Curated by Osi Audu
January 24 – April 15, 2018
Alice and Horace Chandler Gallery and North Gallery
Odili Donald Odita, Metropolitan, 2017, acrylic on canvas, courtesy the artist and Jack Shainman Gallery
The artists in Abstract Minded: Works by Six Contemporary African Artists, all born and/or raised in countries in Africa, produce work thematically or conceptually connected to the continent by using abstraction as a way of engaging in a broader conversation about art. Abstraction is as indigenous to African visual culture as it is to other parts of the world. The exploration of purely formal elements is not only readily evidenced in the rich traditions of textile design and other decorative practices from the continent, but is also present in the stylization of much figurative work from Africa. In our increasingly global existence of the 21st century the world is becoming less and less exotic, and is being experienced more as a sphere of commonalities of being, dreams, fears and aspirations. This exhibition is not simply about looking for the African in African art, it is also about looking at what some African artists are doing today in order to get a fuller sense of the current “state of things” in contemporary African art.
Osi Audu / Nicholas Hlobo / Serge Alain Nitegeka / Odili Donald Odita / Nnenna Okore / Elias Sime
Organized by Michaela Mosher and The N’Namdi Center for Contemporary Art, Detroit, MI.
Curated by Nina Stritzler-Levine
February 10 – July 15, 2018
Morgan Anderson Gallery and Howard Greenberg Family Gallery
Steven Holl Architects, Exploration of IN House (interior), 2015–2016, photograph, copyright Paul Warchol, Steven Holl Architects
The Dorsky Museum’s Hudson Valley Masters series continues in February 2018 with Steven Holl: Making Architecture, an exhibition examining the work of one of the world’s foremost architects. Architect Steven Holl has realized numerous commissions from private houses to major urban projects. Despite the demands of a highly successful office, he has managed to maintain the integrity and quality of his work by resisting corporatization. His practice reveals an inextricable link between his art and architecture. Holl draws with watercolors everyday, a solitary and hermetic practice from which each of his projects emerges. He also develops conceptual ideas in sculpture. Steven Holl: Making Architecture will reveal Holl’s intricate and distinctive process of making architecture through approximately one hundred models and related sketches and other studies created for nine recent projects, among them the Arts Building at Franklin and Marshall College, Pennsylvania; The Kennedy Center Expansion, Washington D.C.; the Museum of Fine Arts, Houston; and Maggie’s Cancer Care Center in London.
Curated by Reva Wolf
February 10 – July 15, 2018
Sara Bedrick Gallery
Andy Warhol, Elizabeth Saltzman and Unidentified Woman, ca. 1985, gelatin silver print, collection Samuel Dorsky Museum of Art, gift of The Andy Warhol Foundation for the Visual Arts, Inc., The Andy Warhol Photographic Legacy Program, © The Andy Warhol Foundation for the Visual Arts, 2008.019.127
Andy Warhol was highly attuned to our social practice of using celebrations to mark anniversaries—whether of births, deaths, or centennials, and whether of people, places, or things. Marking Time: Andy Warhol’s Vision of Celebrations, Commemorations, and Anniversaries is the first exhibition to explore Warhol’s insights into the social and personal significances of such time markers. Among the works included in the exhibition are prints occasioned by the centennial of the Brooklyn Bridge and the five-year anniversary of Kennedy’s assassination, Polaroid photographs of holiday motifs and that record feminist milestones, black and white photographs of birthday celebrations, and a work in plastic marking the ten-year anniversary of the fabled Leo Castelli Gallery. Marking Time is part of Warhol x 5, a series of exhibitions in 2018 organized by five university art museums in the region; drawing upon each other’s collections, each museum focuses on a different theme, and all feature works donated by the Andy Warhol Foundation for the Visual Arts.
Curated by Wayne Lempka
Milton Avery, Card Players, 1944, oil on canvas, gift of Mr. & Mrs. Roy R. Neuberger, 1954.002
From its humble beginnings in the 1950s, the permanent collection of the Samuel Dorsky Museum of Art (formerly known as The College Art Gallery) has grown to comprise roughly 6,000 objects spanning over 4,000 years. While many individuals have been responsible for the increase in the number of objects accessioned into the collection, it was through the initial efforts of both the University’s Faculty Wives Club and the Arts & Crafts Society that a permanent collection was established on campus. When one considers that the few hundred objects which initially formed the core of the permanent collection in the 1950s, have grown to comprise approximately 6,000 objects, one cannot help but reflect upon the diligent efforts and the extreme generosity of a vast number of patrons over the last six decades.
Curated by Anastasia James
February 10 – July 15, 2018
Barbara Morgan, Martha Graham – American Document (Trio), 1938, printed ca. 1980, gelatin silver print, gift of Howard & Ellen Greenberg, 2008.035.481
Barbara Morgan (1900-1992) was an American photographer best known for her photographs of the modern dance movement from the 1930s and 1940s that display a physical and psychological energy in their evocative richness. She was also a co-founder of the photography magazine Aperture. Morgan was an early member of the Photo League in New York, a group whose members included Berenice Abbot, Walter Rosenblum, Aaron Siskind, Arthur Leipzig, and Lisette Model, among many others. In addition to photography, Morgan also worked in the mediums of drawing, printmaking, painting and watercolor and her works were exhibited widely. Featured in this exhibition are works from two of Morgan’s most celebrated bodies of work: her dance photographs and photomontages.