Upcoming Exhibitions

SUArt Galleries: January 16- March 13, 2020

Black Subjects in Modern Media Photography: Works from the George R. Rinhart Collection

Black and white image of bus ridersBlack Subjects in Modern Media explores how the modernization of photography informed representations of Black subjects. Technological and aesthetic developments in the latter half of the nineteenth century increased access to image production and expanded photographic styles and formats. Such changes fueled variety in depictions of Black people. Photographs displaying multifaceted dimensions of Black lives proliferated alongside pictures that reduced Black identities to objects of derision. Cartes de visite, cabinet cards, stereographs, and, especially, early twentieth-century newspaper and magazine photography sent a diverse assortment of images into mass circulation. They marked the modern visual landscape with a complex array of Black photographic subjects.

The images ton display are on loan from the George R. Rinhart Collection – one of the largest private collections of professional photographs. Auction houses, art critics, scholars, and such major museums as The Metropolitan and The Getty have consulted Rinhart for his expertise and deemed his assemblage of materials “legendary.” His name appears among the collectors and dealers who helped usher photography into the realm of fine art. The collection, totaling several million items, reflects the range of photo technologies, methods, and artistry that shaped the course of American photography through the 1960s.

Masterpieces of Seventeenth-Century Dutch Painting from Regional Collections

Painting of a regal woman in a white dress with a blue shawl

It has been estimated that in The Netherlands over the course of the seventeenth century approximately two million paintings were created. This astonishing number reflects the prosperity of the small country that was known at that time as the Dutch Republic. It may have been small compared to its European neighbors but the Dutch Republic was a major power owing to its strong economy and far-reaching mercantile activities. Needless to say, in this prosperous atmosphere painting flourished thanks to sizable numbers of talented masters, many of whom specialized in the rendition of specific subject matter. Dutch painters portrayed their surrounding world in landscapes, portraits, still-life, and genre paintings (scenes of daily life) and they are still acclaimed today for having done so. Indeed, the ability of their seemingly unassuming yet celebrated pictures to evoke daily existence has led to the recognition of seventeenth-century painting as a true Golden Age of Dutch art. However, like their European counterparts, Dutch masters just as often focused their efforts on the depiction of subjects drawn from the Bible or from classical mythology. The exhibition, Masterpieces of Seventeenth-Century Dutch Painting from Regional Collections provides a small yet impressive sample of the fruits of their labors. Visitors to this show may not recognize all of the names of the painters whose creations are on display here. Nevertheless, their work provides a glimpse into the wide-ranging subject matter and uncompromisingly high quality of seventeenth-century Dutch art.

 

Making History, Justifying Conquest: Depictions of Native Americans in American Book Company Textbooks

illustration drawing of a Native American chief

Making History, Justifying Conquest: Depictions of Native Americans in American Book Company Textbooks considers textbook illustrations of Native Americans published by the American Book Company in the late nineteenth and early twentieth centuries. These textbooks relied on images that mythologized Native and white interactions, white heroism, and Native savagery and primitivism, and thus created a rhetoric of Euro-American superiority that justified the colonization of Native lands and the conquest of Native people. The exhibition includes these illustrations from the SU Art Galleries collection, along with American Book Company textbooks in which they were published, on loan from the Special Collections Research Center at Syracuse University Libraries. The authoritative, educational messages communicated in these textbooks ensured a lasting legacy for dominant narratives of American history that marginalized Indigenous peoples.

Curated by Julia Jessen, G’20

 

Palitz Gallery: February 3- April 9, 2020

The Radical Collage: Afrosurrealism and the Repurposed Fabrication of Black Bodies

images of black male withe serpent or insect bottom half

The Radical Collage: Afrosurrealism and the Repurposed Fabrication of Black Bodies is an institutional and community exhibition that seeks to reinvest and repurpose itself within the uncanny depictions of Black bodies residing in distant pasts and presents via the cultural lens of Afrosurrealism. Specifically focusing on the artistic movement and its relationship to collage, it will highlight three artists currently working in the genre. Each artist utilizes a variety of methods and material that contribute to the conversation of collage within Afrosurrealism and each artist respectively navigates within the intersectionality of sociopolitical issues surrounding the reality of being a Black body residing within our current society.

Curated by Evan A. Starling-Davis and organized by the Community Folk Art Center