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Missoula, MT
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Missoula Art Museum
MAM
335 North Pattee
Missoula, MT 59802
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LINDA MARIA THOMPSON: EMIGRANT MEMOIR
May 28 - September 07, 2019

Emigrant Memoir is the continuation of an ongoing investigation of the visualization of the migrant experience past and present, the collective and the personal. Thompson is a Swedish-American photographer based in Härnösand, Sweden. Her work explores questions surrounding transience and impermanence on both a personal and political scale.

Thompson uses her unique perspective—channeling her roles as both a native of an immigrant to Sweden—in her approach to issues surrounding migration. Emigrant Memoir includes analog, digital, and experimental film processes to explore migration through the documentary image. Thompson says, “Emigrant Memoir is a series of meditations on and through migration spanning personal and collective migration stories in both the United States and Sweden. We still have our hearts in two places at once and are still negotiating the in-between, looking forward and backward at the same time.”

Thompson holds a BA in photojournalism from the University of Montana and an MA in photojournalism from Mid Sweden University. She was a staff photographer at the Missoulian. She is currently an instructor of photography at Mid Sweden University. Her photographs have been published and exhibited internationally. Her debut monograph In Place of Memory (Teg Publishing 2016), and Emigrant Memoir (self-published 2019) have both been exhibited at the Sune Jonsson Centre for Documentary Photography at the Västerbottens Museum. Emigrant Memoir was made possible with financial support by the Swedish Authors Fund, Helge Ax:son Jonsson Foundation, Region Västernorrland, and Högsjö Folklore Society.

BORDER CANTOS | SONIC BORDER RICHARD MISRACH | GUILLERMO
May 28 - September 21, 2019

This exhibition is a multisensory experience featuring 10 large-scale photographs by Richard Misrach and eight sculptures accompanied by a sound composition created by experimental composer Guillermo Galindo about the zone surrounding the U.S.-Mexico border. The borderlands are home to more than 80 million people in four United States and six Mexican states and extend nearly 2,000 miles from the Gulf of Mexico to the Pacific Ocean. The bulk of United States-Mexico trade ($3.8 trillion combined annual GDP) as well as illicit trade, passes through its many borders. Misrach, who has photographed the border since 2004, documents landscapes and objects, including things left behind by migrants. Responding to these photographs, Galindo fashions instruments, and unique sound-generating devices, and composes graphic musical scores, many of which use Misrach’s photographs as points of departure.

Misrach and Galindo create work that reports on and transforms the artifacts of migration: water bottles, clothing, backpacks, Border Patrol “drag tires,” spent shotgun shells, ladders, and sections of the border wall itself. This exhibition examines issues surrounding dislocation and forced migration and investigates political versus cultural boundaries and human rights.

Border Cantos | Sonic Borders is organized by Crystal Bridges Museum of American Art with generous support for this project provided by Art Bridges.

HARD EDGE/SOFT GROUND: ACCESS AND POWER IN THE MAM COLLECTIONS
Through September 07, 2019

Where is home? What is freedom? Who decides? With debates erupting daily in volatile national conversations, MAM invites you to uncover new insights in the work of collection artists. These visionaries—hailing from as close as Missoula and the Flathead Reservation to as far away as Sweden and Kenya— are inventors and storytellers, guardians and explorers. They ask vital questions about ourselves and our world through challenging narratives and subtle abstraction, often referring to borders, migrations, and transgressions. Their voices, preserved over decades through the MAM Collection, form a chorus that ranges from humorous to critical but is always thoughtful. Through these many doors, Hard Edge/Soft Ground explores what it means to be at the border of access and power.

JOHN HITCHCOCK: BURY THE HATCHET/PRAYER FOR MY P'AH-BE
Through September 14, 2019

Bury the Hatchet is Comanche/Kiowa/German/Dutch artist John Hitchcock’s mixed-media, cross-disciplinary, multisensory installation. The exhibition is based on the American Frontier and plays off the theme of the Buffalo Bill Wild West Show. The variety of elements that form the exhibition were inspired by Hitchcock’s research while he was artist-in-residence at the Buffalo Bill Center of the West in Cody, Wyoming. He says, “The new artworks will challenge historical perspectives by reframing history and asking new questions about the idea of the Wild West show and the importance of the American Indian objects collected by Buffalo Bill.” Hitchcock’s reinterpretation of Buffalo Bill Cody’s traveling show explores assimilation, acculturation, and the colonial indoctrination of indigenous people through sound, video performance, and screen prints.

The installation features a sound stage, neon sculptures, and the work from the print series, Flatlander. The iconic buffalo skull form in glowing neon accentuates the romanticized views of the Wild West while acting as a metaphor for marketing and selling cultural artifacts. Hitchcock regularly uses images of the buffalo and other wildlife as symbols and references in his print work. The Flatlander series includes 40 screen prints that Hitchcock created with MATRIX Press, University of Montana in 2017. Throughout the installation, a sound recording intertwines storytelling and Kiowa and Comanche songs with soundscapes that include cello, clarinet, accordion, and guitars by

Hitchcock and the band, Nate Meng and the Stolen Sea. At the exhibition’s opening reception, Hitchcock and the band will perform live. The visual and sound recordings in the exhibition work together to challenge Western perspectives of the supremacy of the written word by reinforcing indigenous views of oral history passed on from generation to generation through storytelling.

Hitchcock is a professor of printmaking and associate dean for the arts, School of Education at the University of Wisconsin in Madison. MAM worked with him in 2017 and 2018 as one of four indigenous artists who participated in the multiyear collaboration with MATRIX Press that ended with the group exhibition The Shape of Things, New Approaches to Indigenous Abstraction. MAM is honored that he chose to debut his ambitious new installation in the Lynda M. Frost Contemporary American Indian Art Gallery. The exhibition has an accompanying limited edition12-inch vinyl album, CD, and set of letterpress prints available through Sunday Night records. This John Hitchcock project is made possible with generous support from the Cultural Vision Fund.

In Praise of Folly: Five Artists After Philip Guston
January 25 - September 01, 2019

ARTISTS:
Arleo, Adrian
Buck, John
Notkin, Richard
Smith, Jaune Quick-to-See
In Praise of Folly: Five Artists After Philip Guston

Guston’s iconic Cigar (1969), on long-term loan through Art Bridges, serves as the catalyst for five regionally based, nationally renowned artists—Adrian Arleo (Missoula, Mont.), John Buck (Bozeman, Mont.), Jaune Quick-To-See Smith (Corrales, N.M.), Richard Notkin (Vaughn, Wash.), and Jay Schmidt (Bozeman, Mont.)—to create artworks in response to the political and racial content found in Cigar and to Guston’s aesthetic practice. These artists evoke, investigate, and expand upon Guston’s artistic legacy, and demonstrate the continuing power of Guston’s work as a touchstone for contemporary and American art.

Arleo is a ceramic sculptor whose practice has been dedicated to storytelling through human and animal imagery. She coil-builds her forms and embellishes her surfaces with intricate decoration and texture. She studied art and anthropology at Pitzer College and received her MFA in ceramics from Rhode Island School of Design in 1986. She moved to Montana in 1993. She is the recipient of the prestigious Virginia A. Groot Foundation and Montana Arts Council Individual Fellowship.

Buck is a printmaker and sculptor best known for his large-scale kinetic wooden sculptures, bronze sculptures, and woodblock prints that respond to social and political issues. He graduated from Kansas City Art Institute with a BFA in 1968. In 1971, he began studying at Skowhegan School of Painting and Sculpture in Skowhegan, Maine, and then began working as a teaching assistant the University of California, Davis, where he received an MFA in 1972. Buck taught at Gloucestershire College of Art and Design in Cheltenham, England, and was a sculpture instructor at Humboldt State University for two years. He served as assistant professor of sculpture at Montana State University from 1976 to 1990. He is represented by the Robischon Gallery in Denver.

Notkin is one of the foremost ceramists dedicated to socially engaged art. His work is a vehicle for political commentary, and he is influenced by the trompe l’oeil imagery found in Yixing teapots. He enrolled in the Kansas City Art Institute in 1964 and studied ceramics with Kenneth Ferguson. After graduating in 1970, he went to University of California, Davis, where he became Robert Arneson’s teaching assistant, and received his MFA in 1973. He began visiting the Archie Bray Foundation in the early 1980s and lived in Helena from 1994 to 2014. Notkin’s work is included in over 50 museum collections, and he is recipient of numerous awards, including artist fellowships from the National Endowment for the Arts, the Louis Comfort Tiffany Foundation, and the John Simon Guggenheim Memorial Foundation. He is represented by the Sherry Leedy Contemporary in Kansas City, Miss.

Quick-to-See Smith is an enrolled member of the Confederated Salish and Kootenai Tribes of Métis and Shoshone descent who is a self-described cultural arts worker. Her work comments on politics, American Indian identity, histories of oppression, and environmental issues. She is the recipient of the 2018 Montana Governor’s Arts Award. She has an associate degree in art from Olympic College in Bremerton, Washington, and studied at the University of Washington in Seattle. She completed a bachelor’s degree in art education in 1976 from Framingham State College in Massachusetts before moving to Albuquerque, N.M., where she graduated with an MFA in art from the University of New Mexico. She is represented by the Garth Greenan Gallery in New York City.

Schmidt attended the Kansas City Art Institute and earned a BFA in 1974, and then went on to complete an MFA two years later at the University of California, Davis. In 2007 he retired from a 26-year career as a professor of art at Montana State University. His large-scale paintings and sculptures comment on economic injustice, environmental destruction, and political dysfunction. He is member of several artist collectives, including Paintaillica, The Living Breathing Thing, Free Art School, and the Rat Trap Clay Club. MAM is grateful to Art Bridges for making this ground-breaking exhibition possible.

CLARICE DREYER: IN THE GARDEN
Through October 05, 2019

MAM is proud to present another great Montana sculptor this summer in the Missoula Art Park: Clarice Dreyer. Despite numerous awards and accolades, Dreyer has never had an outdoor solo exhibit of her cast sculptures in her home state, and MAM is pleased to now have a dedicated exterior gallery designed by a landscape architect for art to showcase this exceptional work. Dreyer is an artist who creates paintings, prints, and sculpture in cast bronze and aluminum that emulate natural forms, systems, and phenomenon.

Dreyer is a lover of nature, birds, and flowers, and her works seemingly insist on a garden setting. Her human-scale pieces are both intricate and strong, evoking an imaginary fairytale world and suggesting utility at the same time. She says, “My work incorporates the mysteries of nature, elements of my own memory, and excerpts from rural life to create a metaphor for ordinary life as an aesthetic and spiritual existence. It is this feeling of harmony between humankind and nature that gives life and vision to my art.”

Born and raised in Missoula until age 12, she now lives in Bozeman where she and her husband, painter Steve Kelly, ran Botanica, a contemporary art space that specialized in cutting-edge floral arrangements. Dreyer received her BFA from MSU in Bozeman, and her MFA from the University of California, Berkeley. She has completed several public art commissions, exhibited extensively across the country, and is represented in numerous public and private collections. She is the past recipient of the NEA fellowship grant in 1982, 1984, and 1990, and has received numerous other awards. This exhibition includes loans from the Holter Museum of Art, Yellowstone Art Museum, Montana Museum of Art & Culture, private lenders, and the artist. Sponsored by Caras Nursery & Landscape and the Flower Bed.

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