N. Elizabeth Schlatter, Ashley Kistler, Laura Browder, Richard Waller, Myra Goodman Smith, Elvatrice Belsches, and Michael Paul Williams
Published on the occasion of the exhibition Growing Up in Civil Rights Richmond: A Community Remembers, Joel and Lila Harnett Museum of Art, University of Richmond Museums, January 17 to May 10, 2019.
Organized by the University of Richmond Museums, the exhibition was developed by Ashley Kistler, independent curator, and Laura Browder, Tyler and Alice Haynes Professor of American Studies, University of Richmond. The exhibition, related programs, and publication are made possible in part with funds from the Louis S. Booth Arts Fund and with support from the University’s Cultural Affairs Committee. The printed exhibition catalogue was made possible in part with support from the Elizabeth Firestone Graham Foundation.
Published by University of Richmond Museums, Richmond, Virginia.
Edited by N. Elizabeth Schlatter, University of Richmond Museums, and Ashley Kistler, independent curator.
Designed by DELANO Creative, Richmond, Virginia Printed by Worth Higgins & Associates Inc., Richmond, Virginia.
Cover: Brian Palmer (American, born 1964), Deborah Taylor, Franklin Military Academy (formerly East End High School), 2017, archival inkjet print on paper, 30 x 40 inches, lent courtesy of the artist.
N. Elizabeth Schlatter
The University of Richmond Museums exhibited Crooked Data: (Mis)Information in Contemporary Art on February 9 through May 5, 2017, in the Joel and Lila Harnett Museum of Art. The exhibition features art by twenty-one contemporary artists and studios who work with data in nontraditional ways. Some artists incorporate data from known sources, using it as an aesthetic device divorced from its originally intended interpretive function. Others gather and manifest data that might normally be considered not worthy of collecting. And some of the works explore alternatives to standard data visualization forms and practices.
Some of the works featured in Crooked Data include a selection from R. Luke DeBois’ series A More Perfect Union, in which the artist presents maps of states, replacing the names of cities and towns with the most frequently used words from residents’ online dating profiles that are unique to that region. For example, in the map of Virginia, the city of Richmond and local towns are represented by the words “tobacco,” “reasonable,” and northern Virginia, not surprisingly, is denoted by the words “Pentagon,” “diplomat,” and “beltway.”
Other works in the exhibition include Blast Theory’s app Karen which features a pseudo life coach who provides personalized personality profiles based on user input. Nathalie Miebach translates science data into sculpture, installation, and musical scores. In the series Wars and Conflicts, Dan Mills uses vintage maps as a space to investigate global data on international tensions, conflicts, and refugee statistics. Clement Valla reproduces Google Earth images that reveal anomalies within the system, images that are correctly formed with the data used by the software but are incorrect in accurately depicting their subjects.
Artists included in the exhibition:
- William Anastasi (American, born 1933)
- Blast Theory (British Artists group)
- David Bowen (American, born 1975)
- Martin Brief (American, born 1966)
- Stephen Cartwright (American, born 1972)
- Jax de León (American, born 1986)
- R. Luke DuBois (American, born 1970)
- Hasan Elahi (American, born in Bangladesh, 1972)
- Laurie Frick (American, born 1955)
- Chad Hagen (American, born 1970)
- Holly Hanessian (American, born 1958)
- Tiffany Holmes (American, born 1968)
- Brooke Inman (American, born 1983)
- Nathalie Miebach (American, born 1972)
- Dan Mills (American, born 1956)
- Casey Reas (American, born 1972)
- Ward Shelley (American, born 1950)
- Sosolimited (American design studio)
- Stamen Design (American data visualization practice)
- Clement Valla (American, born 1979)
- Lee Walton (American, born 1974)
The exhibition included an artwork created by University of Richmond students enrolled in the fall 2016 Introduction to Printmaking class, taught by Brooke Inman, Adjunct Professor, Department of Art and Art History, University of Richmond. Their screen-printed mural consists of data derived from usage statistics from the University’s Weinstein Center for Recreation and Wellness.
Digital America, an online journal on digital culture and art, will be featured three art works in conjunction with the Crooked Data exhibition on its website (www.digitalamerica.org). Each piece in the online gallery explores the deceptive nature of digital data through various digital media. Digital America is supported by the Department of Art and Art History at the University of Richmond.
Organized by the University of Richmond Museums, the exhibition is curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums. It is presented in cooperation with the University’s Departments of Art and Art History, Geography and the Environment, Boatwright Memorial Library, the Digital Scholarship Lab, Recreation and Wellness, and Partners in the Arts. The exhibition and programs are made possible in part by the University’s Cultural Affairs Committee, Data Blueprint, and funds from the Louis S. Booth Arts Fund. The exhibition is accompanied by an online catalogue featuring works in the exhibition and interviews conducted by Elizabeth Schlatter and Lindsay Hamm, ’17, art conservation (interdisciplinary studies) major, University of Richmond.
N. Elizabeth Schlatter and Kenta Murakami
Anti-Grand: Contemporary Perspectives on Landscape
Joel and Lila Harnett Museum of Art University of Richmond Museums, VA
January 15 to March 6, 2015
Anti-Grand: Contemporary Perspectives on Landscape features 24 contemporary, international artists, artists’ collectives and game developers who examine, challenge, and re-define the concept of landscape while simultaneously drawing attention to humanity’s hubristic attempts to relate to, preserve, and manage the natural environment. Anti-Grand includes 33 works of art, with video, installation, video games, and traditional two- and three-dimensional work.
All of the works in the exhibition were created since 2000 to focus on art made well after the initial developments of the modern and popular discourse on environmentalism and sustainability. The exhibition’s title Anti-Grand suggests an approach to the topic that is opposite one of awe and reverie of the past, approaches that are now difficult to consider without an implicit sense of irony. Contemporary Perspectives of Landscape emphasizes the role of the artist’s and/or viewer’s choice of framing device as applied to both the represented scenery and the genre at large. Engaging humor, tenderness, ambivalence, and respect, the artists look at many facets of this subject. Unifying the exhibition are issues of representation that are inherent to the genre and the various ways in which artists have self-reflexively considered their relationship to the artistic subject.
Images from the Exhibition
N. Elizabeth Schlatter, Richard Waller, and Sarah Matheson
Flow, Just Flow: Variations on a Theme
Joel and Lila Harnett Museum of Art
University of Richmond Museums, VA January 29 to June 28, 2013
Psychologist Mihaly Csikszentmihalyi first used the term “flow” in 1975 to describe “being completely involved in an activity for its own sake. The ego falls away. Time flies. Every action, movement, and thought follows inevitably from the previous one, like playing jazz.” Accordingly, this experience of single-minded immersion in an activity that is continuously challenging and rewarding is the secret to a vigorous and satisfying life.
Also referred to as “being in the zone,” this state of flow is the launching point for this exhibition and online catalogue, which present a variety of media involving kinetic forms, non-static content generation, visitor interaction, and collective states of being. Twenty-four works of art by twenty-one artists of national and international origin explore a range of definitions and applications of the word “flow,” from dynamism and movement to ideas and communication.
The exhibition is organized by University of Richmond Museums and curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums. The exhibition and programs are made possible in part by the University’s Cultural Affairs Committee, and funds from the Louis S. Booth Arts Fund. Additional support has been provided by grants from the Swiss Arts Council Pro Helvetia and the Austrian Cultural Forum, Washington, DC.
N. Elizabeth Schlatter
Art=Text=Art: Works by Contemporary Artists
Wednesday, August 17 to Sunday, October 16, 2011
Joel and Lila Harnett Museum of Art
On view in the Harnett Museum of Art, University of Richmond Museums, from August 17 to October 16, 2011, Art=Text=Art: Works by Contemporary Artists features 72 works created between 1960 and 2011, that include text or reference textual elements. Many of the works reflect developments in modern and contemporary art and critical theory, and relate to concurrent politics, history, and philosophy. Among the more than 40 artists included in the exhibition are Alice Aycock, Trisha Brown, Dan Flavin, Jane Hammond, Jasper Johns, Sol LeWitt, Ed Ruscha, Karen Schiff, Cy Twombly, John Waters, and Lawrence Weiner.
Art=Text=Art was organized by the University of Richmond Museums and curated by N. Elizabeth Schlatter, Deputy Director and Curator of Exhibitions, University Museums, with Rachel Nackman, Curator of the Kramarsky Collection, New York. The exhibition and programs were made possible in part by the University of Richmond’s Cultural Affairs Committee, and funds from the Louis S. Booth Arts Fund.
The exhibition is accompanied by an online catalogue featuring images of all of the works in the exhibition, an essay by N. Elizabeth Schlatter, and entries contributed by University of Richmond alumni and students among other artists, writers, curators, and critics. It is free and accessible at www.artequalstext.com.
Read the essay by N. Elizabeth Schlatter by choosing the download button.
Joseph C. Troncale, Evgeny Orlov, and Sergei Kovalsky
The Space of Freedom: Apartment Exhibitions in Leningrad, 1964-1986
Joel and Lila Harnetl Museum of Art, University of Richmond Museums, VA
September 16 to December 3, 2006
We are very pleased to present this traveling exhibition of artwork from the collection of the Museum of Nonconformist Art, Pushkinskaya 10 Art Centre, St. Petersburg, Russia, presented within the context of a re-created "apartment" exhibition from Leningrad. [...]
To our knowledge, [...] The Space of Freedom is the first exhibition organized in the United States to focus on both the artwork shown in communal apartments and on the exhibition space of the apartments themselves as a significant part of the history of Russian art. However, this is not a re-creation of a specific apartment exhibition; the art on view is a representative selection of work that was displayed at various such exhibitions between 1964 and 1986, including several pieces by the most important figures in the history of these exhibitions and in the history of nonconformist painting. These forty-six works have never before been exhibited together or in such an installation outside of Russia.
Joseph C. Troncale and Richard Waller
The Brotherhood of Free Culture: Recent Art from St. Petersburg, Russia
Marsh Art Gallery, University of Richmond Museums, VA
October 11 to December 15, 2002.
We are pleased to present this exhibition of recent art from St. Petersburg, Russia, created by artists from Pushkinskaya 10. Known as the Brotherhood of Free Culture, the society was formed in 1989 as a cultural center to promote nonconformist art (often referred to as underground art during the Soviet period) in contemporary Russia. In addition to organizing exhibitions and providing performance, museum , and gallery spaces, Pushkinskaya 10 offers studio space to forty performing and visual artists at any given time. This exhibition features seven of those artists.
The exhibition is made possible in part with the generous support of the University of Richmond Cultural Affairs Committee.
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