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Protest march
Monday, September 17, 2018

BRACEROS Photographed by the Hermanos Mayo

Photographed by the Hermanos Mayo

Through September 24, 2018
Create Space 006, VCAM

A specter is haunting the world—the specter of immigration. In this exhibit we explore the experience of emigrating, as it was rendered by photographers who had also been uprooted. Details »

This photo from the exhibit was taken by Los Hermanos Mayo, a photographic collective active in Mexico during the middle of the 20th century.

A rhinestone encrusted crane in a colorful landscape
Saturday, September 8, 2018

Hee Sook Kim: Invitation to Paradise

Through October 12, 2018
Cantor Fitzgerald Gallery

In the exhibition Invitation to Paradise, Hee Sook Kim, with her eye for beauty, fills the canvas with motifs from Korean folk paintings and, thus, invites the viewers into a meditative healing space. Details »

Paradise Between 8 (detail), 2016, oil, acrylic, rhinestones on canvas.

A rhinestone encrusted crane in a colorful landscape
Friday, September 7, 2018

Hee Sook Kim: Invitation to Paradise

Artist’s Talk & Opening Reception

Friday, September 7, 2018
4:30—7:30 p.m.
Cantor Fitzgerald Gallery

In the exhibition Invitation to Paradise, Hee Sook Kim, with her eye for beauty, fills the canvas with motifs from Korean folk paintings and, thus, invites the viewers into a meditative healing space. Details » 

Paradise Between 8 (detail), 2016, oil, acrylic, rhinestones on canvas.

Collage from steel engraving
Thursday, April 26, 2018

Unwilling: Exercises In Melancholy

Closes April 27, 2018
Cantor Fitzgerald Gallery

Resisting the historical definition of melancholy as an affliction that creates disorder or inactivity, this exhibition reimagines passive sadness as powerful refusal, a conscious (or unconscious) “standing aside,” a willful production of generative failures and resistant potencies. Details »

Noa Giniger, The Sorrow the Joy Brings, collage from steel engraving (Napoleons Grab, 1838), 2012. 16.5 x 21 cm. (publication detail). Courtesy of the artist.

A family of 7 seated together
Tuesday, April 17, 2018

A Survey of Color Photography from its Prehistory to the Present Day

A Survey of Color Photography from its Prehistory to the Present Day

Through April 29, 2018
Atrium Gallery, Marshall Fine Arts Center

A diverse group of photographers, photographs, and processes from the Daguerreian era (1839 to 1855) to today’s digital era take viewers on a tour of color photography’s history, demonstrating how color photography has grown to become the norm when it was once the exception. Details »

Jack Whinery, Homesteader and His Family, Pie Town, New Mexico, October 1940 [1940 (printed ca. 1985)], Russel Lee, dye transfer print on paper.

Collage from steel engraving
Wednesday, March 21, 2018

Unwilling: Exercises In Melancholy

March 23—April 27, 2018
Cantor Fitzgerald Gallery

Resisting the historical definition of melancholy as an affliction that creates disorder or inactivity, this exhibition reimagines passive sadness as powerful refusal, a conscious (or unconscious) “standing aside,” a willful production of generative failures and resistant potencies.   Details »

Noa Giniger, The Sorrow the Joy Brings, collage from steel engraving (Napoleons Grab, 1838), 2012. 16.5 x 21 cm. (publication detail). Courtesy of the artist.

A family of 7 seated together
Monday, March 12, 2018

A Survey of Color Photography from its Prehistory to the Present Day

A Survey of Color Photography from its Prehistory to the Present Day

Through April 29, 2018
Atrium Gallery, Marshall Fine Arts Center

A diverse group of photographers, photographs, and processes from the Daguerreian era (1839 to 1855) to today’s digital era take viewers on a tour of color photography’s history, demonstrating how color photography has grown to become the norm when it was once the exception. Details »

Jack Whinery, Homesteader and His Family, Pie Town, New Mexico, October 1940 [1940 (printed ca. 1985)], Russel Lee, dye transfer print on paper.

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