, Wellesley College Archives, and the Office of the Provost and Dean of the College.
The 2014 Wellesley-Deerfield Symposium will explore visual representations of scientific inquiry produced, collected, distributed or otherwise circulating in New England from the start of the 18th century to the first decades of the 20th century. Scholars from a wide range of disciplines will address a variety of topics from the use of anatomical and biological models in scientific pedagogy to the impact of mechanical inventions for enhancing vision on artistic and scientific practice.
March 15, 2014
9:00 am - 4:00 pm
Collins Cinema, Davis Museum
Wellesley College, Wellesley, MA
Free and open to the public, but seating is limited. For further infomation call the Wellesley College Art Department, 781-283-2043. Sponsored by the Grace Slack McNeil Program for Studies in American Art at Wellesley College; the Office of Academic Programs at Historic Deerfield, and made possible by the generous support of the Barra Foundation.
Accompanying the symposium is the Davis Museum exhibit, “The Art Of Science: Object Lessons At Wellesley College, 1870-1940,” in the Robert and Claire Freedman Lober Viewing Alcove. On view from February 25th –June 22nd 2014.
The Art of Science : Object Lessons at Wellesley College, 1875-1940
On View: February 25th - June 22nd, 2014 Robert and Claire Freedman Lober Viewing Alcove
Planned to accompany the Wellesley/Deerfield symposium, “The Art of Science in New England, 1700-1920” (see page 29), this small exhibition mines the recently rediscovered collection of objects and images used in science classrooms at Wellesley College from the time of the school’s founding to the 1920s. Wellesley was at the forefront of science education for women and utilized a variety of drawings, models, and scientific instruments to provide the highest quality education possible. For example, Wellesley’s founder, Henry Fowle Durant, purchased a set of papier-mâché botanical models by the renowned French anatomist, Louis Thomas Jérôme Auzoux, at the 1878 Exposition Universelle in Paris (currently housed in the Science Center).
Co-curated by Rebecca Bedell, associate professor of art, Martha McNamara, director of the New England Art and Architecture Program, and Jacqueline Marie Musacchio ’89, professor and chair of the Art Department, with Eve Straussman- Pflanzer, senior curator of collections, this exhibition is generously supported by Wellesley College Friends of Art, the Science Center Office, and the Office of the Provost and Dean of the College.
Gallery Talk: March 7 / 3:00 PM
Robert and Claire Freedman Lober Viewing Alcove
Wellesley College Biological Sciences faculty Kristina N. Jones and John S. Cameron discuss the historical and pedagogical significance of the scientific teaching models and images on view in The Art of Science.
PICTURING GLOBAL CHINA
Curated by Jenny Lin
February 6, 2014 – March 1, 2014
First Thursday Opening Reception, February 6 | 6:00 pm – 8:00 pm
Viewing Hours: Tuesday – Saturday | 12 noon – 6:00 pm
The White Box at the University of Oregon in Portland is pleased to present PICTURING
GLOBAL CHINA, an exhibition of contemporary photography and video art from the People’s
Republic of China. Over the past few decades, China has developed at breakneck speed, with
many Chinese cities emerging as world centers of thriving economic and cultural activity.
Nonetheless, general perceptions of Chinese culture within the United States remain vague, and
are often filtered through local media and biases. Seeking to complicate grand narratives and
mythologies attached to China’s global rise, this exhibition showcases images by dozens of
artists, photojournalists, professional and amateur photographers, and people from all walks of
life from all over China. PICTURING GLOBAL CHINA reflects China’s incredibly diverse and
radically altering landscape, highlighting images and artistic interpretations of the Three Gorges
Damn, ethnic minority villages in Yunnan Province, Chinese Communist Party cadres, punk
youth culture, the seaside tourist industry, daily life in rural communities, urbanization in
booming cities like cosmopolitan Shanghai, and much more. These surreal, quotidian,
experimental, and quixotic pictures map the dreams and realities of China’s unprecedented
development amid globalization.
Featured artists include John Alexander, Chang He, Patty Chang, Chen Fei, Chen Xiaofeng,
Chen Yina, Chen Yuan, Gu Zheng, Hai Liang, He Pei, Hu Chengwei, Huang
Shizun, Huang Xiaoliang, Ji Tao, Jin Xu, Jing Yi, David Kelley, Liu Jiajia, Liu Jianhua, Liu Jie, Liu Kai, Liu Tao, Liu Wanyi, Liu Yanpeng, Liu Yuanyuan, Luo Dan, Ning Zhouhao, Tong Dazhuang, Wang
Wenlong, Wang Peibei, Wu Pengfei, Xie Ying, Xu Yang, Jay Yan, Yan Yibo, Yang Ming, Ye
Baoliang, Zhang Wenfeng, Zhang Xiao, Zhang Yujiao, and Zi Bai.
PICTURING GLOBAL CHINA’s First Thursday opening on February 6 will feature a reception
and live performance by visiting Chinese musicians and featured artists Liu Yuanyuan and Liu
Duoni. This exhibition is curated by UO Professor of Contemporary Art History and Theory
Jenny Lin in conjunction with her fall 2013 course, “Contemporary Art Amidst Globalization, Asia
Making Connections: The Art and Life of Herbert Gentry at the Boston University Art Gallery
January 31, 2014-March 30, 2014
Opening Reception on January 30, 6-8pm
Lecture by Nikki A. Greene, Assistant Professor of Art at Wellesley College, hosted at BUAG on Wednesday February 5, 2014, 6:00 PM
Claudia Bitran & Alejandra Wolff
Jewett Art Gallery
Painting Exhibition: Claudia Bitran & Alejandra Wolff
On View February 3–28
Claudia Bitran was born in Boston, Massachusetts, and moved to Santiago, Chile at age 7. She received her BFA from the Pontificia Universidad Catolica, and a few months before starting her MFA at the Rhode Island School of Design, she participated in a popular realty TV show in Chile as a Britney Spears impersonator. Claudia is fascinated by pop culture. As a fan, she wants to feel and understand her pop idols, participate in their monumental spectacles, and know what it is like to be in their bodies. A common theme in her projects has always been the desire and the impossibility of reproducing the immensity of mass culture. The concepts of backstage, humor, ridiculousness, disappointment, music, love, obsession and appropriation are the motors of her work.
The painter Alexandra Wolff was born on May 16, 1971 in Santiago. Wolff began exploring the human figure, especially self-portraits, which developed the problem of representation of the body, the flesh and the skin, especially in the context of disease and injury.
Monday–Friday, 9:00 AM–5:00 PM
Weekends, 12:00–5:00 PM
Closed major holidays and campus recesses
All events are free and open to the public.