Americans have been celebrating themselves in portraits since the arrival to the colonies of the first itinerant portrait painters who created images to commemorate loved ones, glorify the famous, establish our national myths, and honor our shared heroes. Whether painting in oil, carving in stone, casting in bronze, capturing on film, or calculating in binary code, we spend considerable time creating, contemplating, and collecting our likenesses. This exhibit brings together ninety portraits from more than twenty collections to explore and explain why Americans have been fascinated with images of themselves for more than 300 years.
Constructed in the 5th century BCE, the Periclean building program on the Athenian Acropolis is the most celebrated architectural expression of the High-Classical age. This exhibition brings together early archaeological publications, antiquarian paintings, drawings, and prints, as well as photographs, books, and more recent images that are all drawn from collections at Middlebury. Together they bear testimony to the fascination with the Acropolis that has prevailed from the Enlightenment to the present.
In conjunction with the exhibition Post Pop: Prints of Keith Haring, pioneering feminist breakdancer Ana “Rokafella” Garcia will give a lecture demonstration in the Dance Theatre of the Mahaney Center for the Arts at 4:30 p.m. on Thursday, October 27. Her presentation is free and open to the public.
The Middlebury College Museum of Art has received a grant from the Institute of Museum and Library Services (IMLS) to improve the management of its collection. With the federal funding, the museum will purchase a new database system that will be more reliable and easier to access and navigate than its current outdated system.
This fall, the Middlebury College Museum of Art features more than forty prints by celebrated artist Keith Haring. Full of playful energy and vibrant color, the exhibition follows the icon’s illustrious career from 1982, when he made his first silkscreen prints, to his death from AIDS related complications in 1990 and covers the full range of his graphic work.
Co-curated by Assistant Professor of History of Art and Architecture Erin Sassin and the students in her spring 2016 course “Bloom and Doom: Visual Expressions and Reform in Vienna circa 1900,” this exhibition features lesser known works by Egon Schiele and Gustav Klimt, along with prints, drawings, and posters created by other members of the Viennese Secession. Bloom and Doom illuminates how these individuals challenged the artistic and social establishment by rejecting the traditional academic system and turning to new means of expression, often attempting to reunify art and life in a “total work of art,” before giving into cultural pessimism and withdrawing from public life.
A group of six northeast college and university art museums have formed a collaborative partnership, the New Media Arts Consortium, to jointly acquire and share ownership of digital, interactive, and new media works. The partner museums are the Bowdoin College Museum of Art in Brunswick, ME; the Colby College Museum of Art in Waterville, ME; the Middlebury College Museum of Art in Middlebury, VT; the Mount Holyoke College Art Museum in South Hadley, MA; the Rose Art Museum at Brandeis University in Waltham, MA; and the Tang Teaching Museum and Art Gallery at Skidmore College in Saratoga Springs, NY.
Curated by master tattoo artist and author Takahiro Kitamura and created and photographed by artist and author Kip Fulbeck, this exhibition explores the craftsmanship of traditional Japanese tattooing and its roots in the arts of calligraphy and ukiyo-e woodblock printmaking. The exhibit is comprised of more than one hundred full-scale photographs showcasing the splendor of modern works by seven internationally-acclaimed Japanese-style tattoo artists.
The photographer Paul Strand (1890–1976), who has been described as “one of the greatest photographers in the history of the medium,” is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. The twenty-five photographs gathered here tell us a great deal about the artist at mid-career and the two projects on his mind at the time: the 1945 retrospective of his work at the Museum of Modern Art, and the book A Time in New England (1950).
This January the Middlebury College Museum of Art will host the first exhibition held outside Tokyo dedicated to Japanese Art Deco. Deco Japan: Shaping Art and Culture, 1920–1945 not only provides dramatic examples of the spectacular craftsmanship and sophisticated design long associated with Japan, it conveys the complex social and cultural tensions in Japan during the Taishô and early Shôwa epochs (1912–1945).