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Echoing Overseas: Asian Artistic Exchange Through Nov 28, 2022 Cultural exchange has been one of the most powerful driving forces in the development of art across time. Echoing Overseas traces Asia-based artistic exchange in different time periods. By focusing on this portion of global circulation, the exhibition breaks down the geographical and cultural dichotomy of East and West that commonly appears in narratives of creative exchange, focusing instead on the specifics of the artistic interactions presented. The exhibition features near fifty artworks from a range of time periods that show dynamic interchanges between artists, styles, themes, and materials. Echoing Overseas explores multiple modes of exchange, including imitation, appropriation, alteration, misunderstanding, and rejection. These exchanges are often most clear in the details of the artworks; in the exhibition, similar examples are set side-by-side to encourage comparison. Echoing Overseas is divided into two main sections: “artworks overseas” and “artists overseas.” The first section features objects that circulated throughout Asia in the pre-modern period, when trade was the main means of artistic exchange. As objects and artworks circulated, they inspired transformation in visual language, medium, and interpretation. Among the section’s highlights include trade ceramics, scholarly paintings, and woodcut prints from East Asia. In the second section, the focal point shifts to the twentieth century, when many Asian artists studied abroad. Major cities like Tokyo, along with New York and Paris, became hubs for artists to participate in the latest art movements and groups. This section includes paintings by Chinese artist Zao Wou-Ki and Japanese artists Hisao Domoto and Toshimitsu Imai to demonstrate these international connections and exchanges of artistic ideas and styles, which are key factors in the formation of modern art. |
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Sifting & Reckoning: UW–Madison’s History of Exclusion and Resistance Sep 12–Dec 23, 2022 For generations, University of Wisconsin–Madison students and staff have been committed to the “fearless sifting and winnowing by which alone the truth can be found,” a commitment to understanding the world and using that knowledge to improve the lives of people in Wisconsin and beyond. But the university has never stood separate from the nation’s currents of exclusion, or from its struggles for equality. Soon, the university community will have an unprecedented opportunity to learn from its own histories of discrimination and resistance, to sift and reckon with our past. In the fall of 2022, the UW–Madison Public History Project will present Sifting & Reckoning: UW–Madison’s History of Exclusion and Resistance to the public through a collaborative partnership with the Chazen Museum of Art. The UW–Madison Public History Project is a multiyear effort to uncover and give voice to these histories. In response to the increased awareness of the Ku Klux Klan’s presence on campus in the 1920s, Chancellor Rebecca Blank created the project to better understand our university’s past. The exhibition will survey over 150 years of history, using archival materials, objects, and oral histories to bring to light stories of struggle, perseverance, and resistance on campus. The exhibition takes a thematic approach to understanding the university’s history, allowing visitors to see the multifaceted ways that racism and exclusion permeated campus life, and how the community responded, organized, and resisted. Themes such as student organizations, housing, academic life, and protest provide insight into the various experiences of marginalized students as they navigated the whole of student life. Visitors will engage with objects from the UW Archives that are rarely displayed, including the Pipe of Peace, a ceremonial object used by white students in a popular mock Native ceremony; protest flyers created by students fighting against racism; buttons and athletic memorabilia; and yearbooks and photographs illustrating the culture of exclusion on campus. Further, oral-history interviews with those who fought exclusion on campus allow visitors an intimate, firsthand accounting of the history of the university. The exhibition will include interactive opportunities for visitors to reflect upon and discuss the complicated histories presented. A gathering space in the exhibit will encourage visitors to process complex topics involving race, class, and gender. In addition to the physical exhibition at the Chazen, the project will present a digital exhibition website, a lecture series, and an array of curricular materials. The exhibition is curated by Kacie Lucchini Butcher, the director of the Public History Project; Taylor Bailey and Adriana Arthur, graduate student researchers and curatorial assistants; the Public History Project Steering Committee; and collaborative partnerships with student groups, community partners, and campus stakeholders. Increasingly, higher-education institutions are recognizing the importance of examining their histories. While many have focused on thematic approaches, such as institutional connections to the slave trade or particularly horrific episodes, Sifting & Reckoning will be groundbreaking in its expansive coverage of the history of discrimination and resistance at UW–Madison. This process of sifting and reckoning will provide a unique opportunity for our campus to reflect on our past and work towards creating a more equitable future. |
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(De)constructing the Everyday: Art History 506, Curatorial Studies Exhibition Practice Through Dec 23, 2022 Joy Episalla is an interdisciplinary artist who works in video, photography, and installation. Episalla’s work forces the viewer to confront the intimacy of the everyday, curating encounters with the inherently transitional spaces of memory and ephemeral existence. The featured videos, removed (2000–2022) and Les Psychanalystes et le Marché (2015–2022), have some similarities—both are composed of a montage of three channels and contain strong narrative threads to engage the viewer—but have disparate formal and conceptual qualities. removed begins with Episalla off screen announcing, “I’m gonna tell you a story about the couch,” as the central channel closely frames her mother reclining on an old velvet couch in muted and somber colors. The sense that this story has a twist becomes apparent when simultaneously, the videos on either side show Episalla carefully removing upholstery fabric and slicing the couch frame into neat cross-sections. Les Psychanalystes et le Marché removed tells a deeply personal story of loss, acceptance, and transformation; Les Psychanalystes et le Marché showcases the more ordinary processes of making and unmaking that we experience without conscious awareness. Both examine the painstaking work of craftsmanship and artistic practice, not the final product. What can we learn when we deconstruct an everyday object? Episalla asks the viewer to carefully observe these daily metamorphoses, accepting change as an inevitable consequence of life. (De)constructing the Everyday was planned and executed by students in Art History 506, Curatorial Studies Exhibition Practice, |
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