The Martha and Robert Fogelman Galleries of Contemporary Art

The Martha and Robert Fogelman Galleries will remain temporarily closed outset March xviii, 2020, in response to COVID-nineteen. All forthcoming exhibitions, events, and programs volition be suspended until further notice. We will proceed yous posted every bit any changes develop.

Spring 2020 Exhibitions

TO WEAVE Blueish (POEMA AL TEJIDO)

On view: January 31 – March 13
Opening reception: five-7 pm, January 31
Hellen Ascoli Tool as Place operation, January 28, 11:30 am, ACB Courtyard
In Conversation: Hellen Ascoli (artist) and Laura August (curator): Jan 30, 7 pm, ACB 310
Exhibition Walkthrough and Java with Curator Laura Baronial (in Spanish and English): February 1, one:30 pm, Fogelman Galleries
Artists Hellen Ascoli and Antonio Pichillá will likewise be present to speak about their work

All events and programs gratis and open to the public.

In the exhibition To Weave Blue (Poema al tejido), vi contemporary artists and poets from Guatemala present work related to weaving. They consider the production of textiles as a site for knowledge, linguistic communication transmission, and cultural tradition within Maya communities. Seen together, these artists' works in textile, video, poetry, performance, and installation encompass means of understanding history, relationships, legacies of violence, and survival. The works also evoke non-Western models for art's place in everyday life, offering a narrative that exists independent of Western visual art's traditions.

Many exhibitions in the United States and abroad take presented historical work past Maya people and weavings from Maya communities within ethnographic frameworks. This reflects a U.South. view of the Maya equally an extinct culture, rather than a vibrant contemporary culture with numerous communities across the Americas. In dissimilarity, this is the first exhibition in the U.Southward. that presents Maya artists as contemporary producers of conceptual art. To offer an approach that resists a sure cultural and historical flattening, To Weave Blue is framed as a collaborative poem or a song written to honor weaving and its ways of describing the world: Poema al tejido is a Verse form for the Weaving. The exhibition thus leaves open up space between different ideas, assuasive them to resonate with each other gently, rather than attempting to define gimmicky Mayan practice.

As its championship suggests, To Weave Blue besides considers the color blue. Similar 'weaving,' the give-and-take 'bluish' has many meanings in the U.S., including sadness and melancholy. In Guatemala, a light sky blue is the national color. A deeper bluish pigment, made from the mixture of indigo, clay, and the incense copal, has been used in Maya communities for more than than a 1000 years. The exhibition considers how a person's identity in a nation might be tied to sorrow and loss; from 1960 to 1996, an internal conflict raged in Guatemala, killing more than 200,000 people. Multiple acts of genocide were committed by the national war machine confronting Maya communities. In calorie-free of this, the many shades of blueish in the exhibition might also suggest a human relationship not only to profound grief but also cultural methods of survival. And in this context, weavings are signs of resistance, as much as they are objects of comfort and daily utilise.

The exhibition includes piece of work by contemporary Maya artists Edgar Calel (Kaq'chikel Maya from Chixot – San Juan Comalapa), Manuel Chavajay (Tzu'tujil Maya from San Pedro La Laguna, Sololá), Negma Coy (Kaq'chikel Maya from Chixot – San Juan Comalapa), Sandra Monterroso (Qeq'chi' Maya based in Guatemala City), and Antonio Pichillá (Tzu'tujil Maya from San Pedro La Laguna, Sololá). The exhibition also includes work by Guatemalan weaver, educator, sculptor, and researcher Hellen Ascoli (Republic of guatemala City / Madison, WI). To Weave Bluish (Poema al tejido) is curated past Laura August, a U.Due south.-born author and curator based in Republic of guatemala City and Houston, TX.

Image courtesy of the artist.
Scrolling Images: Antonio Pichillá, Abuela (Grandmother), 2017. Threads, 51 x 33 ane/ii x 2 in.
Manuel Chavajay, Ruk'ayeewaal, 2015. Yet from video intervention, 3:35 min. Image courtesy of the creative person.
Edgar Calel, At nu jukukempe / Te traigo arrastrando / I Drag You With Me, 2016. Still from video performance, ii:07 min. Image courtesy of the artist.

Above images: Antonio Pichillá, United nations personaje llamado Martín (A character named Martín), 2018. Rock, wax, and handmade cloth. 35 10 100 x 25 cm. Epitome courtesy of the artist.
Hellen Ascoli, Tool equally Place, 2019. Archival photograph from weaving research. Image courtesy of the artist.

MFA THESIS EXHIBITION: TRAVIS WASHINGTON
BFA THESIS EXHIBITION PART I

March 27 – Apr 10
Opening reception: March 27, 5-seven pm

BFA THESIS EXHIBITION PART Two

April 17 – May 1
Opening reception: April 17, five-7 pm

GRAPHIC DESIGN SENIOR EXHIBITION

May vii, 6-8 pm

ELISE MCKENNA WILSON

ELISE MCKENNA WILSON: Almost-Face up

May 15 – June 5
Opening reception: May 15, v-7 pm

Wait And See: Graphic Design Senior Show

Dec 12, 2019
six:00 - 8:00 PM

A one-dark only exhibition of works past graduating Academy of Memphis Graphic Pattern students: Kristin Baltimore, Danielle Barron, Royale Davis, Thomas Davis, Cullen Jackson, Kala McCrosky, Lisa Miller, Breanna Parker, Kathryn Perkins, Meredith Simmons, Thomas Steele, Joseph Waterbury, Samantha Welch, and Tiara Wilson.

One WORD: UNIVERSITY OF MEMPHIS BFA THESIS EXHIBITION

November 15 - December half dozen, 2019
Opening Reception: November 15, five-seven pm
Gallery Talks: November 19, 11:30 am
November 21, xi:xxx am

One Word, Office II of the Fall 2019 BFA Thesis Exhibition, featuring the work of six graduating seniors of The Academy of Memphis Section of Art: Ashlyn Creagh-Martinez, Julie Darling, Emily Hogan, Colt Houston, Kayla Owens, and Kylon Wagner. The exhibition is a compilation of works in a variety of media including photography and sculpture. The presentation celebrates the completion of their undergraduate studies and the culmination of each student's artistic exploration and experiences.

The exhibition volition be on view in The Martha and Robert Fogelman Galleries of Contemporary Art from November fifteen - December 6, 2019. The students will discuss their work in gallery talks on November nineteen at 11:xxx am and November 21 at 11:30 am in the Fogelman Galleries. All events are gratuitous and open to the public.

Hold the Door: University of Memphis BFA Thesis Exhibition

October 25 – Nov 8
Opening Reception: Friday, October 25, v-7 pm
Gallery Talk: Oct 29, xi:30 am

Bring together us for the opening reception of "Hold the Door," Office I of the Fall 2019 BFA Thesis Exhibition, features the piece of work of iv graduating seniors of The University of Memphis Department of Art: Ivy-Jade Edwards, Jeff Carter, Robert Fairchild 4, and Nicholas Svoboda. The exhibition is a compilation of works in a variety of media including painting and sculpture where colour is paramount. The presentation celebrates the completion of their undergraduate studies and the culmination of each pupil's artistic exploration and experiences.

The exhibition will be on view in The Martha and Robert Fogelman Galleries of Gimmicky Art from October 25th to November eighth. The students will discuss their work in a gallery talk on Oct 29th at xi:thirty am. All events are costless and open to the public.

MFA Thesis Exhibition: Christopher Davis
Chatter in the Skull

October 25 – November 8
Opening Reception: Friday, October 25, 5-seven pm

Chatter in the Skull, the MFA Thesis Exhibition of Christopher Davis, is a phrase used by philosopher Alan Watts in reference to over-thinking and its relationship to reality: "'Chatter in the skull'...perpetual and compulsive repetition of words...of reckoning and computing." Equally an artist, Davis finds himself in this "perpetual and compulsive repetition of words." Many of the words and phrases in his visual vocabulary are borrowed from the unique mural of Southern Illinois. He has been repeating some of these forms and phrases for the better part of two decades—assembling fragments of dazzler into monuments, fetishes, markers, and relics. He constructs objects from humble, easily recognizable materials. Like the landmarks that inspire him, these markers appoint the viewer with the truths found in the formal relationships betwixt objects and materials. He presents the viewer a window to contemplate the beauty that compels him to keep looking.

The works in Chatter in the Skull include assemblages that have been cast to create relief sculptures and small totems, likewise as larger totems/markers assembled from steel, bandage objects, and woods. Smaller cast wall pieces draw the viewer for a more intimate feel while larger vertical pieces stand up over the viewer, competing for dominance of the space.

Christopher Davis was born in a double-wide trailer in Southern Illinois. He was raised as a member of a religious fellowship where he too attended school through the 12th class. These early on regional, economic, and philosophical influences have given him a unique lens through which he filters the world around him. He received a Bachelor of Fine Arts in sculpture from Southern Illinois University in 2004, a Master of Arts from Arkansas State University in 2012, and will graduate in Dec 2019 with a Master of Fine Arts from the University of Memphis.

Image: Christopher Davis, The Navigator, The Pilot, Her Favorite, 2018. Cast aluminum. 24 x 24 in.

GRAPHIC Pattern SENIOR EXHIBITION

December 12, six-eight pm

hendrickwheagat.blogspot.com

Source: https://www.memphis.edu/fogelmangalleries/

Share this post