Fatimah Tuggar, Voguish Vista, 2012. Computer montage; inkjet on vinyl, 50 x 72 in.
© Fatimah Tuggar, BintaZarah Studios
February 6 – May 12, 2013
Fatimah Tuggar: In/Visible Seams
Artist Fatimah Tuggar’s ink-jet on vinyl prints fashion alternate vistas through processes that include photography, image capture, cut and paste, superimposition, and digital manipulation. Working with methods she describes as montage, collage and assemblage, her images, videos and objects offer distinct combinations of wit and irony, compassion and critique. Sourcing a global range of imagery, often from Nigeria and the United States, and mining archival as well as contemporary media, Tuggar’s fusion images and videos are not fictions per se but rather surreal combines of diverse realities, both made starker by their juxtaposition.
“Borrowing from the realms of advertising, popular entertainment, folklore, and the experiential, I use technology as medium, subject and metaphor,” notes the artist. Fatimah Tuggar: In/Visible Seams presents a selection of large-scale computer montages from 1995 to 2012, such as Voguish Vista (2012), and showcases the artist’s alluring, often unsettled temporal, spatial and geographic conjunctions. Tuggar’s renowned video collage, Fusion Cuisine (2000) and her assemblage work, Tum Tum & Tabarma (1998) are included in this solo exhibition of her work in Mechanical Hall Gallery.
Born in 1967 in Kaduna, Nigeria, Fatimah Tuggar attended the Blackheath School of Art in London, received her BFA from the Kansas City Art Institute and her MFA from Yale University. Tuggar is on the faculty of the University of Memphis.
Tuesday, March 5, 6-7p
Opening Reception – Fatimah Tuggar: In/Visible Seams
Old College Gallery
February 6 – June 28, 2013
In the Main Gallery
Gertrude Käsebier: The Complexity of Light and Shade
Käsebier (1852-1934) was among the most important American pictorialist photographers and a founding member of Alfred Stieglitz's Photo-Secession. Her moody portraits and her expressive studies of mothers and children won critical acclaim in the U.S. and abroad, fetching record prices for artistic photography at the turn of the twentieth century. Alfred Stieglitz championed her work, devoting the first issue of his deluxe journal Camera Work to her photographs in 1903 and featuring her in his newly opened Little Galleries of the Photo-Secession in 1905. Famed British modernist photographer Alvin Langdon Coburn came to study with her in New York. In France in 1905, she stayed with Edouard Steichen and visited the studio of Auguste Rodin, befriending the great sculptor and making an important series of photographs of him. This exhibition presents a range of her works, from family photographs to formal portraits to scenes of Newfoundland. A fully illustrated catalogue will accompany the exhibition curated by Stephen Petersen.
Thursday, February 21, 5-7p
Opening Reception – Gertrude Kasebier: The Complexity of Light and Shade
Saturday, March 2, 2013
9:30 am – 3: 15 pm
SYMPOSIUM – Gertrude Käsebier: The Complexity of Light and Shade
Trabant Center Theatre (morning) and Old College Gallery (afternoon)
9:30 am: Coffee
10 am – 11:20 am Rediscovering Gertrude Käsebier
Barbara Michaels, Art Historian and Writer: Adventures with Gertrude Käsebier
Michelle Delaney, Smithsonian Institution: Buffalo Bill's Wild West Warriors: Photographs by Gertrude Käsebier
Heather Campbell Coyle, Curator of American Art, Delaware Art Museum: Capturing the Artistic Temperament: Gertrude Käsebier Photographs the Eight
11:40 am – 1:00 pm Gertrude Käsebier: Process into Image
Jae Gutierrez, Center for Creative Photography, University of Arizona, and Greta Glaser, University of Delaware: Käsebier’s Photographic Printing Methods and their Long-Term Preservation
Dr. Kathleen Pyne, Notre Dame University: Käsebier’s “Magic Crystal”
Stephen Petersen: Käsebier, Pictorialism, and the Alternative Process Movement
1:00 – 2:00 Lunch (on own)
2:00 pm Symposium reconvenes in the exhibition, Gertrude Käsebier: The Complexity of Light and Shade, Old College Gallery
2:15 – 3:15 pm: Panel discussion. All speakers will offer responses to the exhibition and one the study of Käsebier. Moderator: Professor Wendy Bellion, Department of Art History, University of Delaware
This program is partially funded by a grant from the Delaware Humanities Forum, a state program of the National Endowment for the Humanities.
The exhibition, Gertrude Käsebier: The Complexity of Light and Shade will be on view from February 6 – June 28, 2013.
The symposium is open to the public free of charge. To register, please e-mail: firstname.lastname@example.org or call: 302-831-8037
Please join us also for a related event:
Friday, March 1, 2013
Light reception to follow lecture
Free, but online registration required at delart.org
The New Woman in Black and White
by Margaret D. Stetz, Mae and Robert Carter Professor of Women’s Studies and Professor of Humanities, University of Delaware
Sponsored by the Tom and Mary Page Evans Fund
In the West Gallery
Common Threads: A History of Fashion through a Woman’s Eyes
This exhibition chronicles 20th century women’s fashion and explores the meaning of fashion in art and social and historical contexts. The exhibition will showcase the Historic Costume and Textiles Collection of the Fashion and Apparel Studies Department, and is curated by Vicki Cassman, Belinda Orzada, and Dilia López Gilosh with the support of Janet Broske of University Museums. The exhibition is supported in part by the Interdisciplinary Humanities Research Center.
Friday, February 15, 5-7p
Opening Reception – Common Threads: A History of Fashion through a Woman’s Eyes
Old College Gallery
Goya’s War: Los Desastres de la Guerra
The 1863 publication of Los Desastres de la Guerra (The Disasters of War) by Francisco Goya (1746-1828) made these etchings available to a wide public for the first time, about 50 years after their creation. The sequence of the first edition, however, intermixes images of battlefield carnage with others of famine, atrocity, allegory and political commentary. The result is a compendium that eludes a single, definitive interpretation: removed in time from the events of the Napoleonic invasion of Spain (1808-1814) that inspired them, the first edition was read as a powerful and unprecedented visual commentary by an artist/patriot. But such a general interpretation demands that we overlook the full richness and complexity of the series.
Featuring a high-quality first edition set of the Desastres de la Guerra from the collection of the Pomona College Museum of Art, this exhibition considers various factors in ordering the etchings to suggest the original internal evolution of the series during the second decade of the nineteenth century. The resulting presentation will allow viewers and students to appreciate fully Goya’s experimentation and accomplishment, as he gave lasting form to a period of turmoil and transformation.
This exhibition is a collaboration of the Pomona College Museum of Art and the University Museums of the University of Delaware. It is curated by Janis Tomlinson, Director, University Museums, and circulated by the Pomona College Museum of Art.
All events are free and open to the public.
RSVPs are appreciated: email@example.com or 302-831-8037
Information and hours: 302-831-8037