Neil P. Estrick
procelain with incised and layered glazes
Courtesy of the Artist
Image Courtesy of the Artist
Vision and Persistence is a survey of works created by over 50 artists connected to the ceramics program in the Department of Art + Design at Utah State University over the last 30 years. The ceramics program at USU is internationally recognized for a commitment to excellence rather than a particular look or style, and its alumni have established careers at locales across the nation and around the world. Vision and Persistence showcases a cross section of this alumni community and furthers the legacy of the USU ceramics program.
Vision and Persistence is co-organized by Rebecca A. Dunham, Curator of Collections and Exhibitions at the Nora Eccles Harrison Museum of Art (NEHMA) and Todd Hayes, Ceramics Studio Coordinator for the Department of Art + Design at USU. NEHMA is the first venue for Vision and Persistence; the exhibition will travel and be displayed concurrently with the 50th anniversary conference of the National Council on Education for the Ceramic Arts (NCECA) in Kansas City, Missouri, from March 16-19, 2016.
Neil P. Estrick
Susan D. Harris
Jason William Hess
Robert "Boomer" Moore
J. Daniel Murphy
Brian J. Taylor
A Matter of Taste explores the complex relationship between art, kitsch, and culture. While a gift shop may seem the more likely place to find kitsch in a museum, A Matter of Taste turns this expectation upside down. Showcasing a wide range of kitsch, kitsch-like, or kitsch-inspired objects dating to the 20th and 21st centuries, this exhibition reveals the permeable and porous boundaries between fine art, kitsch, and popular culture.
Including artworks from NEHMA's collection, such as works by Frank McEntire, Jean Lowe, Richard Pettibone, and Jeffrey Vallance, the exhibit also includes reproductions of famous paintings and loaned objects, such as works from the LDS Church History Library, original paintings from Thomas Kinkade's estate, and an installation about 'turbofolk' to provide an international perspective. Each work may be characterized as art or as kitsch, as challenging our understanding of art, or even playing with definitions of art.
Be sure to look for the various interactive areas, including the Kitsch Exchange where visitors can bring an object for display in the museum and take an object that someone else has left, celebrating the necessity of shared experiences for kitsch to exist. While the exhibit seeks to challenge preconceived notions about art or even the art museum, it also reminds us to retain a sense of humor. Please join us, learn with us, and have fun with us!
This exhibition is curated by Rebecca Dunham, NEHMA Curator of Collections and Exhibitions; Katie Lee Koven, NEHMA Executive Director; and Dr. David Wall, Assistant Professor of Art History in the USU Department of Art + Design.
Charter Member Endowment Purchase
Image, Courtesy of the Artist
The Ninnekah, 1951
oil on linen
Marie Eccles Caine Foundation Gift
Showcasing NEHMA's important collection of art from the American West after World War I through the present day, Transcendence: Abstraction and Symbolism in the American West includes over sixty works by artists spanning painting, photography, sculpture, works on paper, pottery, video, and mixed media. The exhibition surveys both American Indian and and non-native artists who employ abstraction and symbolism to convey their experiences and interpretations of the American West. Complementing Abstraction and the Dreaming, the exhibition explores how these artists utilize these conceptual processes to convey responses to place, spirituality, and cultural identity.
Many works in the exhibition have been acquired for the Museum through the generous support of the Marie Eccles Caine Foundation, Kathryn Caine Wanlass Foundation, Nora Eccles Treadwell Foundation, and David and Terry Peak.
Robert Boardman Howard
Helmi Dagmar Juvonen
Julian and Maria Martinez
Sibylle Szaggars Redford
Unknown Hopi Artist
On View in the Study Center
Small selections of printmaking, photography, and drawing are presented in the Study Center as independent mini-exhibitions. These exhibitions are shown in drawers to provide viewers an intimate experience.
Untitled (Net), ca. 1940
Kathryn C. Wanlass Foundation Gift