As Union College embarked on the new building and renovation project for our Science and Engineering departments last year, the moment seemed well-suited to re-examine the historic scientific instruments held in the Union College Permanent Collection. This culminated with the exhibition Probability & Uncertainty, featuring more than 30 instruments, juxtaposed with the works of six contemporary female artists creating with scientific themes.
In conjunction with the Mandeville Gallery’s new exhibition, Probability & Uncertainty, visitors will have the opportunity to take part in a Maker Workshop with exhibiting artist Nettrice Gaskins. Participants will make a simple machine from found objects (ex. Rube Goldberg Machine) or an apparatus and method for creating optical illusion effects (ex. Pepper’s Ghost).
Concurrently with the Mandeville Gallery’s new exhibition, Probability & Uncertainty, which features historic scientific instruments from the Union College Permanent Collection juxtaposed with contemporary female artists working with science-related themes, exhibiting artist, Nettrice Gaskins, will be invited to campus for an artist talk.
In conjunction with the Mandeville Gallery’s new exhibition, Probability & Uncertainty, there will be a demonstration of a select few Olivier Models from the Union College Permanent Collection. Please join us as Jeff Jauregui, Assistant Professor of Mathematics, demonstrates how the models move and explains their purpose in the study of mathematics.
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.”
Read reviews of Mandeville Gallery Exhibitions.
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.
