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Exhibitions, Spring 2009
Click on the exhibition title below to see dates and scheduled events. The "Read more" link under some listing provides additional information.
Leadership
Organized by the Susan Conway Gallery, Santa Fe NM Cartoon drawings, pencil sketches, oversized charcoal caricatures, and sculpture in bronze and wax, all featured in the exhibition, articulate the breadth of Oliphant’s artistic production. These objects, some 100 in all, not only exemplify his plastic acumen, but their titles and captions point to his biting satiric wit. Certainly, Oliphant’s efforts place him within a branch of modernism that is rooted in the realist tradition. To explicate this fact, the Museum will accompany Leadership: Oliphant Cartoons and Sculpture from the Bush Years, with a focused exhibition featuring Honoré Daumier, the quintessential social satirist and a major influence on Oliphant’s work. Daumier produced an agenda for the personal vision of the modern artist––to investigate and comment on contemporary customs and attitudes, and to explore the formal continuities between past and present. Together the exhibitions will make clear the long shadow cast by Daumier over the history of the visual arts in the 20th and 21st centuries and indicate the continued impact of social satire in contemporary culture. Leadership: Oliphant Cartoons and Sculpture from the Bush Years is curated by guest curator Susan Conway. The Daumier exhibition is curated by Matthew Affron, associate professor, McIntire Department of Art, special projects curator, U.Va. Art Museum. Both exhibitions are sponsored by the U.Va. Art Museum Volunteer Board, the Office of the Provost, University of Virginia, the Arts Council, Arts Enhancement Fund, Gladys S. Blizzard Lecture Fund, Alderman Library, and Arts$.
Matisse, Picasso, and Modern Art in Paris
Organized by the VMFA and the U.Va. Art Museum T. Catesby Jones was a native of Petersburg, an alumnus of the University of Virginia School of Law, and a trustee of the Virginia Museum of Fine Arts. A maritime lawyer by profession, he established himself by the early 1930s as a noteworthy collector of modern French art in New York. Jones accumulated works by such artists as Georges Braque, Jacques Lipchitz, André Masson, and Pablo Picasso in depth and with an emphasis on paintings, drawings, prints, and artists’ books. Matisse, Picasso, and Modern Art in Paris is co-organized by the two Virginia institutions that received the bulk of this art collection as separate bequests in 1947. The exhibition is our first opportunity to present a comprehensive assessment of Jones’s legacy as a collector. The fully illustrated catalogue presents essays by the co-curators and new research by University of Virginia graduate students. The exhibition is curated by Matthew Affron, associate professor, McIntire Department of Art, special projects curator, U.Va. Art Museum, and John Ravenal, Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts, and will travel to Abingdon, Winchester, and Richmond VA. Sponsored by the Commonwealth of Virginia, the U.Va. Art Museum Volunteer Board, Eugene and Claire E. Thaw Charitable Trust, Arts Enhancement Fund, the Linder Center for Art History in the McIntire Department of Art, and Arts$.
The Hand and the Soul
Organized by the U.Va. Art Museum Sentence 28 from Sol LeWitt’s Sentences on Conceptual Art (1969) reads: “Once the idea of the piece is established in the artist’s mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works.” Robert Slutzky defines as his aesthetic foundation a theory of transparency in which “the transparent ceases to be that which is perfectly clear and becomes instead that which is clearly ambiguous.” LeWitt’s and Slutzky’s assertions of artistic process are central to The Hand and the Soul: LeWitt, Slutzky, Iliescu, an exhibition that includes a wall and a line drawing by LeWitt, one of Slutzky’s grand canvases, and a set of Sanda Iliescu’s collages. In each artist’s imagery, rational order gives rise to serendipitous glimpses of humanity in a dialogue about form, format, and social context. Central to this exhibition is the notion of instruction. Slutzky and LeWitt were mentors of Iliescu, now an associate professor of art and architecture at the University of Virginia. Over the years Iliescu has created drawings and collages that pay explicit homage to the two late artists. In her recent edited volume, The Hand and the Soul: Aesthetics and Ethics in Art and Architecture, Iliescu analyzes the two artists’ work, focusing on their shared conviction that aesthetic experiences are enriched through teaching, writing, and collaborative art-making—through the testing and contesting of artistic ideas and processes. The show will include a series of collages by Iliescu produced while she edited the book. Using discarded drafts from the manuscript, scraps of brown paper bag, and other forms of detritus, Iliescu sews, glues, and constructs her surfaces in a process that emulates the methods of her mentors. In preparation for the exhibition, Iliescu will lead students from her studio class in the rendering of a LeWitt wall drawing. The exhibition is curated by Sanda Iliescu and Andrea Douglas, curator of collections and exhibitions.
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