September 29 - November 19
Mirth & Melancholy: The Circus in Modern Art
Curated by Kali Steinberg '17
Artists frequently portrayed clowns, harlequins, and acrobats in their work to protest traditional artistic values and to symbolize their loneliness within the modern world. With the rapid industrialization of the West in the late 19th century, theatres, cafes, cabarets, and circuses became popular places of leisure among all social classes. However, the circus also revealed the darker side of the modern age.
The prints and paintings featured in this exhibition show artists’ fascination with the circus. While some express the entertaining and lighter side of the circus, others depict a more melancholy scene. Often, these two sides are represented in tandem, reflecting the artists’ own contradictory feelings about the rapidly changing world around them.
Our Trans Family
An exhibit of over 20 photographs of transgender people and their families. This project is a partnership with Cream City Foundation, the major financial supporter for the project. Additional support has been provided by Diverse and Resilient and the Mary Nohl Foundation which identified the photographers as "Artists in Residence." More on Our Trans Family and other works produced by "For Good" Photography is here.
Patrick Earl Hammie, Aureole
From how we view black bodies as dangerous, virile, and exotic, to how we judge and objectify women based on aesthetics, to how we encounter difference, are informed by Art’s history and visual culture. We’ve learned to form meaning and value around people and their bodies in part though the images we consume and the narratives we inherit. My work is defined by its ongoing engagement with the history of painting. In part my interest is historical: I study the pictorial, technical, and narrative conventions of Western art to explore the ways in which primarily male artists have imagined the body. Considering such conventions in a contemporary context, I deliver fresh ideals of men and women that both disturb the existing cannon and normalize their presence in public art space and discourse.