UVaM - University of Virginia Art Museum


Past Exhibitions

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

Curated by Bruce Boucher, Director
Pine Gallery

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.

This exhibition focuses upon Ernest David Roth (1879–1964), one of the most significant American etchers of his day, as well as the work of his contemporaries. The prints on display demonstrate how Venice inspired artists in the wake of Whistler. They range from panoramas of the lagoon and St. Mark's Square to the gothic palaces and churches praised by Ruskin in his monumental study The Stones of Venice. At the same time, these etchers succumbed to the lure of Whistler's example by creating their own images of Venezia minore, away from the city's well-traveled paths.

Roth, his Venetian friend Fabio Mauroner, John Taylor Arms, and others not only documented Venice as they saw it, but also created "tone poems" of a vanishing civilization. Reflections and Undercurrents, organized by the Trout Gallery at Dickinson College, pays tribute to a distinguished group of artists and also a city whose existence has always seemed little short of a miracle.

Exhibition organized by THE TROUT GALLERY, Dickinson College.

The Fralin Museum of Art's programming is made possible by the generous support of The Joseph and Robert Cornell Memorial Foundation.

The exhibition is made possible through the generous support of the Suzanne Foley Endowment Fund, albemarle Magazine, and Ivy Publications LLC's Charlottesville Welcome Book.

Reflections and Undercurrents

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

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.