What do a 17th-Century Dutch printmaker, the Edict of Nantes and two present-day Ithacans have in common? Quite a bit, actually. So do the political commentary and a urine sample from Louis XIV. Their unifying thread is on display at the Johnson Art Museum’s new exhibition, Romeyn de Hooghe: Virtuoso Etcher, a show of de Hooghe’s etchings in subject matters ranging from the commercial to the political.
This week’s art show in Hartell Gallery is no easy view — there’s a lot to see and dissect, from works on paper to sculpture and even sculptural works on paper. The viewer simply can’t absorb the entire installation in one turn around the room. Elliot Hess grad’s M.F.A. thesis show is challenging but not inaccessible; the conscientious viewer will not walk away empty-handed.
Yes; I’m Serious, and Don’t Call Me Surely, the thesis show of M.F.A. student Allen Camp ’09, is as funny as its title promises. However, it is equally serious. A selection of three-dimensional works in a limited palette, the show investigates the often-paradoxical relationship between objects and their “idiographic symbols.”
Life magazine’s inaugural issue was published on Nov. 23, 1936, just four months after the start of the Spanish Civil War. For the first few weeks of its existence, the pages Life dedicated to the war in Spain were astoundingly few, especially relative to the coverage domestic and other foreign affairs received. As Life boomed and the war raged on, the magazine claimed to present a balanced account of the conflict but in reality — notably in photography — favored the fascist Nationalist forces.
While everyone’s lining up with their $22 timed tickets to see the Cezanne & Beyond show at the Philadelphia Museum of Art, look instead at the museum’s much-smaller but equally interesting exhibition Grand Scale: Monumental Prints in the Age of Durer and Titian. The Cezanne-viewers will be bottlenecked through low-ceilinged rooms and bumping elbows as they listen to their audio tours, but you, enlightened visitor, will be strolling through the relatively empty galleries of Monumental Prints, gazing at astounding Renaissance engravings and etchings.
Snowscape: A Series of Portraits, an installation by Mollie Miller ’10, currently in Tjaden Gallery, is not for the faint of heart. The works, which include photography, lithography, drawing, painting and video, will require your full attention and some serious study. The installation follows the stanzas of Miller’s poem, titled “Snowscape,” giving equal weight to written text, large black-and-white photos and small, fast drawings. The installation culminates in two projections at the far end of the gallery.
It’s safe to say that most members of the audience at the Johnson Museum’s screening of Heima Friday night have been dreaming of rolling tundra, dramatic skies and fair isle sweaters ever since. The documentary follows the band Sigur Ros during their two-week series of free, unannounced concerts across their native Iceland in the summer of 2006. The Iceland concerts marked the end of the band’s world tour for Takk …, their fourth album.
Art Made Money Made Art is a flashy exhibition in the best possible sense of the word. Installed in Tjaden Gallery from Feb. 16-20, it consists of two opposite walls of beautiful, labor-intensive lithography prints and slick painted-over-printed canvasses. The show is immediately eye-catching and ultimately visually and conceptually complex. But unlike some flashy contemporary art, these works can hold an audience long after their first dazzling impression.