Art Department
 
   
   
   
 
 
 
 

Images from the department

Events Archive

2009-10

September 1– December 5, 2009, noon- 6 p.m., Tuesday – Sunday,
Douglas F. Cooley Memorial Art Gallery

THE LANGUAGE OF THE NUDE:
FOUR CENTURIES OF DRAWING THE HUMAN BODY
Old Master Drawings from the Crocker Art Museum
http://www.reed.edu/gallery/

September 6, 6:30 p.m., Douglas F. Cooley Memorial Art Gallery

BRODY CONDON: WITHOUT SUN MODIFICATION

Condon stages three successive performances beginning at 6:30 pm. Condon explores the human body’s gestures in extremis, creating visionary explorations of the body in the throes of psychoactive and transformative events.
Brody Condon
http://www.reed.edu/gallery/

September 6, 6:30 p.m., Douglas F. Cooley Memorial Art Gallery anteroom

ANTOINE CATALA: VIDEO PORTRAITS FOR VERTICAL TELEVISIONS

Catala uses digital and analog technology to explore the human body as an ecstatic, revelatory organism, synthesizing the corporeal and the technological.
Antoine Catala
http://www.reed.edu/gallery/

Tuesday, September 15, 6:30 p.m., Psychology 105 lecture hall

Curator's Talk

Crocker Art Museum Curator William Braezeale lectures on the exhibition, refreshments served, followed by late viewing hours at the Cooley Gallery.

Tuesday, September 29, 7 p.m., Art Building gallery

Kaspar Locher Summer Creative Scholarship presentations

Thursday, October 8, 7 p.m., Vollum lecture hall

Anne Wilson

Monday, October 26, 7 p.m., Vollum lecture hall

Renowned Renaissance Art Historian David Rosand, Meyer Shapiro Professor of Art History, Columbia University, presents "Things Never Seen: Graphic Fantasy and the Dreaming Draftsman."
View artist website

Wednesday, October 28, Kaul Auditorium

Lunch with art majors.

Monday, November 2, 6:30 p.m. , Douglas F. Cooley Memorial Art Gallery

Calling All Souls

Join Cooley Gallery curator Stephanie Snyder and PICA Visual Art Program Director Kristan Kennedy for a conversation about the contemporary projects by Brody Condon and Antoine Catala.

Wednesday, November 4, 7 p.m., Psychology 105 lecture hall

Susie Lee

Thursday, November 12, 5:30 p.m., Psychology 105 lecture hall

Kenneth Haltman

Wednesday, February 24, 7 p.m., Vollum lecture hall

Terry Winters public lecture (Ostrow Distinguished Visitor)

 

2007-08

Lucy Orta posterTuesday, February 5, 2008, 7 p.m., Vollum lecture hall

Lucy Orta

Listen to the lecture
Download poster

Saturday, March 8, 2008, 4 p.m., Psychology 105 Auditorium

Professor Martin Powers, the Sally Michelson Davidson Professor of Chinese Art and Visual Cultures, The University of Michigan
"China, Roger Fry, and the Cultural Politics of the Brushstroke"

Martin Powers posterThe term "modernism" in art is often conflated with "Western": modernism IS "Western" modernism. Either term calls to mind the 19 th century rejection of European Classicism. No longer hindered by Classical rules of illusionism and finish (as the story goes), modern artists were free to pursue personal expression by manipulating the formal and material properties of paint, especially color and expressive line. The chief architect of modernist theory in the 20 th century was Roger Fry, but Fry, a socialist, designed his theory to be global. His goal was to replace parochial European theories of ideal beauty with an aesthetic system at once modern and universal. Since Fry's modernism advocated the rejection of post-Renaissance artistic values, he didn't conceive modernism as especially "Western." Indeed, he advocated the abandonment of all "that cumbrous machinery of merely curious representation" which modernist critics associated with the western tradition at that time As an alternative Fry promoted a variety of Asian theories and practices, such as the calligraphic line and the gestural brush stroke. Yet today, formalism and its artistic values are universally accepted as an embodiment of modern, "Western" values. How did Euramerican historians manage to cleanse Fry's hybrid theories of all ethnic impurities? This paper will survey the cultural politics of modernism to better understand how self-referential artistic practices developed across Eurasia came to be configured as emblematic of "the West.

Thursday, March 27, 2008, 1-4 p.m., Art Building 201

Mary Weatherford, Painter
Seminar

Thursday, April 3, 2008, 5:30 p.m., Bio 19

Professor Bryan J. Wolf, Jeanette and William Hayden Jones Professor in American Art and Culture at Stanford University
"Teapots and Air Pumps: Science, Sentiment and Painting in the 18th Century."

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