UVaM - University of Virginia Art Museum

Current exhibitions

Anastasi- What Is A Line?

What is a Line?
OPENS April 24 - August 2, 2015

Curated by Jennifer Farrell and Rebecca Schoenthal, with assistance from Lauren Patton and William Auten

Object Information >
The Making of What is a Line? >
At the Museum >
Add Your Voice >

Whether gestural or restrained, thick or thin, simple or complex, found or created, lines have taken various forms in modern and contemporary art. Inspired by the artist Paul Klee's statement that "a line is a dot that went for a walk," this exhibition, one of the Fralin’s upcoming shows for summer 2015, will examine the diverse ways 20th- and 21st-century artists have used lines—both found and created—in their art.
More >

William Anastasi, American, b. 1933, Brio, 2004, graphite on paper, 67 x 65 in. (170.18 x 165.1 cm), gift of the Artist and Museum Purchase with Curriculum Support Funds, 2005.24

The Body in Motion

The Body in Motion
April 17 - August 2, 2015

Curated by the U.Va. Museums Internship Class under the guidance of M. Jordan Love, Academic Curator, The Fralin Museum of Art

Interns: Christopher Askew, Melissa Brashear, Sydney Collins, Brenna Darroch, Sean Kim, Riley McCall, Esra Park, Kathryn Scully, Madeline Smith, Holly Zajur

U.Va.’s Museums Internship Class has been given the unique opportunity to curate an exhibition. After searching the Museum’s permanent collection, the class was drawn toward photographs of the body in motion.
More >

Barbara Morgan, American, 1900-1992, Merce Cunningham: Totem Ancestor, 1942 (reprinted 1980), gelatin silver print, 20 x 16 in. (50.8 x 40.64 cm), gift of L. Bradley Camp, 1984.25.200.12, © Barbara Morgan Archives, courtesy of Bruce Silverstein Gallery, NY.

Jean Pesne

A Portrait of the Artist, 1525-1825
Prints from the Collection of the Sarah Campbell Blaffer Foundation
January 30 - June 7, 2015

[Curated by MFAH] Organizing curator at The Fralin Museum by Bruce Boucher, Director

Before the 16th century, images of artists were rare in European art, but from that time onward, they became increasingly common. The impact of biography, a quintessentially Renaissance phenomenon, coincided with an interest in the representation of the individual. Such images included: portraits of artists; self-portraits; scenes depicting artists at work or with their family, friends, models, or patrons; allegories of art; and depictions of the viewing public. This proliferation of portrayals of artists signaled changing perceptions about both artists and art itself. Artists’ work came to be seen less as manual labor and more as an intellectual and creative enterprise, and the social status of artists rose and expanded. Artists represented themselves and their colleagues as gentlemen, craftsmen, scholars, and outsiders. Among the artists featured in this exhibition are Baccio Bandinelli, Van Dyck, Poussin, Rembrandt, Hogarth, and Goya. The selection of prints will be complemented by three painted self-portraits by Dutch artists, which will be on loan from The Leiden Collection in New York.
More >

Jean Pesne, French, 1623–1700, after Nicolas Poussin, French, 1594-1665 Self Portrait of Poussin Pointel-Cérisier Self-Portrait, c. 1661 (after the painting of 1649), Engraving and etching, 14 x 9 5/8 in (35.7 x 24.6 cm) (trimmed), Courtesy of Sarah Campbell Blaffer Foundation, 1996.15

Patrick Dougherty by Stacey Evans

Patrick Dougherty
On the Fly
October 19, 2013 – present

Organized by Jennifer Farrell, Curator of Exhibitions and Contemporary Art, with Project Management by AnaMarie Liddell, Exhibitions Coordinator

In October 2013, Patrick Dougherty, world-renowned for his larger-than-life, site-specific sculptures made of locally harvested twigs and saplings, created a unique work of art in front of the Ruth Caplin Theatre and the Arts Commons, the latest additions to the Betsy and John Casteen Arts Grounds. Constructed with the help of U.Va. and community volunteers, the sculpture responded to and reflected its physical environment and the process of its own creation. More >

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