Jenny Kemp has been exploring the possibilities of organic abstraction for more than a decade. This fertile territory has afforded her the visual language and conceptual means to examine a collection of ideas, including biology and histories of modern abstraction. In Kemp’s vibrant paintings, space and light are built through the placement of intricate parallel lines that shift slowly in hue and intensity.
This exhibition will feature over thirty historic, scientific instruments from the Union College Permanent Collection, juxtaposed with six contemporary female artists working with scientific themes. By presenting connections between historic fields of inquiry and the themes used by the contemporary artists, this exhibition seeks to emphasize shared impulses found in the humanities and sciences, then and now.
Artist Laini Nemett works with cardboard models, collage, and large-scale oil paintings to create architectural environments that explore the idea of home in the exhibition, When We Lived Here. Nemett describes her work as a response to, “personal histories as recalled by the buildings that house them…I collage and collapse planes to conjure the passing of time and the generations of lives lived between the aging walls.”
In the exhibition, Radical Kingdoms, contemporary works are juxtaposed with early practitioners’ works, such as John James Audubon’s The Viviparous Quadrupeds of North America, and lesser-known artists of the time, such as J. Sowerby, Mary Peart, and Georg Dionysius Ehret, in order to highlight artistic similarities and formal shifts away from traditional modes of presentation.
Charles Steckler is a draughtsman, stage designer, and collage and diorama artist. He combines many different means of manipulating materials, such as assemblage, painting, printmaking and photography to create his artwork.
Repetition has been used as a concept in many forms of intellectual endeavor, from Freud’s Repetition Compulsion theory to Gestalt’s grouping principle. The arts have been no less fascinated with ideas of repetition, as heard in Bach’s Goldberg Variations or seen in Eva Hesse’s and Sol LeWitt’s sculptural works.
Haiga is a unique genre of art, which began in Japan, combining painting, poetry (haiku), and calligraphy. It appears as an intimate, small painting made for a page of an album, a sketch made on a fan that you can give to a friend, or a painting made on a very small piece of paper that you can present to a dear person. Haiga is like a musical miniature: an impromptu or a nocturne of Chopin.
The Mandeville Gallery is pleased to welcome the works of 26 student artists for this year’s Student Invitational. The exhibition features a selection of student artwork from this academic year, and includes works in a variety of media, including painting, drawing, printmaking, photography, sculpture, and digital art and film.
This exhibition touches on developments in my work over a span of 25 years. It is not a retrospective in the usual sense of the word because most of the work was completed in the last three years, and I continue to produce art, sometimes reconfiguring earlier compositions. Time takes on a meaning that differs from standard intervals. Tenses constantly shift.
Celebrating the humanities and the newly renovated Karp Hall, the Mandeville Gallery presents a three-part exhibition exploring intersections between the humanities and the visual arts during winter term 2015. The show features contemporary artists working in video, drawing, installation, film, bookmaking, photography and printmaking.