exhibitions
Jennifer Steinkamp: The Technologies of Nature December 18, 2021 – August 21, 2022
In “Mike Kelley,” Jennifer Steinkamp masterfully uses digital animation to examine the boundaries between reality and illusion, nature and technology, and the natural and manmade.
Jennifer Steinkamp (American, b. 1958), “Mike Kelley,” 2007. Video, dimensions variable; duration: 8-minute loop. North Carolina Museum of Art; Gift in honor of Dr. Lawrence J. Wheeler, director of the North Carolina Museum of Art (1994–present) from Julian T. Baker Jr., Rhoda L. and Roger M. Berkowitz, Dr. Thomas D. Brammer andMr. Robert S. Watson, Angeline J. Bryant, Blake Byrne, Marion Johnson Church, Paul Edward Coggins, Dr. W. Kent Davis, Joyce Fitzpatrick and Jay Stewart, Dr. Carlos Garcia-Velez, Marty Hayes andMichael Cucchiara, Mr. andMrs. Vaughn Hayes, Eric and Tara Hirshberg, Ian Huckabee, Bill G. Johnson, Thomas S. Kenan III, Suzanne R. McKinney, R. Glen Medders, Dr. Cynthia S. Payne, Melissa Peden and Robert Irwin, Susan L. Petry, Michael Rubel and Kristin Rey, Kimerly Rorschach, Jeffrey Williams and Patrick Sears, Allen G. Thomas Jr., Caroline Hickman Vaughan, Robert A. Sandefur and Robert P. Venuti, Drs. Zannie and Glenn Voss, Caroline and RichardWright, and James Walker Crow; Technology funded with generous support from IBMCorporation. 2009.14. Image courtesy of the artist and Lehmann Maupin, New York, Hong Kong, Seoul and London.
The repeated unfolding of the seasons in Steinkamp’s windblown tree points the relentless march of time, and the reference in the title to one of Steinkamp’s important teachers alludes to the passing of generational time and knowledge. Yet, its cyclical format also disrupts our linear ideas about history, asserting the resilience of natural forms whose lifecycles cannot — or, perhaps more urgently, should not — be halted.
Curator: Jeffrey Richmond-Moll, curator of American art
In Dialogue: Views of Empire: Grand and Humble December 4, 2021 – August 21, 2022
This edition of our “In Dialogue” series brings together two different kinds of mid-19th-century lithographs and other thematically related works. Both sets of prints are recent gifts.
Both sets of prints are recent gifts. First came an addendum to the Parker Collection, an elephant-folio-size album containing 25 lithographs with cityscapes showing St. Petersburg and dating to the third quarter of the 19th century. More recently, in the sum- mer of 2020, Marina Belosselsky-Belozersky Kasarda and Vladislav Kasarda donated 30 small hand-colored lithographic prints. These prints date ca. 1850 and show genre scenes and individual figures representing different occupations in Russia at the time: coachmen, porters, water carriers, innkeepers, firefighter and street peddlers, among others. The general views of St. Petersburg render pictures of the imperial metropolis with its public squares and neoclassical buildings that embody the state, thus inviting admiration while suppling a sense of inclusion and belonging. At the same time, the intimate look at working people in the vibrantly colored small prints acknowledges and affirms class distinctions while advancing the notion of a shared national identity. “In Dialogue” is a series of installations in which the Georgia Museum of Art’s curators create focused, innovative conversations around a few works of art from the permanent collection. The series brings these familiar works to life by placing them in dialogue with works of art by influential peers, related sketches and studies or even objects from later periods.
(top) R. K. Zhukovskii (Russian, 1814-1886), “Merchants Taking Tea,” ca. 1850. Hand-colored lithograph. Georgia Museum of Art, University of Georgia; Promised gift of Marina Belosselsky-Belozersky Kasarda. (bottom) N. G. Vanifantiev (Russian, active in the 1840s), “Troika on a Frozen River,” ca. 1845. Hand-colored lithograph. Georgia Museum of Art, University of Georgia; Promised gift of Marina Belosselsky-Belozersky Kasarda.
Curator: Asen Kirin, Parker Curator of Russian Art
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