BE A GOOD NEIGHBOR Razed Here; Raised Here Fall 2022 Exhibtion Information Fall Exhibtions2022DENISON MUSEUM
Click here August 29 - December 9 2022 2 | DENISON MUSEUM AT A GLANCE Scan Here RAZED HERE; RAISED HEREBE A GOOD NEIGHBOR An exhibition about the importance of good neighbor relations with Latin America in the US in the 19030- the 1940s. A ceramic materials exhibition by Jstn Clmn, Assistant professor of Studio art/Black Studies. These objects investigate the aesthetics, materiality, and politics of urban space.
DENISON MUSEUM | 3 CONTACT InterestedQuestions? in learning more? Would you like to schedule a class visit? Megan Hancock Sr. Curator, Exhibitions and Education hancockm@denison.edu, x5713 Faculty Breakfast Exhibitions Sneak Peek Friday, Aug 19th @ 9 am Opening Fall Exhibitions Reception Thursday, Sept 1st @4:30-6:30 pm Tortilla Printmaking Workshop with artist Salvador Jiménez-Flores Friday, Sept 16th at @4:30 pm Good Neighbor Cultural Diplomacy in World War II Tuesday, Sept 27th at @7pm Darlene J. Sadlier, Professor Emerita, Indiana University-Bloomington Be A Good Neighbor Panel Talk Thursday, October 13th @11:30-1:00 pm; refreshments provided Harvest of Empire The Untold Story of Latinos in America Thursday, November 3rd @7:00 pm JSTN CLMN Artist Talk Thursday, November 10th @11:30-1:00 pm Lunch provided; RSVP Brought to you by the Lisska Center for Intellectual Engagement Exhibition Events
This Fall 2022 (August 29 to December 9, 2022.)
José Guadalupe Posada, El Panteon de Las Pelonas, 1924 (detail). Courtesy of the Miami University Art Museum. Brazilian President Getúlio Vargas (left) and US President Franklin D. Roosevelt (right) Rio de Janeiro in 1936 Click here
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In collaboration with Julia Fernandez Asst Prof- Art History & Visual Culture Co-sponsored by the Art History and Visual Culture Department
Denison Museum will be featuring Be A Good Neighbor, an exhibition on relationstransnationalbetween the U.S and Latin America from 1930 to the 1940s. It was during this time that the US Westernmakeasplanimplementedgovernmentanationaltoinvestincultureameansnotonlytofriendswithouralliesbutalso to influence the public at home. The exhibition explores artists and movements in the art world relating to political strategy and cultural diplomacy. The Office of the Coordinator of Inter-American Affairs (CIAA) had visual artists, musicians, radio shows, and films traveling around the US and Latin America. These events are significant regarding international and cultural relations through a complex and troubled political history that tied into the Bracero program and controversial Good Neighbor Policy during this time.Beginning in the 1930s, the New Deal had mural artists touring the US like Diego Rivera, José The power of Latin American art in the US during the 1930- 1940s.
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Clemente Orozco, and David Alfaro Siqueiros. These muralists gave rise to art that spoke directly to the people about social justice and national life. Their art influenced and inspired American artists whose work would become the ‘American Style’ in the following decades. Also featured are artists from the Taller de Gráfica Popular, the Mexican collective that used art to advance revolutionary social causes and whose artists toured the United States and had many Americans studying in Mexico. International traveling exhibitions like the United Hemisphere Poster Competition in 1942 (organized and traveled by MoMA) brought about notions of political solidarity against Axis influence. The 1944 exhibition of José Guadalupe Posada at the Art Institute of Chicago pushed Eastern aesthetics aside, spurring the rise of Latin American historical figures that found their way into Museum collections. The exhibition also features work from contemporary Latin American artists of Instituto Grafico de Chicago who reference and pay homage to many of the historical figures and organizations on view.
Diego Rivera, Fruits of Labor, 1932 20th Century, Courtesy of the Grinnell College Museum of Art Mural artists Taller de Gráfica Popular
José Renau, first prize in the United Hemisphere Poster Competition, MoMA 1942. United Hemisphere Poster Competition
Alfredo Zalce, Los Obreros de Madera (Lumber Workers) Courtesy of the Grinnell College Museum of Art
Eric J. Garcia - Posada Presente, Instituto Grafico de Chicago. Courtesy of the Instituto Gráfico De Chicago Instituto Gráfico De Chicago Exhibition Artwork
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Razed RaisedHere;Here
Left: (Untitled) Black Star Line Gravy Boat on Brick Right: Gold Wash Left:Beep and Wave Right: Mr. Smitty’s
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Artist Talk Thursday, November 10th 11:30-1:00 pm Lunch provided, RSVP Brought to you by the Lisska Center for Intellectual Engagement
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The title of this exhibition is Razed
Here. This work for this show is primarily made of ceramic materials, investigating the aesthetics, materiality, and politics of urban space. Of Black Space. The Hood. This work is concerned with a cross current of forces (municipal, economic, social, etc.) that make and mark physical change. Material Affects. I am interested in capturing the feel or essence of a space. I am thinking about empty lots as a palimpsest for experience and movement through space: a vacant building as a cache of memory, while the old, faded handwriting writing on the walls stand as testimony; how broken bricks, cracked concrete and eroded chunks of asphalt are evidence of this tension. My studio practice investigates value systems and culturally coded signifiers through multiple approaches of thinking through ideas with objects and materials. Working primarily in ceramics and found objects, I build on the material understandings of 20th century craft practice and incorporate interdisciplinary research examining History, Black studies, and Material Culture Studies. The end works results in sculpture, objectsde art, and artifacts, but the focus is articulating ideas and questions through a critical study of the objects and application of skill. My interest in this work has to do with the neighborhood I grew up in. Its changing (to be expected) and I am capturing some of the fleeting material and aesthetic impressions. Impressions of what was there, what happened to it and what is happening to it now. Although this work starts from a place of aspectsnationally.Blackmuchisexperience,personalitrelativetooftheexperienceCertainmaybyunique to location, but these forces of change are not exclusive. The forces and the tension I have witnessed resonate in other places. With certain aspects unique to location, but these forces of change are not exclusive. “Jstn Clmn” Coleman Assistant Professor Studio Art/ Black www.jstnclmn.comStudies
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CLMNJSTN Justin
8 | DENISON MUSEUM THE EXPERIENCEMUSEUM Over 100 classes utilize the museumYOURSCHEDULEannually.FALLCLASSVISIT
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Over one hundred classes engage with the Museum’s collections and exhibitions each year. Regular users include faculty members from the departments of Anthropology & Sociology, Art History & Visual Culture, Data Analytics, Education, Geosciences, Global Health, History, Journalism, Modern Languages, Women’s & Gender Studies, and Studio Art. Objects can be used from the current exhibition or the permanent collection.
The Denison Museum presents exhibitions and creates tailored class experiences that enhance student learning across disciplines. Museum staff work closely with faculty members to understand their needs, generate ideas for collaboration, and create unique activities designed to promote specific learning goals. Activities range from casual visits designed to introduce students and faculty to the resources and possibilities offered by the Museum, to collaboratively curated exhibitions and rigorous lesson plans that integrate object-based learning into the core curriculum of a course.
Today the diverse collection contains more than 9,000 objects from all over the world, with primary strengths in Asia, Europe, and North and Central America.
Book Now Schedule your Fall class visit today. Simply email or call to schedule an appointment. Museum staff are available to answer any questions. CONNECT Enhance your courses with hands-on learning from cultural and art objects. • Integrate works from the permanent collection or current exhibition into lectures and discussions that link directly to your course • Discuss visual literacy or object-based learning opportunities and pedagogies • Work with the museum to create a semester long academic exhibition Use objects as evidence in an interdisciplinary approach learningObject-based(OBL) is
Faculty
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OBJECT-BASEDLEARNING members do not need andlabs,throughpromptingwiththemexperiencecollection,ininterpretingtoareWhetherandoftodevelopedorMuseum.toexperienceknowledgepreviousoforwithOBLconnectwiththeEachvisitseriesofvisitsisspecificallymeettheneedstheinstructortheircourse.studentsrespondingexhibitionsoritemstheMuseum’stheplacesinconversationobjects,learningdiscussion,textualanalysis,guidedresearch.an experiential pedagogy that focuses on close, tactile interaction with communication.writtenteamwork,criticalskillscultivateissues;politicalintopromptsandintellectualOBLandlearningAssensoryspecimens,artifacts,worksmaterialsphysical(includingofart,culturaldocuments,etc.)andexperiences.anapproachto“about,with,throughobjects,”promotesdiscourseexploration.Itinquirycomplexsocio-orscientificithelpsvaluableinvisualliteracy,thinking,andandoral
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Faculty can now incorporate a visiting artist or student work/performances as part of their course(s) by requesting the use the museum’s Flex Gallery space for two to four week periods. Or, you can work with the Museum to incorporate works of art, images, and material from your classes as a student created exhibition.
Zoology course identified depictions of invertebrates in the Museum’s collection. They learned about cultural and aesthetic differences in representation, as well as how invertebrates are used as raw materials in the production of lacquer and cochineal dye. Students worked with the collections manager to learn how invertebrates affect artwork (e.g., infestations) and pest management techniques.
FLEX SPACE
Sociology class sorts 20th century cigarette adverstisments geared at women into catigories.
12 | DENISON MUSEUM MuseumInternships The Museum hires 15 to 20 student interns per year, from a wide range of majors. Students from across the majors participate in Denison Museum’s hands-on paid internships. Over a dozen interns per semester work closely with Museum staff on a wide range of projects tailored to the students’ interests and skills. Collection intern working with the Guna molas Interns’ work includes: • Collections management and care • Documenting and photographing objects for the digital catalog • Data organization and analysis • Curatorial research and writing • Exhibition design and installation • Social media and public relations, including creating podcasts and videos • Graphic design, marketing, and website management (including use of Photoshop, InDesign, and Illustrator) • Museum education, educational outreach, and public speaking • Grant writing and research
Museum staff mentor interns as they explore career options, often helping them secure internships at other prestigious museums. In Spring 2022, for example, interns and staff traveled to Columbus to meet with a curator and registrar at the Columbus Museum of Art, visit galleries, meet arts entrepreneurs, and attend the Franklinton Friday art event.
Field trip to the Toledo Museum of Art to meet with Curators, Grant writers, and Chief Executive Officer
Internships
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Collections care of public sculptures
Museum interns gain practical work experience and skills that are useful in a wide range of careers (especially PR, marketing, communications, and work for educational and nonprofit organizations).
MichaelClosedM-Fmuseum@denison.eduDenisonMuseum.org9-4andbyappointment.univeristyholidaysandbreaks.D.EisnerCenter,DenisonUniverity240W.Broadway.Granville,OH43023(740)587-6255 DENISON MUSEUM