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CHARLOTTESVILLE, VA – The Fralin Museum of Art at the University of Virginia will offer its own contribution to a nationwide exploration of LGBTQ+ history and culture with a new exhibition opening Aug. 9, 2019. This year marks the 50th anniversary of the 1969 Stonewall riots in New York City, which became a rallying cry for gay rights activists.  

Otherwise, on view Aug. 8, 2019-Jan. 5, 2020, utilizes more than 40 modern and contemporary works from The Fralin’s permanent collection, along with two exciting new acquisitions, to examine the influence LGBTQ+ culture has had and continues to have on artistic production from the early 20th century to the present. It showcases works by artists who identify as LGBTQ+ as well as those who have dealt significantly with LGBTQ+ issues within their work.

The exhibition is curated by Hannah Cattarin, the Museum’s assistant curator. Cattarin, who has a master’s degree from the University of Essex, is part of the Fralin’s commitment to bring younger voices into the curatorial process. “Otherwise is a way to reexamine what we take for granted as ‘normal’ and reinvigorate our community’s relationship with the Museum’s collection,” she said.

CHARLOTTESVILLE, VA.- The Fralin Museum of Art at the University of Virginia will offer its own contribution to a nationwide exploration of LGBTQ+ history and culture with a new exhibition opening Aug. 8, 2019. This year marks the 50th anniversary of the 1969 Stonewall riots in New York City, which became a rallying cry for gay rights activists.  

Otherwise, on view Aug. 8, 2019-Jan. 5, 2020, utilizes more than 40 modern and contemporary works from The Fralin’s permanent collection, along with two exciting new acquisitions, to examine the influence LGBTQ+ culture has had and continues to have on artistic production from the early 20th century to the present. It showcases works by artists who identify as LGBTQ+ as well as those who have dealt significantly with LGBTQ+ issues within their work. 

The exhibition is curated by Hannah Cattarin, the Museum’s curatorial assistant. Cattarin, who has a master’s degree from the University of Essex, is part of the Fralin’s commitment to bring younger voices into the curatorial process. “Otherwise is a way to reexamine what we take for granted as ‘normal’ and reinvigorate our community’s relationship with the Museum’s collection,” she said. 

Charlottesville, Virginia: the small town that’s home to more than 500 miles of Blue Ridge hiking trails, the NCAA championship-winning Virginia Cavaliers, and a restaurant-per-capita density that rivals major cities like New York City and San Francisco. In this college town, you’ll find students, tourists, and locals mingling at hidden-gem restaurants, or drinking pints of Bold Rock cider as they watch the sun set over the Blue Ridge Mountains. You’ll find Thomas Jefferson’s home at Monticello, and you’ll find his pride and joy– the University of Virginia. You’ll find wineries, breweries, and cideries, all complete with stunning views.

Charlottesville may boast myriad activities, destinations, and acclaimed restaurants, but even with its fast-paced growth, the city still maintains its small-town spirit. From hikes to wineries to possibly the world’s best bagels, this small town has something for everyone. Add Charlottesville to your list of this year’s destinations, and be sure to check out these spots along the way.

American Alliance of Museums

An After-School Program Gives Refugee Children a Creative Boost

Jul 01, 2019

One of the many things that make Charlottesville, Virginia special is that it serves as a destination city for the International Rescue Committee, which helps refugees settle into their new countries. Since 1998, more than three thousand refugees from countries on three different continents have relocated to Charlottesville. Many of them are families with young children, and with the parents working long hours to make a life in their new city, family time and enrichment activities are in short supply and often take a back seat to everyday needs.

At The Fralin Museum of Art, we had been seeking to meet this need in the community when I met Angela Corpuz, the art teacher at Greenbrier Elementary School. Greenbrier is the designated school for refugee children in Charlottesville, so Angela was a familiar and trusted presence in many refugee families’ lives and was well positioned to identify children with the most need for support. We also brought studio artist and recent UVA graduate Golara Haghtalab on board to co-lead the program. Golara emigrated from Iran in 2011 and she shared her experiences and contributed valuable insights during the development of the curriculum.

Together, we developed a school-museum partnership that offered an after-school art curriculum encouraging children to communicate about who they arethe experiences they’ve had, and what is important to them. We also wanted the program to foster the pride students have for their national identities.

Best Colleges

Best Colleges for LGBTQ Students

Jun 17, 2019

According to a study conducted by Campus Pride, about 23% of LGBTQ faculty members and students were significantly more likely to experience harassment than their heterosexual peers. In addition, LGBT students and faculty members were significantly less likely to feel very comfortable with their environment on-campus. These findings demonstrate the need for colleges to take an active stance against LGBTQ harassment and discrimination ― a stance that, in part, will make it so that LGBTQ students feel safe and welcome to attend.

This year we partnered with Campus Pride to bring you the top colleges in the country for LGBTQ students. The ranking below combines our Academic and Affordability Metrics along with the Campus Pride Index score, which is a comprehensive national rating system that measures LGBTQ-friendly campus life. Campus Pride takes an exhaustive and multifaceted approach, considering eight LGBTQ-inclusive factors to reach a measurement. The listing also includes descriptions of unique campus resources that provide support to students of various gender and sexual identities.

Marion Strobel Mitchell, a lyric poet and co-editor of Poetry magazine, was referred to as a “lady poet” by detractors who minimized a woman’s place in her discipline. That’s why her daughter, Joan Mitchell — an Abstract Expressionist painter who became a leading postwar American artist — jokingly referred to herself in kind as a “lady painter.”

“It was a little joke she had,” Kristen Chiacchia said. It was the origin of the title that author Patricia Albers chose for her 2011 biography of the respected America painter, and Chiacchia selected it for the new exhibition opening Friday at Second Street Gallery.

Visitors who attend “Lady Painters: Inspired by Joan Mitchell,” which opens with a reception in the contemporary art space from 5:30 to 7:30 p.m. Friday, will see the lasting impact of Mitchell’s assertive colors and abstract vision, and see how it inspired what Chiacchia calls “women just having fantastic careers.” What they won’t see are soft saturations of stereotypically ladylike pastels.

Who will be UVa’s next world-famous graduate?

Might someone from this weekend’s graduating class be among the stars of the future — in the arts, politics, science, business, technology, entertainment?

Each of us likely knows a handful of names of famous people who attended the University of Virginia. In its nearly 200 years of education, UVa has produced plenty of success stories; and the internet is full of lists of well-known Wahoos.

The New York Times

Mark These Dates: A Wave of Art Is Coming Your Way

Mar 12, 2019

CHARLOTTESVILLE, VA.

“Sometimes. We. Cannot. Be. With. Our. Bodies.”

Through July 7

Vanessa German, who makes her home and art in Pittsburgh now, says she created this immersive two-gallery sound, sculpture and text installation as a reaction to the deaths — and often unsolved murders — of African-American women and girls. Some figures in this work have no heads; some heads have no bodies; some hands are balled into fists; and found objects are everywhere. “I think of it,” she has said, “as an act of restorative justice.” Fralin Museum of Art at the University of Virginia, 155 Rugby Road, 434-924-3592, uvafralinartmuseum.virginia.edu/

Antiques and the Arts Weekly

Fralin Features Vanessa German's Multisensory Installation

Mar 08, 2019

CHARLOTTESVILLE, VA.- A powerful multisensory installation of sculpture and sound by American contemporary artist, poet and activist Vanessa German is on view at the Fralin Museum of Art at the University of Virginia Feb. 22 through July 7, 2019. The major work, which combines figures without their heads, heads without their bodies, found objects and ephemera, grapples with some of the most profound challenges of contemporary life, including violence, loss and inequity, particularly in communities of color and for the LGBTQ community.  

Entitled sometimes. we. cannot. be. with. our. bodies., the installation was originally presented at the Mattress Factory in Pittsburgh, Pennsylvania, in 2017. It was organized for the Fralin by Matthew McLendon, the Museum’s J. Sanford Miller Family director. 

German has described the installation as “a dimensional living reckoning. the living reckoning is bold,erruptive,disruptive work against systems & pathologies that oppress & subvert overt & covert violence onto & into the lives & humanity of marginalized people on this land.”

CHARLOTTESVILLE, VA – A powerful multisensory installation of sculpture and sound by American contemporary artist, poet and activist Vanessa German will be on view at the Fralin Museum of Art at the University of Virginia Feb. 22 through July 7, 2019. The major work, which combines figures without their heads, heads without their bodies, found objects and ephemera, grapples with some of the most profound challenges of contemporary life, including violence, loss and inequity, particularly in communities of color and for the LGBTQ community.

Entitled sometimes. we. cannot. be. with. our. bodies., the installation was originally presented at the Mattress Factory in Pittsburgh, Pennsylvania, in 2017. It was organized for the Fralin by Matthew McLendon, the Museum’s J. Sanford Miller Family director.

German has described the installation as “a dimensional living reckoning. the living reckoning is bold,erruptive,disruptive work against systems & pathologies that oppress & subvert overt & covert violence onto & into the lives & humanity of marginalized people on this land.”

Vanessa German grew up in Los Angeles in a creative household, wearing clothes her artist mother made, writing stories, and crafting creations from the scrap materials her mom laid out on the dining room table for her and her siblings.

“We were makers as a way of life,” says German, the 2018 recipient of the $200,000 Don Tyson Prize, which recognizes “significant achievements in the field of American art.” 

“My earliest memories of joy and knowing and understanding a sense of euphoria in being alive was through making things—the joy of gluing lace to cardboard and realizing I could make a separate reality in a story different than what existed in living reality. That is the way we came to know ourselves.”

Vanessa German, Site-Specific Installation 
Feb. 22 through July 7, 2019

A powerful multisensory installation of sculpture and sound by American contemporary artist, poet and activist Vanessa German will be on view at the Fralin Museum of Art at the University of Virginia Feb. 22 through July 7, 2019. The major work, which combines figures without their heads, heads without their bodies, found objects and ephemera, grapples with some of the most profound challenges of contemporary life, including violence, loss and inequity, particularly in communities of color and for the LGBTQ community.

A powerful multisensory installation of sculpture and sound by American contemporary artist, poet and activist Vanessa German will be on view at the Fralin Museum of Art at the University of Virginia Feb. 22 through July 7, 2019. The major work, which combines figures without their heads, heads without their bodies, found objects and ephemera, grapples with some of the most profound challenges of contemporary life, including violence, loss and inequity, particularly in communities of color and for the LGBTQ community.

Entitled sometimes. we. cannot. be. with. our. bodies., the installation was originally presented at the Mattress Factory in Pittsburgh, Pennsylvania, in 2017. It was organized for the Fralin by Matthew McLendon, the Museum’s J. Sanford Miller Family director.

German has described the installation as “a dimensional living reckoning. the living reckoning is bold,erruptive,disruptive work against systems & pathologies that oppress & subvert overt & covert violence onto & into the lives & humanity of marginalized people on this land.”

In 2018, artists and curators across the United States have been crafting brilliant exhibitions across the US, exploring themes of identity and community in innovative ways. Ebony G. Patterson made a maximalist tribute to victims of violence in her home country of Jamaica, while Joel Otterson crafted work recalling his parents’ professions as a seamstress and plumber. Indigenous artists took the stage at the Anchorage Museum’s Unsettled and Jeffrey Gibson’s This is the Day at the Wellin Museum. The enthralling official Obama portraits, painted by Kehinde Wiley and Amy Sherald, were revealed at the National Gallery in DC, putting Black fine artists into the national consciousness. This list is an insight into the tastes of our US writers and the shows that moved them.

[...]

8. Unexpected O’Keeffe: The Virginia Watercolors and Later Paintings at the Fralin Museum of Art at the University of Virginia

The New Criterion

This year in museums

Dec 18, 2018

It is not news that the United States—and, perhaps, much of the rest of the world—has become an angrier place, filled with protests and expressions of contempt. So it probably does not come as a surprise that museums around the country and elsewhere have been the site of exhibitions, lectures, and impromptu demonstrations against the very institutions that reveal the level of current and overall discontent.

[...]

Museums have sought to get ahead of this discontent by staging exhibitions and talks that look at visual manifestations of protest. The Museum of Fine Arts, Boston offered a month-long series of talks this fall about propaganda. The High Museum of Art in Atlanta displayed sculptural installations and screened a documentary about Tommie Smith’s raised-fist gesture during the 1968 Olympic Games in Mexico City. And the University of Virginia’s Fralin Museum of Art offered a visual guide to twentieth-century protests by artists.

On 12 August of this year, my town of Charlottesville, Virginia, reluctantly commemorated the first anniversary of a deadly “Unite the Right” rally. We woke recalling last summer, when throngs of white nationalists raged here, spilling from Court Square past places where we had eaten birthday dinners or lay in yogic shavasana. For this dark observance, the new governor sent 1,000 riot police to blockade downtown like an apartheid of grief. We passed police checkpoints to file on to Fourth Street, to scrawl chalk hymns on the pavement near the place where Heather Heyer was killed and 19 others were battered. All year long, at home, at work, some of us have struggled to reconcile that racist display with what we find lovely about our town.

Two days after that painful anniversary, I attended a public event called Signs of Change, the first in a series that aims to educate participants about our town’s bleak racial history and encourage reflection through artmaking. Part of a national initiative called For Freedom: 50 States, Charlottesville’s Signs was largely designed by the Fralin, a museum which sits on the University of Virginia’s immaculate grounds. Museum educators such as Lisa Jevack chose to focus on seminal events that contorted Charlottesville’s African American communities, including the demolition of Vinegar Hill. “We hoped participants would come away shocked, with their eyes opened,” Jevack said.

Art & Object

A New Origin Story for Georgia O’Keeffe

Dec 05, 2018

Before her big break in New York, Georgia O'Keeffe was getting invaluable lessons and inspiration at the University of Virginia.

The scripted origin story of American modernist Georgia O’Keeffe usually goes something like this: photographer and modern art gallerist Alfred Stieglitz saw her abstract charcoal drawings on New Year’s Eve of 1915 and immediately admired their radical quality. “Finally, a woman on paper!” he famously exclaimed. “They’re the purest, finest, sincerest things that have entered [my gallery] in a long while.” A few months later he exhibited ten of the drawings at 291, his avant-garde midtown Manhattan gallery, in a debut that was a surefire path to art world stardom.

That chain of events surely happened, but pinpointing O’Keeffe’s genesis at that particular moment ignores her arduous journey learning to translate the real-life objects she observed into a sensuously abstract language of shapes and forms. “There’s nothing less real than realism,” O’Keeffe is often quoted as saying, but how she got there is a skipped-over part of her story. That chapter began far removed from New York and Stieglitz (her future husband), in the historic and mountainous surroundings of Charlottesville, Virginia.

WHY GO: First and foremost, Charlottesville VA is a college town: home to the Thomas Jefferson designed University of Virginia. But it’s also part of a region rich in the arts, spirit making, and full of creative entrepreneurs and chefs with diverse backgrounds. 

I discovered that residents of Charlottesville want you to come and see what they are really like, and enjoy some incredible sights, food, and drink while doing so. Discover Georgia O’Keeffe’s artistic origins, the only Australian Aboriginal Art Museum in the United States, a top art gallery tucked miles away on hilly farmland, a cattle ranch distillery with some of the best bourbon and burgers (made from mash-fed cows) you’ll ever scarf down, the only Sake Brewery in Virginia, a thinking (wo)man’s Wine Shop, great shopping, fantastic restaurants, and so much more. 

On “The Brady Bunch,” it was “Marcia, Marcia, Marcia.” This month in the art world, it’s “Georgia Georgia, Georgia.” Georgia O’keeffe can be found around every corner from exhibits across the country to auctions.

While attention to O’Keeffe has been given for going on 100 years, surprises are still being discovered, including a mostly unknown sibling possessing major talent of her own.

With an open palm, Teri Greeves gestures to a handful of small, intricately beaded Kiowa Indian cradleboards lined up inside a glass display case.

Kiowa Indians are known for their abstract beadwork motifs, she tells the small crowd that’s gathered to hear her speak at The Fralin Museum of Art at the University of Virginia. And while these cradleboards were made in the 19th century, likely for dolls, they’re not unlike the one that swaddled Greeves, a member of the Kiowa Indian Tribe of Oklahoma, when she was a newborn on Wyoming’s Wind River Indian Reservation in the 1970s. 

“I came home in a fully beaded cradleboard. From the moment I was born, I was encased in glass beads,” she says. Her Italian father made the wooden spines to anchor and support the swaddling sack, and he, together with Greeves’ Kiowa and Comanche mother, designed the beadwork. A Shoshone Indian woman, a mother figure to Greeves’ mother, beaded the design to the sack. It likely required hundreds of hours of work, says Greeves, and it makes her feel extraordinarily loved.

Near the end of his preseason press conference at John Paul Jones Arena last week, University of Virginia men’s basketball coach Tony Bennett went out of his way to laud former players Malcolm Brogdon, Joe Harris and Justin Anderson, who announced a few days earlier that they are collaborating with former UVA football star Chris Long to bring clean water to Africa.

“That warmed my heart more than almost anything – [their] thinking of others,” Bennett said.

At the root of their philanthropy is a shared experience at UVA, where being a student is about so much more than any one thing that you happen to do while you’re on Grounds – even more than, say, beating Duke.

[...]

Q. Other than John Paul Jones Arena, what’s your favorite place on Grounds?

Braxton Key: “I like going by [the Fralin Museum of Art]. I have a class over there – Greek art history. It’s just something different, a way to get your mind away from basketball. I always walk around the building just to see different pieces of art.”

 

The New York Times

Back to School With a Side of Art

Oct 25, 2018

Modest little college museums? Maybe they exist somewhere, on quiet campuses across the nation, but there are also magnificent university-affiliated institutions like these. And in terms of this season’s wide-ranging exhibitions, none seem limited by geography. Georgia O’Keeffe, queen of the Southwest, is in the Jeffersonian South; Andy Warhol, king of New York night life, is hanging in Silicon Valley; and lots of ancient Middle Eastern objects have settled in Philadelphia.

UNIVERSITY OF VIRGINIA
(CHARLOTTESVILLE)

“Unexpected O’Keeffe: The Virginia Watercolors and Later Paintings,” Fralin Museum of Art

CHARLOTTESVILLE, VA.- The Fralin Museum of Art at the University of Virginia presents Unexpected O'Keeffe: The Virginia Watercolors and Later Paintings, on view Oct. 19, 2018-Jan. 27, 2019. This rare exhibition explores Georgia O’Keeffe’s watercolor studies produced during her time at the University of Virginia (UVA) in the summers from 1912 to 1916, and will include several key sketches and paintings as well as other works demonstrating her developing style. This is the first time the watercolors have been on view outside the Georgia O’Keeffe Museum in Santa Fe, New Mexico. 

“It is an honor and a thrill to bring Georgia O’Keeffe’s works created in and around the University of Virginia back to UVA for the first time since they were produced,” said Matthew McLendon, J. Sanford Miller Family director at The Fralin. “Visitors will be able to walk out of the gallery and find the same points-of-view O’Keeffe used; they can experience the same qualities of light.”

Ask people to describe a Georgia O’Keeffe painting, and most will mention prominent flowers, striking colors, New Mexico landscapes and cows’ skulls. But before she made a name for herself on a national and international scale, a young O’Keeffe was filling a notebook with watercolor depictions of the Rotunda, Minor Hall, gardens and other features of the University of Virginia.

“Unexpected O’Keeffe: The Virginia Watercolors and Later Paintings,” which opens Friday at The Fralin Museum of Art at the University of Virginia, gives visitors an unprecedented glimpse of paintings she made during her time studying and teaching art in Charlottesville about a century ago. Among its treasures are watercolor studies of what were then new features on the UVa Grounds, such as the new Law Building, known these days as Minor Hall.

Between 1912 and 1916, O’Keeffe, who’d already been working as a commercial artist, spent her summers in Charlottesville with her mother, who ran a boarding house that still serves as student housing; these days, it’s for members of UVa’s rugby team. Although UVa did not admit women at the time, women were permitted to take selected summer term classes, and O’Keeffe studied art with Alon Bement and later served as his teaching assistant.

radioIQ | wvtf

The Unexpected Georgia O'Keeffe

Oct 16, 2018

The artist Georgia O’Keeffe is remembered as a painter of Southwestern landscapes and flowers, but it turns out her early works were done at the University of Virginia where she studied and taught.  Now, UVA plans to show those as part of an exhibit called Unexpected O’Keeffe. 

As a young artist, Georgia O’Keeffe got off to a promising start in New York, but when her family fell on hard times she decided to abandon her career as an artist and return to her parents’ home in Charlottesville. Professor Elizabeth Turner says women were admitted to summer courses at UVA, and Georgia’s sisters were learning about an exciting new way to paint.

Famed artist Georgia O’Keeffe studied at the University of Virginia every summer from 1912 to 1916, taking courses designed for art teachers and teaching some classes of her own.

When she arrived, however, she was nearly ready to give up on art, lacking inspiration and struggling to work through her family’s financial struggles and, later, her mother’s death.

It was on these Grounds that the clouds slowly began to lift for her.

This was where she began her early experiments in abstract painting, drawing the buildings and gardens that she walked past every day on her way to class in Cocke Hall on the Lawn – watercolors like the one below, sure to thrill Cavaliers today.

The Fralin Museum of Art at the University of Virginia presents “Unexpected O’Keeffe: The Virginia Watercolors and Later Paintings.” The exhibition, which opens on October 19, will be on view through January 27, 2019.

 The exhibition includes key sketches and paintings as well as other works that highlight the artist’s developing style. “This is the first time the watercolors have been on view outside the Georgia O’Keeffe Museum in Santa Fe, New Mexico,” the museum says.

“Unexpected O’Keeffe” explores the artist’s period of development which is understudied and showcases the O’Keeffe’s early attraction to Modernism and Abstraction. While in Charlottesville, using her surroundings on the Grounds of UVA, the artist worked to simplify and refine her compositions.

According to the museum, “O’Keeffe showed a dramatic shift to the ideas of Modernism. In 1912, she took a summer course taught by Alon Bement who introduced her to the revolutionary ideas of Arthur Wesley Dow, his colleague. Dow encouraged imagination and self-expression versus literal interpretation.”

This spring, the artist and activist organisation For Freedoms embarked on what it called the “largest creative collaboration in US history”—the 50 State Initiative, which aims to produce public art programmes centred around civic engagement in the lead-up to the midterm elections on 6 November. In the US’s liberal art centres, the project has found an easy entry, but even in many right-leaning states, it has attracted eager participants and helped to support existing activism. 

More than 200 institutions and almost 400 artists have joined For Freedoms’ effort. The most high-profile component is the erection of artist-designed billboards in every state, as well as Washington, DC, and Puerto Rico. This is a particular challenge in the four states that do not allow billboards: Alaska, Hawaii, Maine and Vermont. For Freedoms planned to get around the restrictions by installing banners, but finding a way to hang a large, politically charged image in public can be difficult in conservative places. That is what the artist Kate Wool, who has spent years agitating for gun-safety legislation, has found.

 

Here are some of artnet News’s highlights of museum shows opening across the United States as we kick off a new season:

28. “Unexpected O’Keeffe: The Virginia Watercolors and Later Paintings” at the Fralin Museum of Art

For the first time, watercolors by Georgia O’Keeffe are leaving her eponymous museum in Santa Fe and traveling to the University of Virginia’s art museum. In the summers from 1912–1916, the artist produced watercolor studies on the campus of UVA.

October 19, 2018–January 27, 2019; Fralin Museum of Art, 155 Rugby Rd, Charlottesville, Virginia

Fifty-two crowdfunding campaigns for a US-wide public art project that aims to bring together art and civic engagement are launching today (4 June). If successful, the non-partisan platform For Freedoms's Kickstarter campaigns—one for each state, the District of Columbia and Puerto Rico—will bring artist-designed billboards and civic-minded programming to partner institutions across the US. Led by the artists Hank Willis Thomas and Eric Gottesman, who founded For Freedoms in 2016, the 50 State Initiative is due to be held this autumn and timed to coincide with the November mid-term elections. The project is touted as potentially the largest ever public art project in the US.

Inspired by the grassroots campaigns of politicians like Bernie Sanders and Rand Paul, each of the crowdfunding projects, due to end on 3 July, has a $10 starting point for a goal of $3,000. “We’d rather get 300 people giving us $10 than two people giving us $3,000,” Thomas says.

“At the base of this [project] is a desire to increase the quality of civic conversations and inject art into public discourse,” Gottesman says. “The scale of it matches what our intentions are.” To date, over 200 museums, cultural organisations and places of learning have signed on, from the University of Alabama, Birmingham, to the Detroit Institute of Art and the Brooklyn Museum, and Thomas estimates that 300 to 500 artists will be involved.

Doug Harnsberger first saw the sketch in 2012 while searching through Thomas Jefferson’s papers: a thumbnail drawing of a circle with spokes radiating outwards.

For 200 years, the sketch was mislabeled as a skylight at the University of Virginia’s Rotunda. But Harnsberger had written his thesis on an architectural style of roofs known as Delorme domes. The sketch was the first plans for the Rotunda’s dome, he realized, setting off a yearslong effort to recreate Jefferson’s original vision.

“It’s just a beautiful, simple design,” he said. “It was in use in Europe for hundreds of years. Then Jefferson brought it to America, and for 25 years, every dome was made this way.”

This fall, thousands of billboard and lawn signs will be erected all over the country in advance of the midterms, bearing names of politicians up for election. But a new campaign by the organization For Freedoms aims to use those tools not to promote specific candidates but to galvanize debate and political participation through art. The organization has enlisted artists like Sam Durant, Theaster Gates and Marilyn Minter to create public artwork and lead town halls as part of a $1.5 million-dollar campaign.

“We are hoping to bring art to the center of public life in the lead-up to the midterms, which is where we think art should belong,” Eric Gottesman, one of the organization’s founders, said in a phone interview.

A central aspect of the effort, called the 50 State Initiative, will be a fund-raising campaign to put up billboards across the country starting in September. Fifty-two Kickstarter campaigns will seek to raise $3,000 per state plus Washington, D.C., and Puerto Rico. Dozens of artists, including the three mentioned above as well as Tania Bruguera, Trevor Paglen and Carrie Mae Weems, will contribute billboards. Mr. Paglen’s work, for example, will focus on the ethics of data collection; Ms. Bruguera will work with the Rhode Island School of Design to create a billboard there.

If you’d like to bring more art into your life but you’ve always felt intimidated by gallery settings, it’s time to head for the great indoors.

Through Sept. 30, the Fralin Museum of Art at the University of Virginia is presenting “In My Room: Artists Paint the Interior 1950-Now.” The new exhibition is taking the concept of the landscape and switching the perspective around. This time, the focus is on rooms and other indoor spaces that can offer multiple ways to engage and layers of insights to consider. And the interior you end up exploring may be uniquely your own.

“We bring our own biographies, our own experiences, to the art,” said Matthew McLendon, the Fralin’s director and chief curator.

The Fralin Museum of Art at the University of Virginia is hosting an exhibition of works titled “In My Room: Artists Paint the Interior 1950-Now.” The show runs through September 2018.

The exhibition explores how artists painted indoor spaces and the various reasons behind it. “A common genre in western painting, landscape painting is understood as a window to the world according to the artist and theorist Leon Battista Alberti and his ideas about the picture plane known as Alberti’s Window,” the museum says. “But, it was after the Industrial Revolution that modern art turned to the interior. Artists started depicting windows into other rooms instead of showing the outside world in their artworks,” it added.

The show raises questions about this shift in the mode of representation and tries to address them. “Painting indoor spaces continued throughout the 20th century for a variety of psychological, interpersonal and biographical reasons. The display takes into account various factors such as architecture, design, and still-life and also the persistent theme of the artist’s studio,” the museum writes. This change from the exterior to the interior also evolved over time. According to the museum, “the show also puts forth questions such as whether social and political events on a global scale affect representations of a space, or whether the presentation of space is more indicative of the artist’s mind or state-of-mind.”

CHARLOTTESVILLE, VA.- The Fralin Museum of Art at the University of Virginia presents In My Room: Artists Paint the Interior 1950-Now, May 18-Sept. 30, 2018. The exhibition looks at the inverse of the landscape: the interior. 

Landscape painting, a common genre in western painting, is understood as a window onto the world thanks to artist and theorist Leon Battista Alberti and his ideas about the picture plane known as Alberti’s Window. After the Industrial Revolution, however, modern art erupted with the interior. Notably, modern artists began depicting windows into other rooms instead of painting views of the outside world.

“The interior space has an ability to prompt the viewer to ask questions and to view a space with new perspective,” said Matthew McLendon, director and chief curator of the Fralin Museum of Art. “In an untitled work by Alex Katz, for example, a bed in disarray invites the questions whether someone has left in a rush, to where and why? Interior with Doorway by Richard Diebenkorn uses light and shadow in juxtaposition creating a sculptural feel to everyday objects.” 

Incollect.com

Events Of The Week

May 15, 2018

EXHIBITIONS

In My Room: Artists Paint the Interior, 1950-Now
May 18-September 30, 2018

Fralin Museum of Art, University of Virginia
http://uvafralinartmuseum.virginia.edu

Landscape painting, a common genre in western painting, is understood as a window onto the world thanks to artist and theorist Leon Battista Alberti and his ideas about the picture plane known as Alberti’s Window. After the Industrial Revolution, however, modern art erupted with the interior. Notably, modern artists began depicting windows into other rooms instead of painting views of the outside world.

envision

Natural Beauty

Apr 13, 2018

When most people think of research, they think of scientists in white lab coats, determinedly peering into microscopes and stirring beakers full of brightly colored liquid. Thanks to an $815,000 grant from the Andrew W. Mellon Foundation, UVA students and scholars are now enjoying increased opportunities for study in the arts.

The grant—which is the result of a cooperative effort between the College of Arts & Sciences, The Fralin Museum of Art, and the Kluge-Ruhe Aboriginal Art Collection—provides four years of funding for the study of the indigenous arts of Australia and the Americas at UVA. The University has contributed an additional $886,000, bringing the total investment over four years to $1.7 million.

Although the initiative is large and multifaceted, the focal point is a new, interdisciplinary research center dedicated to the study of these art forms. In addition to centralizing the University’s research efforts, the center provides students with new opportunities for experiential learning, including object-oriented classes and internships.

Standing in The Fralin Museum of Art at UVA, surrounded by paintings from across the 19th and 20th centuries, you notice something about the passage of time in the museum’s current exhibition, “Feminine Likeness: Portraits of Women by American Artists, 1809-1950.” There’s a subtle shift as years slip by, a transformation in the representation of femininity and codes of womanhood.

But if the work makes it seem that artists do the representing, you’re only seeing half the story. “It was always a give and take between artists and the people being painted,” says curator Jennifer Camp. “A lot of these portraits reflect the self-representation of the sitter as much as the representation or painting by the artist.”

In other words, the faces of women on display don’t belong exclusively to those who wield the brush. It’s a dialogue that echoes changing norms on both sides of the canvas.

CHARLOTTESVILLE, Va. — Thomas Jefferson was never a trained architect. In the American Colonies in the 1760s, there were none to study under.

But, with pen and ink and newly invented graph paper, Jefferson sketched and designed houses, universities and public buildings that would form the foundation of the new Republic.

His architectural legacy is profiled in a new exhibit, “From the Grounds Up: Thomas Jefferson’s Architecture & Design,” at the University of Virginia’s Fralin Museum of Art.

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