Vik Muniz, Double Mona Lisa (Peanut Butter and Jelly)(1999)

Before

Harmony Hammond
Material Witness, Five Decades of Art

October - 15 November 2020

Harmony Hammond: Material Witness, Five Decades of Art is the first museum survey of the work of Harmony Hammond – subversive artist, feminist and lesbian scholar, author and curator. Through the recontextualization of a wide cast of materials and form, Hammond challenges the historical associations of painting as a male-dominated field, and combats stereotypes of feminist and queer art. Organized by The Aldrich Contemporary Art Museum, this exhibition spans fifty years (1971-2018) of Hammond’s painting-sculpture works, drawings, and ephemera.
Harmony Hammond: Material Witness, Five Decades of Art is organized by Amy Smith-Stewart, Senior Curator, The Aldrich Contemporary Art Museum.
Generous support for Harmony Hammond: Material Witness, Five Decades of Art is provided by Crozier Fine Arts and Diana Bowes and James Torrey. Media support is provided by Connecticut Cottages & Gardens (CTC&G). Generous support from the Wagner Foundation has helped to make it possible for Material Witness: Five Decades of Art to travel to the Sarasota Art Museum.
Crozier, Connecticut Cottages & Gardens, and Wagner Foundation logos
Dogon by Harmony Hammond

Harmony Hammond, Dogon (1978/2015)

Courtesy of the artist and Alexander Gray Associates, New York
Photo: Eric Swanson

© Harmony Hammond / VAGA at Artists Rights Society (ARS), NY

Peter Young: Fellow Traveller

25 April – 7 September 2020

Peter Young’s paintings explore the territory beyond pure Minimalism and Abstract Surrealism. Immersed in the New York art scene in the 1960s, both Young and his art were subject to the strict formal criteria of Minimal art that prevailed at the time. Though Young addresses this in his mathematical grids and curvilinear forms, he also surpasses formal boundaries by intertwining organic elements into the geometrically engineered. The merging of mathematics and spontaneity – through color, pattern, and handmade touch – results in a sense of unmatched intimacy and psychedelic other worldliness.

#24-1972 by Peter Young

Peter Young, #24-1972 (1972)

Pino Pascali's Bachi da setola are acrylic bristle brushes on metal supports

Pino Pascali, Bachi de setola (1968)

Color. Theory. & (b/w)

December 2019 - 14 June 2020

This is the first installation of an ongoing investigation into the art and science of color. The subject of color theory allows us to look at wide range of ideas, from cognitive science to philosophy to literature, while marveling at the seductive and confounding ways in which artists wrestle with color. Here, we invite you to pay close attention to the artists’ use of color relative to the medium. What is the relationship of color to material? Is color applied, embedded, reflected, atomized, projected, inferred? How do colors shift in the light?  How do colors appear relative to their neighboring works? We invite you to take a closer look on the third floor galleries of the Museum, and then enjoy visiting our Conservatory to learn more about Color. Theory. & (b/w).
Artist Jean Shin poses with her installation Celadon Landscapes
Jean Shin, Celadon Landscape (2015)

Celadon Landscape

Jean Shin

Marcy & Michael Klein Plaza

Celadon Landscape is constructed from ceramic discards collected from numerous kilns in Korea. These shards are the result of potters destroying finished ceramic vessels with any minor imperfections. Shin views the celadon fragments as a metaphor of the Korean diaspora, vibrant artifacts of the Korean people, their history and culture that are scattered all over the world to form new identities elsewhere. The term celadon also refers to the soft, pale grey-green color achieved by coating the clay with an iron-rich glaze that oxidizes during the heating process.

Marat(Sebastiao)(2008) from Vik Muniz's Pictures of Garbage series
Vik Muniz, Marat (Sebastião)(2008) from Pictures of Garbage

Vik Muniz

14 December 2019 - 8 March 2020

Vik Muniz is distinguished as one of the most innovative and creative artists of our time. Endlessly playful and inventive in his approach, Muniz harnesses a remarkable virtuosity in creating his renowned “photographic delusions”. Working with a dizzying array of unconventional materials including sugar, tomato sauce, diamonds, magazine clippings, chocolate syrup, dust, and junk Muniz painstakingly builds tableaux before recording them with his camera. From a distance the subject of each resulting photograph is discernible; up close, the work reveals a complex and surprising matrix through which it is assembled. That revelatory moment when one thing transforms into another is of deep interest to the artist.