In 1930, at the age of nineteen, Will Barnet moved to New York City from his native Massachusetts to study at the Art Students League. The young artist responded to the city by exploring it on foot, preferring long walks to the stuffiness and darkness of his rented rooms. New York’s Central Park became Barnet’s refuge, a place where he slept on hot summer nights and where he quickly and discreetly drew the people he encountered. This exhibition presents a group of Barnet’s Central Park drawings from the 1930s as well as a selection of related prints made from the copper plates that he carried in his pockets and etched on site. Many of these works have remained in the artist’s possession and have never been exhibited. Created during the Depression, the drawings and prints describe a world of human intimacy and affection thoroughly removed from the époque’s harsh realities. In the verdant oasis of Central Park, which Barnet remembers as the people’s “front yard,” he captured figures in repose, embracing couples, mothers and children, and everyday people so deeply absorbed in conversation that they rarely noticed the artist in their midst.More »
Winslow Homer’s The Trapper, a painting from 1870, is one of the founding artworks of the Colby Museum’s collection. Its principal subject—man in harmony with nature—satisfied the desire among American collectors of the late 19th century for paintings that offered an alternative to the urban realities of industrialism. Drawn mostly from the Colby Museum’s permanent holdings, Collecting Winslow Homer presents this and other works by the artist in acknowledgement of the centenary of his death. Including examples from the full range of media in Homer’s oeuvre, the exhibition demonstrates the remarkable achievement of a largely self-taught artist who began his career as a popular illustrator and spent his last years on Maine’s Prouts Neck peninsula, creating visionary images of the American landscape. Of the 16 works in the exhibition, 11 are drawn from the Lunder Collection, which was promised to the Colby Museum in 2007.More »
On view this summer is a dynamic group of new acquisitions in a wide range of media, including paintings by Bob Thompson, David Salle, Helmut Federle, and Nicole Wittenberg, all gifts from the Alex Katz Foundation; print purchases by Julie Mehretu, Vija Celmins, and Lee Bontecou made possible by Lindsay Leard Coolidge ’78; sculptures by Louise Nevelson and Kiki Smith from the Lunder Collection; and a sculpture by Louise Bourgeois on loan from Barbara and Ted Alfond.More »
A leading figure of the Aesthetic movement, James McNeill Whistler valued beauty and “art for art’s sake.” Primarily composed of works from the Lunder Collection, this exhibition considers Whistler in the context of other 19th-century artists who similarly embraced Aesthetic ideals.More »
This will be the third visit of the Venerable Losang Samten, renowned Tibetan scholar and sand mandala painter. During his stay, Samten will create a sand mandala, which will be ritualistically dismantled at a closing ceremony. Related events:
Lecture: Wednesday, April 7, 6 p.m., Given Auditorium
Meditation: Saturday, April 10, 12 p.m., Paul J. Schupf Wing for the Works of Alex Katz
Dismantling Ceremony: Tuesday, April 13, 3:30 p.m., Lower Jetté GalleryMore »
Organized in collaboration with Gary M. Green, Assistant Professor of Art, this exhibition will present black-and-white photographs by American modernists from the collection of Norma B. Marin. Featured artists include Berenice Abbott, Ansel Adams, Harry Callahan, Imogen Cunningham, Alfred Stieglitz, and Paul Strand, among others.More »
Colby Assistant Professor of Art Garry Mitchell presents new paintings on panel generated through an intuitive arrangement of forms, shapes, and colors. Prof. Mitchell’s paintings are composed of delicately rendered and layered abstractions that emerge through what the artist’s describes as “excavations,” when he releases “new shapes or networks from the wet surface.”More »
Curated by Julie Levin Caro, Mellon Postdoctoral Fellow in American Art History
This exhibition considers a range of responses by African American artists to social, political, and aesthetic concerns. The artworks address racism and the legacy of slavery, document and celebrate African American culture and experience, and explore abstract and conceptual modes of representation. The exhibition features works by Edward M. Bannister, Romare Bearden, Allan R. Crite, David Driskell, Sam Gilliam, William H. Johnson, Lois Mailou Jones, Jacob Lawrence, Glenn Ligon, Alison Saar, Henry O. Tanner, James VanDerZee, Charles White, Fred Wilson, and others.More »
The manifestations of “experimental geography” (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice today: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound works capturing the buzz of electric waves on the power grid. The exhibition presents a panoptic view of this new practice, through a wide range of mediums including sound and video installations, photography, sculpture, and experimental cartography.
Artists in the exhibition: Francis Alÿs, AREA Chicago, The Center for Land Use Interpretation (CLUI), The Center for Urban Pedagogy (CUP), e-Xplo, Ilana Halperin, kanarinka (Catherine D’lgnazio), Julia Meltzer and David Thorne, Lize Mogel, Multiplicity, Trevor Paglen, Raqs Media Collective, Ellen Rothenberg, Spurse, Deborah Stratman, Daniel Tucker, Alex Villar, Yin Xiuzhen.
Experimental Geography is a traveling exhibition organized and circulated by iCI (Independent Curators International), New York. The guest curator for the exhibition is Nato Thompson. The exhibition, tour, and catalogue are made possible, in part, by the Horace W. Goldsmith Foundation, the iCI Advocates, the iCI Partners, Gerrit L. and Sydie Lansing, and Barbara and John Robinson.