THE ROSE ART MUSEUM RETHINKS ITS APPROACH TO MODERN ART HISTORY
Organized in celebration of the Rose’s 60th anniversary, the exhibition re: collections, Six Decades at the Rose Art Museum highlights the Rose’s radical roots while showcasing the potential for future transformations. Following the example of artists featured in the exhibition, re: collections challenges art historical conventions and cultural hierarchies by charting alternative genealogies that link artworks drawn from the museum’s stellar permanent collection.
“re: collections is a culmination of many years of research, teaching, and critical thinking about the art historical canon—how it was forged, by whom, its biases, omissions, and deliberate exclusions,” said Gannit Ankori, Henry and Lois Foster Director and Chief Curator. “The curatorial team and I knew that we didn’t want to feature the Rose’s incredible collection as a mere illustration of the traditional Euro- and U.S.-centric narrative of art. We didn’t want to reiterate such limited and limiting perspectives of human creativity.”
-
Beauford Delaney, Abstraction (Greene Street), 1950 - Oil on canvas. Rose Art Museum, Brandeis University. Gift of Mr. Maurice Geller,
-
Willem De Kooning, Untitled, 1961 - Oil on canvas. Rose Art Museum, Brandeis University. Gift of Joachim Jean and Julian J. Aberbach, 1964.163. Photo credit: Stephen Petegorsky.
-
Zilia Sánchez, Las troyanas, 1987-97 - Acrylic on canvas, Rose Art Museum, Brandeis University. Mortimer and Sara Hays Acquisition Fund, Edward and Bertha Rose Acquisition Fund, Rose Art Museum Acquisition Fund, Gift of Monroe and Edith Geller, 2018.12. © Zilia Sánchez. Courtesy Galerie Lelong & Co., New York.
-
Installation views. Courtesy of Isometric Studio and The Rose Art Museum
Texts spaced across the Rose’s galleries introduce thematic and formal threads interwoven throughout the show. The resilient creativity of artists has long been a force for change, pushing against and altering the boundaries of the accepted and expected. Remixing traditional materials and modes of artmaking expands what these categories might be, just as the subversion and reconfiguration of representations made by others make room for art that speaks powerfully of the self and to newly envisioned worlds and ways of being. The exhibition recontextualizes the familiar while introducing the new, displaying well-known works alongside emerging and historically underrepresented artists
Curated by Gannit Ankori, Henry and Lois Foster Director and Chief Curator; Elyan J. Hill, Guest Curator of African and African Diaspora Art, and Caitlin Julia Rubin, Associate Curator and Director of Programs, re: collections, Six Decades at the Rose Art Museum will be on view for three years, with several rotations.
-
Al Loving, Self-Portrait #23, 1973 - Mixed media, Rose Art Museum, Brandeis University. - Rose Art Museum Acquisition Fund, Gift of Monroe and Edith Geller, 2014.12. Charles Mayer Photography.
-
René Magritte, L'Atlantide, 1927 - Oil on canvas, Rose Art Museum, Brandeis University. Gift of Mr. and Mrs. Eric Estorick, London, 1967.175. Image courtesy of Rose Art Museum.
-
Robert Colescott, I Gets a Thrill Too When I Sees De Koo, 1978 - Acrylic on canvas. Rose Art Museum, Brandeis University, Gift of Senator and Mrs. William Bradley, 1981.25. Charles Mayer Photography.
-
Florine Stettheimer, Music, c. 1920 - Oil on canvas, Rose Art Museum, Brandeis University. Gift of Joseph Solomon, New York, -.1038. Image courtesy of Rose Art Museum.
Related Topics
May interest you
HEAVEN’S GATE - MARCO BRAMBILLA’S EXHIBITION AT PAMM
A lavish, satirical and vertigo-inducing meditation on the Hollywood ‘Dream Factory,’ Heaven’s Gate is a work of digital psychedelia employing the same state-of-the-art computer compositing technology as the films it references. On view at the Pérez Art Museum Miami until early 2022.
FREDDY RODRÍGUEZ ENTERS THE PERMANENT COLLECTION OF THE WHITNEY MUSEUM OF AMERICAN ART
His painting Y me quedé sin nombre (1974) is the first work by a Dominican-born New York artist to be acquired by the museum.
THE MUSEUM OF FINE ARTS HOUSTON COMMISSIONS ONE OF ERNESTO NETO’S LARGEST CROCHET WORKS TO DATE
The Museum commissions site-specific, immersive installation by the Brazilian artist that will transform the Museum’sCullinan Hall into a suspended walkway. Ernesto Neto: SunForceOceanLife, the seventh installment of the Museum’s summer immersive art series, will be on view from May 30 through September 26, 2021.
DAVID E. LITTLE APPOINTED AS NEW EXECUTIVE DIRECTOR OF THE INTERNATIONAL CENTER OF PHOTOGRAPHY
The Board of Trustees of the International Center of Photography (ICP) in New York announced today the selection of David E. Little as its new executive director, following an international search. Little will join ICP in mid-September 2021, after six years as director and chief curator of the Mead Art Museum at Amherst College, and will succeed Mark Lubell, who announced his decision to depart ICP in March 2021.
