Although activists often pinpoint its genesis in the 1960s, the environmental movement in the United States has roots in 19th-century American landscape painting. Beginning with the Hudson River School, artists, predominately painters, have depicted the environment as an allusion to such disparate ideologies as manifest destiny, environmental concerns, gendered places, or literary devices. Looking at…
A nearly lifelong resident of Rockbridge County, Virginia, photographer and writer Sally Mann developed her first photograph in April 1969. During the 1970s, Mann took photographs of women, the Virginia countryside, still lives, and nudes. In 1983, Mann turned her camera almost exclusively to adolescent girls and then began taking photographs of her own children in…
Modern art changed forever with the French artist Marcel Duchamp’s submission ofFountain, a literal porcelain urinal, to the exhibition of the Society of Independent Artists in 1917. Inspired by the European Dada movement, Duchamp’s use of play, chance and everyday objects changed art-making in America. We will begin by exploring how Duchamp’s ideas were disseminated through American musician John Cage’s work. Then we will look at how Cagean aesthetics filtered into assemblage, combines and collage works of the 1950’s through 1970’s. We will consider examples from the VMFA’s permanent collection, including those by: Robert Rauschenberg, Robert Morris, John Chamberlain, Richard Stankiewicx, James Rosenquist, Tom Wesselmann, Wallace Berman, Arman, and Ed Ruscha.
Jun’ichirō Tanizaki’s seminal text, In Praise of Shadows (1933), discusses Eastern, specifically Japanese, ideals of beauty. Contrary to the Western framework of thinking, Japanese aesthetics favors the in-between, typically discarded or overlooked places of beauty: the grey shadows, the tea ceremony, and even a toilet seat. By looking at examples of Japanese fine and decorative arts, we will discuss Tanizaki’s major ideas concerning Eastern Aesthetics and then apply his understanding to the works in the VMFA permanent collection.
In this discussion of late 20th- through 21st-century African American art from the VMFA’s permanent collection, learn what it means to view art and how can we discover new things when properly looking at a work of art. Our discussion begins with simply looking. Then we will explore influences, such as race, gender, or context, as well as technique and subject matter in the work of Kehinde Wiley, Julie Mehretu, Martin Puryear, Lorna Simpson, Kara Walker, Allison Saar, Renée Stout, and Robert Pruitt.
