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SLUMA Exhibitions

Modes of Expression: Representational, Abstract and Non-Objective Art Selections from the Permanent Collection


 March 1, 2019- July 28, 2019
 
Modes of Expression opens with an opening reception at SLUMA on Friday, March 1, 2019 from 5-8 p.m.

Modes of Expression presents a select group of artworks from the permanent collection of the Saint Louis University Museum of Art. The chronological display of selected artworks focuses on representational, abstract, and non-objective art as modes of expression, from the late nineteenth century to today.

The exhibition begins with two representational artworks, the portraits of Martha Ann Payne Turner and Lewis Turner painted by George Caleb Bingham (1811-1879) in the late nineteenth century. They are followed by a landscape by Camille Corot, the most influential of all French landscape painters of the nineteenth century, and a print by Mary Cassatt, one of the foremost nineteenth-century American artists.

Modernism, which arrived with the first of the major avant-garde movements in European twentieth-century art, lasted until the 1970s. This period, marked by two of the most destructive wars in history, witnessed a development of art movements and art styles at an unprecedented rate. Artists experimented with subject matter and modes of expression which reflected their inner visions as alternatives to external realities, and set out in many divergent directions. This explains why some movements were unfolding concurrently, and in a nonlinear fashion. The diversity of perspectives is illustrated with artworks by Georges Braque, Pablo Picasso, Alexej Jawlensky, Vassily Kandinsky, Fernand Léger, Sonia Delaunay, Natalia Goncharova, Jean Arp, Laszlo Moholy-Nagy, André Masson, Max Ernst, Henry Moore, Giorgio de Chirico, René Magritte, Paul Delvaux, Alberto Giacometti, and others.

The 1970s marked the beginning of Postmodernism, a reaction against the structures of modernism. Characterized by concurrent developments of styles that expanded the traditional boundaries of art, it opened up opportunities of exploration for future artists. One of the main characteristics of Postmodernism was the dissolving of boundaries between high and popular culture. Twenty-first century art echoes the postmodern tradition but characteristics of globalization have started to emerge.

The permanent collection is the result of a sustained commitment of University donors, who, throughout the years, have supported the Saint Louis University Museum of Art in enhancing its collection of artworks and artifacts. This collection, at times individually and certainly collectively, has educated Saint Louis University and enriched the larger St. Louis community.

The Civil War Imagined and Real

September 28, 2018 – May 26, 2019

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Pius XII Memorial Library, Second Floor
Saint Louis University
3650 Lindell Blvd, Saint Louis, MO 63108
 
The exhibition is free and open to the public. Please sign in at the circulation desk on the first floor of the library.
 
Pius XII Memorial Library hours are available at
http://lib.slu.edu/about/hours.php
 

Timothy and Jeanne Drone’s recent gift of prints and artifacts serves as the inspiration for The Civil War Imagined and Real. Their continued support inspires the imagination and enhances the learning of SLU students in a variety of disciplines. The exhibition The Civil War Imagined and Real, which will open on September 28, 2018 (6p.m. – 8p.m), will offer a great opportunity for multidisciplinary engagement. Activities such as lectures, tours, community partnerships, and interactive media projects related to the exhibition create opportunities for students of all ages to expand their knowledge.

The exhibition includes prints by Kurz & Allison, Currier & Ives, and others, which offer a wide range of images that captured the public’s imagination. In addition, images from the Library of Congress and artifacts from SLU Medical Library illustrate the forgotten legacy the war had on medical advancements and public health. The images from the Library of Congress also illustrate technological advancements, such as aerial reconnaissance, the telegraph, long range weapons, the Minie bullet, the Gatling Gun, ironclad warships, submarines, and torpedoes.

 In addition to the prints in the The Civil War Imagined and Real exhibition, Timothy and Jeanne Drone gifted artworks by notable regional artists, such as George Caleb Bingham, Thomas Hart Benton, Joe Jones, Karl Bodmer, George Catlin, and many Mississippian and Native American artifacts. 

Race and Representation: Euro-American Depictions of Native Americans and Their Cultures

December 7, 2018- May 26, 2019

The Bear Dance by George Catlin

The Bear Dance
John McGahey (English, b. 1817) after a painting by George Catlin (American, 1796-1892)
No. 18 from Catlin’s North American Indian Portfolio: Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America by George Catlin
1844 
Hand-colored lithograph
Gift of Timothy and Jeanne Drone, 2018


Race and Representation: Euro-American Depictions of Native Americans and Their Cultures is a joint effort of the art history course ARTH 4900 Research Methods and the Saint Louis University Museum of Art, and was inspired by the recent donation of art and historical artifacts to the University by Timothy and Jeanne Drone. The exhibition opens at SLUMA on Friday, December 7 from 4 p.m. – 7 p.m., with a reception and light refreshments served, and will remain on view until May 26, 2019.

Race and Representation presents a selection of nineteenth-century Euro-American lithographs of portraits, activities, and rituals of Indigenous North Americans from the perspective of postcolonialism, a methodology for interpreting visual culture that brings the past and present results of imperialism to the foreground. Underscoring the reciprocating impacts that colonizers and the colonized have on each other, this exhibition seeks to provide a recontextualization of these images through the lens of Euro- and Native American relations.

Curated by associate professor of art history Bradley Bailey, Ph.D., and students Jordan Behenna, Nicholas di Napoli, Raegan Jackson, Braden Kirvida, Bailey McCulloch, Mary McGuire, Marguerite Passaglia, and Ela Sutcu, with the support of SLUMA director Petruta Lipan and registrar-collections manager Kathryn Reid, Race and Representation was conceived as an opportunity for advanced art history students to work directly with the University collection while benefiting from the experience of faculty and staff.
 

Longterm Exhibitions

Einar Hákonarson: The Auschwitz Etchings

Over the course of a 40-year career, Einar Hákonarson (b. 1945) has become one of Iceland’s most distinguished artists, with 30 exhibitions in multiple countries. He was educated at the Iceland Academy of the Arts (Iceland’s national art school) and the Valand School of Fine Arts of the University of Gothenburg in Sweden. Primarily a painter, he has also won numerous awards for his work in printmaking, and he reignited interest in the medium of printmaking in Iceland. In 1965, as a student at the University of Gothenburg in Sweden, he made a life- changing trip to Auschwitz. Reflecting on that experience, the artist stated that, “this visit [to Auschwitz] influenced me tremendously. I simply was not the same as before.”

While a large portion of his work since the Auschwitz visit has dealt with human suffering, Hákonarson made a series of six etchings between 1965 and 1967 that specifically referenced his reflections on Auschwitz. He dedicated the six etchings to the victims of the Holocaust as well as to all victims of hatred, bigotry, and injustice. Although intimate in scale, the etchings explore the spirit of the human person to persevere and triumph even in the midst of atrocities on such an epic scale. The etchings remain witnesses to humanity’s dark side, but they are also expressions of hope, that in the face of such evil, the vigilant human spirit can still triumph and prevail.

We invite you to spend time with these works, to read the artist’s own reflections on the themes in each of the prints, and to see that, in light of the many contemporary global trouble spots, the message of the Auschwitz Etchings is timelier than ever.