UVaM - University of Virginia Art Museum

Current exhibitions

Portraying the Golden Age

Portraying the Golden Age
Drawings from the Maida and George Abrams Collection
January 17 - April 27, 2014

Prints from the Collection
May 2 - August 10, 2014

Curated by John Hawley, Luzak-Lindner Graduate Fellow

In his famous Schilder-boeck (1604), the artist and historian Karel van Mander (1548–1606) described how “the making of portraits from life comprises the largest part of the work which occurs in these lands for young painters, and others, and that for this reason and for the sake of profit, many keep themselves to a greater extent or entirely busy with that.” The “others” to whom van Mander, the “Dutch Vasari,” obliquely refers were probably draftsmen and printmakers, whose works could be had for comparatively lower prices than their painted counterparts.
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Jan Lievens ,Dutch, 1607–1674. Bust of a Man Facing Forward, c. 1640–44. Chiaroscuro woodcut, 6 15/16 x 5 5/16 in, 17.6 x 13.5 cm. Museum Purchase with Curriculum Support Funds, 2001.12.3

Reflections and Undercurrents

Reflections and Undercurrents
Ernest David Roth and Printmaking in Venice, 1900–1940
May 30 - August 10, 2014

Curated by Bruce Boucher, Director

Artistic and even legal adversaries, the critic John Ruskin (1819–1900) and the artist James McNeill Whistler (1834–1903) were at one in their love of Venice. Each in his own way redrew the map of that maritime city: Ruskin championed its gothic architecture as emblematic of a once great republic while Whistler explored "the Venice of the Venetians" through its obscure canals and byways. Whistler's extended sojourn there in 1879–80 led to a remarkable series of etchings and pastel sketches that fixed the evanescent quality of the city, capturing what the writer Henry James termed "its inexorable decay." He thereby set a standard for subsequent generations of artists who explored and evoked the city.
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Ernest David Roth , American, 1879–1964. The Stones of Venice, 1925/6. Etching, printed on buff paper, 13 1/2 x 9 1/4 in, 33.7 x 23.5 cm. Collection of Mr. and Mrs. Robert Martin. © Estate of Ernest David Roth.

Postwar British Prints

Postwar British Prints
June 27 - August 31, 2014

Curated by Jennifer Farrell, Curator of Exhibitions and Contemporary Art with Katelyn Hobbs, Curatorial Assistant

This exhibition, drawn from the Museum’s permanent collection, reveals the diversity and strength of printmaking in Great Britain during the postwar period, as well as the myriad influences that impacted artistic production. The exhibition will include a variety of techniques and styles to show the broad range of approaches to subject matter and production. Included are pieces from both artists well known for their graphic work, such as Howard Hodgkin, and those more recognized for work in other media. Many artists in the exhibition collaborated with the influential printmaker Chris Prater at Kelpra Studio, an experience that led to radical technical and aesthetic advances in screenprinting. Others were both artists and publishers, such as Ronald King, who produced artist books for himself and his peers through Circle Press.
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Howard Hodgkin, British, b. 1932. Indian View F, edition 42/75, from the series Indian Views, 1971. Screenprint, 22 3/4 x 30 1/2 in, 57.79 x 77.47 cm (sheet). Gift of Ben Wunsch, 1984.25.44.7. © Howard Hodgkin.

Cindy Bernard

Cindy Bernard

Vinland: Recent Work by Cindy Bernard
June 27 - August 31, 2014

Curated by Jennifer Farrell, Curator of Exhibitions and Contemporary Art

In the summer of 2014, The Fralin Museum of Art will present a new project by Los-Angeles-based artist Cindy Bernard. Drawn from her family’s history, the artist’s trips to Newfoundland, and the myriad ways in which the region has been depicted in both literature and film, the new works reflect Bernard’s ongoing interest in memory, landscape, the production of space, and the construction of social exchanges. In the series, Bernard uses both archival family materials—including photographs and oral histories—and contemporary interviews to reflect on her great-grandmother’s role within the local community, the history of the French shore, and, in a larger sense, issues of migration and place. At the same time, she reflects on displacement and industrialization by focusing on one of the area’s major exports, newsprint, and its journey from lumber gathered in remote areas of Newfoundland to newspapers produced thousands of miles away in countries such as the United States, Great Britain, India, and Peru. Comprising video, sculpture, and photographs, this yet-to-be-titled series is a profound meditation on the complex and continually shifting relationships between spaces, social and economic structures, and personal and collective histories.
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Top:Cindy Bernard, American, b. 1959. Structure, 1/26, Beaches, Hampden, Newfoundland, 2013. Work print. Courtesy of the artist. © Cindy Bernard.
Bottom: Cindy Bernard, American, b. 1959. Structure, 2/26. Beaches, Hampden, Newfoundland, 2013. Work print. Courtesy of the artist. © Cindy Bernard.

Oriforme

Jean Arp
Oriforme

Jean Arp’s Oriforme, on long-term loan from the National Gallery of Art, exemplifies the approach to abstraction with which the artist is most closely associated; the sculpture will be on view on The Joseph and Robert Cornell Memorial Foundation Entrance Plaza in front of The Fralin beginning March 25, 2013. More >

Jean Arp, French, b. Germany (Alsace), 1886–1966. Oriforme, model 1962, fabricated 1977. Stainless steel, 89 3/4 x 84 1/2 x 23 5/8 in, 227.9 x 214.6 x 60 cm. Courtesy of the National Gallery of Art, Washington, To the American People in Gratitude—Leon Chalette, Arthur Lejwa, and Madeleine Chalette Lejwa, 1978.22.1.

UVaM's new Object Study Gallery

Object Study Gallery

The Object Study Gallery has approximately 140 objects on view, including Chinese bronzes, ceramics and sculpture; ancient Mediterranean coins, glass and marble sculpture; pre-Columbian ceramics; and African masks and figures. More >

UVaM's new Object Study Gallery