Scrutiny After The Glimpse
June 4 - August 3 2014
Depicting the human form has been a primary focus of artists since the beginning of recorded engagement. Looking at a portrait or figure painting has usually been thought to be an isolated occasion with a finite meaning. This exhibition of paintings, drawings, prints, and sculpture from the Haggerty’s permanent collection explores the potential of these objects to evince multiple meanings based on context and proximity to other works.
June 4 - August 3 2014
AGOD (acronym for animated GIF* of the day) is an “organic” video about the fear of order and disorder. The work is comprised of daily animated GIFs, created and collaged over a 3-year time span. The non-linear, open-ended narrative speaks to the rapidity and abundance of information available in the digital age.
*GIF is an acronym for graphic interchange format. GIFs are computer files used for the compression and storage of digital video images.
The Print Room
An Exhibition by the Chipstone Foundation
June 4 - August 3 2014
The Print Room is an immersive exhibition that explores transfer-printed ceramics and their role in print culture. Presented alongside prints and printed ephemera, transfer-printed ceramics are important vehicles for visual, textual and cultural communication. The exhibition displays a wide variety of patterns and images that makers invented and appropriated for use on ceramics, including eastern-inspired chinoiserie designs, commemorative portraits, and reproductions of popular paintings.
An Exhibition by the Chipstone
June 4 - August 3 2014
We will die, civilization will crumble, life as we know it will cease to exist, but trash will endure, and there it was on the street, our ceaselessly erected, ceaselessly broken cenotaphs to ephemera and disconnection and unquenchable want.*
Today’s obsessive materialism occurs without consideration of what happens to things when we no longer need or want them. In An Aesthetic Afterlife, five Wisconsin artists literally address the myriad problems raised by our “throw-away culture.” But they do so somewhat optimistically, using old objects to create beautiful works of art. Secondhand objects are saved from their potential graves, proving that it is possible for them to live an aesthetic and purposeful afterlife.
*Robin Nagle, Picking Up: On the Streets and Behind the Trucks with the Sanitation Workers of New York City
August 20 – December 23, 2014
The Killing Cycle ...
The year 1966 was a turning point for painter and filmmaker Alfred Leslie. That fall, a devastating fire destroyed Leslie’s studio-home and all of its contents. This personal loss, as well as the death only a few months earlier of his close friend and collaborator, poet Frank O’Hara, provided fertile ground for artistic inspiration. The Killing Cycle ... is a series of constructed narratives that synthesize fact and fiction to describe the beach scene car crash that ended O’Hara’s life. Part personal testimony and part metaphor for loss, these “painted stories” will be exhibited together for the first time in over twenty years.
Alfred Leslie & Frank O’Hara
The Last Clean Shirt
Alfred Leslie and Frank O’Hara were both associated with the New York School, a group of artists, writers, and musicians that comprised the downtown avant-garde of the 1950s and ’60s. Frank O’Hara is considered one of the most important and influential postwar American poets. Two years prior to his untimely death, he collaborated with Leslie to produce the experimental film The Last Clean Shirt (1964). This layered work blends highbrow and bohemian art, poetry and film to comment on the social and political climate of the mid ’60s. The film is being screened in conjunction with the exhibition Alfred Leslie: The Killing Cycle…
Yangtze-The Long River
Over a period of three years, Nadav Kander photographed scenes he encountered on the banks of China’s Yangtze River. More people live along the Yangtze, the third longest river in the world, than in the United States. As he traveled upstream and more than 4,100 miles from the river’s mouth at the coast, a high-traffic shipping port, toward The Three Gorges Dam, the largest in the world, past Chongqing, a rapidly expanding urban and economic center, to the river’s source in the Himalayan mountains, Kander was struck by the human and environmental impact of China’s dizzying rate of development. His photographs of the people and landscapes he encountered on his journey explore themes of impermanence and displacement, and ultimately question the price of modernity.
August 20 – May 17, 2015
Looking at Communities from an Art Museum
Over the course of the fall 2014 and spring 2015 semesters, the Haggerty will present Clear Picture Looking at Communities from an Art Museum, an exhibition featuring diverse works from the museum’s permanent collection. Clear Picture is an experimental, student-curated project led by Marquette faculty members. The exhibition will serve as a multi-disciplinary textbook and laboratory for four undergraduate Journalism and Spanish courses. Works will be added to the walls throughout the year as students explore ways of constructing narratives through the selection and display of art.
This exhibition is organized by Dr. Eugenia Afinoguénova (Associate Professor of Spanish, Department of Foreign Languages and Literatures) and Dr. Pamela Hill Nettleton (Assistant Professor, Journalism and Media Studies, Diederich College of Communication) and has been recognized with the Way Klingler Teaching Enhancement Award, which supports the development and implementation of innovative teaching projects. Dr. Julia Paulk (Assistant Professor of Spanish, Department of Foreign Languages and Literatures) will take over Dr. Afinoguénova’s role in the project for the spring semester.
January 21 – May 17, 2015
For over four years, photographer Mila Teshaieva has documented the transformation of the three former Soviet republics on the shores of the Caspian Sea: Azerbaijan, Kazakhstan and Turkmenistan. The battle for control of the region’s vast oil and gas reserves and the search for a national identity have led to far-reaching changes for the for the society and environment. Teshaieva’s images reveal an atmosphere of insecurity, where people pin their hopes and expectations on a transformation whose direction remains uncertain. The project takes the viewer on a subtle and complex journey through the promises of a new oil region, raising questions as to the relationship between the state and private identity, the ties between past, present and future, and how to pinpoint the boundary between rise or fall.
States of Uncertainty
This exhibition explores the concept of border as social and spatial construct and examines the complexities of establishing personal identity in areas of geopolitical instability. What social and cultural impact is felt when states are formed and disbanded, official languages sanctioned or forbidden, borders drawn then erased? When national boundaries shift, must personal identity? To what extent does a political territory influence the formation of the self? Through sculpture, video and sound-based installations, artists in this exhibition question nationhood, citizenship and identity as defined (or not) by geography.
Copia—Retail, Thrift and Dark Stores,
January 22 - May 18, 2014
This insightful, decade-long, three-phase investigation of the American consumer psyche traces a route from exuberant excess to the bleak architectural landscapes of closed malls and empty parking lots. For his first chapter, Retail, photographer Brian Ulrich traveled extensively across the United States to document shoppers in vast and ubiquitous enclosed malls and big-box stores. He relied on a hand-held camera with the viewfinder at waist level to create candid images of people engrossed in navigating an abundance of goods. Ulrich then turned his attention to thrift stores, which became a primary destination for a growing segment of the country’s population in the wake of the 2008 financial crisis. The Thrift chapter focuses on workers attempting to bring order to the mountains of donated, discarded, and unwanted consumer products. Lastly, in Dark Stores, Ghostboxes, and Dark Malls, Ulrich utilized a large-format view camera to produce richly detailed photographs that explore the lasting impact of the economic recession. This chapter contains haunting landscapes of the interiors and exteriors of abandoned buildings.