Art as an Agent for Change
February 27, 2015 - April 11, 2015
Through April 11, 2015
The artists in this exhibition created work engaged with the political, social, and cultural climate that defined a turbulent period of American history in the 1960s and 1970s. Some of the work champions specific organizations, including Amnesty International and the Methodist Student Movement, which published Motive--a radical and influential arts-oriented magazine. Other artists took up particular causes, including the environment, civil rights for African-Americans and Native Americans, as well as peace at a time when the nation was immersed in the controversial Vietnam War. A few artists, including Pablo Picasso, Romare Bearden, and Ben Shahn, are best known for work they completed before the 1960s, but they continued making art or their art continued to resonate through the Civil Rights era. A final group of works in the exhibition draws the theme of art and social justice into the present day, reminding us that artists continue creating art that speaks truth to power and makes social injustice visible.This exhibition is curated by senior art history majors Kyle Anderson, Aleksa D'Orsi, Kimberly Drexler, Lindsay Kearney, Callie Marx, Gillian Pinkham, and Sebastian Zheng, under the direction of Elizabeth Lee.
Representing the Macabre
March 5, 2015 - April 18, 2015
Opening Reception: Thursday, March 5, 4–5 pm
Bones are a vital part of us; in life, beneath our skin, they form the living structure that animates our bodies; in death, stripped of flesh, they hauntingly remind us of our mortality. From medieval danse macabre to the Mexican Día de los Muertos celebrations, bones—particularly human skeletons—fascinate us. We find them entertaining and comical, yet frightening and gruesome. When re-animated in art and imagination, they often participate in lively scenes representing evil and death, vanity and time, and ancestors and the afterlife. Yet, in more rational contexts, skeletons and bones are informative and the object of scientific study. Bones: Representing the Macabre features visual commentaries on war, illustrations of the Apocalypse, scenes of spiritual resurrection, and anatomical drawings for scientific study. The exhibition includes a number of prints from Georges Rouault’s evocative series Miserere, which compares the suffering of World War I to Christ’s Passion. The twenty-three objects come from the Trout Gallery’s permanent collection and the Special Collections of Dickinson College. They illustrate how the bones inside us have come to represent a wide range of meanings and reveals intimate human attitudes regarding life and death.
This exhibition is a curatorial project by Lindsay Kearney, ’15
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