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Patrick Montero

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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.

Black Atlas
Monday, March 5, 2018

Black Atlas

Through March 9, 2018
Cantor Fitzgerald Gallery

Drawing on the photographic archives of the Museum of Ethnography in Stockholm, Jacqueline Hoàng Nguyễn's exhibition turns the ethnographic gaze onto itself, reflecting upon the administration of racialized labor for transporting artifacts from across the world to the collections of European museums. Details »

Detail from The Administration, 2016 Inkjet prints on archival paper. Courtesy the artist and Museum of Ethnography, Stockholm.

A family of 7 seated together
Friday, February 2, 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

February 2–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.

Black Atlas
Friday, January 26, 2018

Black Atlas

Through March 9, 2018
Cantor Fitzgerald Gallery

Drawing on the photographic archives of the Museum of Ethnography in Stockholm, Jacqueline Hoàng Nguyễn's exhibition turns the ethnographic gaze onto itself, reflecting upon the administration of racialized labor for transporting artifacts from across the world to the collections of European museums. Details »

Detail from The Administration, 2016 Inkjet prints on archival paper. Courtesy the artist and Museum of Ethnography, Stockholm.

Futureproof Exhibit logo and graphic
Friday, December 15, 2017

Futureproof

Through December 17, 2017
Cantor Fitzgerald Art Gallery

The artists in Futureproof engage with the many malleable interpretations of futureproofing, drawing from both the legacy of military and corporate scenario planning and the use of semi-fictionalized artifacts or archives as "proof," or evidence, of alternate timelines or futures yet to come. Details »

Futureproof runs through December 17, 2017 in the Cantor Fitzgerald Gallery and is supported by the the John B. Hurford ’60 Center for the Arts and Humanities.

All Our Sorrows Heal
Monday, December 11, 2017

All Our Sorrows Heal

Reclaiming the Past at East End and Evergreen Cemeteries, Richmond and Henrico County, Virginia

Through December 15, 2017
Magill Library, Sharpless Gallery

The photographs in this exhibit by Brian Palmer and Erin Hollaway Palmer document the labor that uncovered more than 3,000 headstones at two historic African American cemeteries in Virginia that had effectively been abandoned for years. Details »

A volunteer works to clear brush at East End Cemetery. Photo: Brian Palmer.

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