The Day After Tomorrow
Art in Response to Turmoil and Hope
July 1 - December 19, 2020
Our new reality is profoundly different than it was six months ago. The 2020 pandemic,
COVID-19, has swept the world, and in the wake of George Floyd’s murder, we have seen
unprecedented civil unrest calling for racial equality. What will these dilemmas leave
in their wake? The Museum hopes to engage the community in these issues, ones that
have changed our lives in unprecedented ways.
One of the central galleries in the exhibition is a Community Response Space designed
to elicit and give expression to the personal feelings, fears, and hopes for the future
that have arisen for individuals in the community over the course of the last several
months. This space, with the contribution of Utah artists, will undergo transformations
over the course of the exhibition. Also included in the space is an interactive yarn
grid through which you may share your personal emotional journey throughout the past
few months.
Currently featured in the Community Response Space is a project entitled Unmasking Creativity that highlights the experiences of over 80 local middle and high school students
in this current pandemic. Each student submitted a written narrative, a face mask
that they transformed to reflect their thoughts and emotions about the COVID-19 crisis, and a photograph of themselves
wearing their masks. Learn more about the project here.
The Day After Tomorrow is divided into three themes. A Better Tomorrow focuses on transcendence, alternate realities, the divine, afterlife, and bliss. A Worse Yesterday comprises works of art that address events that have shaken the world and thrown it
into crises such as world wars, nuclear proliferation, AIDS, genocide, racism, and
immigration. Awry Ecosystem focuses on art by artists concerned with the environment and how humans are changing
it.
The Day After Tomorrow is largely drawn from NEHMA’s permanent collection and contains many works of art
that have not been exhibited before by living and deceased artists from California,
Oregon, Utah, and Washington, as well as prior USU visiting professors.
This exhibition and programming have been made possible through the support of the
Utah Division of Arts & Museums, with funding from the State of Utah.
Explore the Exhibition


You can also see the objects in The Day After Tomorrow: Art in Response to Turmoil and Hope in our Collections page.
This virtual tour is made possible by Engel & Völkers Logan and Johnny Perez. Thank you!

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Artists:
Terry Allen
Von Allen
Leo Amino
David Kimball Anderson
Fred Anderson
Brandon Ballengee
Cliff Benjamin
Nayland Blake
Abe Blashko
Alice Leora Briggs
Roger Brown
Kenneth Callahan
Robert Comings
Cyrus E. Dallin
Vernon Fischer
Osker Fischinger
James H. FitzGerald
Reuben Kadish
Sister Mary Corita Kent
Karen Kunc
Chiye Kuroiwa
Frederick Loomis
Stanton Macdonald-Wright
Brian Mains
Constance Mallinson
Cliff McReynolds
Joseph Mugnaini
Jaime Muñoz
Manuel Neri
Margaret Nielsen
Kenda North
Chiura Obata
Eric Orr
Raymond Pettibon
Abraham Rattner
Terry Schoonhoven
Henrietta Shore
Ben Sakoguchi
Jack Stuppin
Don Suggs
Gage Taylor
Jeffrey Vallance
Carlos Villa
Triesch Voelker
Gordon Wagner
Melanie Walker
Florence E. Ware
Maryann Webster
Philip Zimmerman

Brian Mains
Wheel of Life, 1994
Acrylic on canvas
66 x 66 inches
Gift of the Marie Eccles Caine Foundation

A BETTER TOMORROW | Oskar Fischinger, Untitled, 1938, Oil pastel on paper, 5.5 x 7.25 inches, Gift of the Marie Eccles Caine Foundation

A BETTER TOMORROW | Stanton Macdonald-Wright, Scenes from the Life of Buddha: Departures, 1949, Oil on canvas, 16 x 48 inches, Gift of the Marie Eccles Caine Foundation

A WORSE YESTERDAY | Cliff Benjamin, Flame, 1997, Graphite and ink on paper, 76.625 x 64.625 x 3 inches, Gift of Joe Austin and Kathryn C. Wanlass Foundation

A WORSE YESTERDAY | Chiura Obata, Topaz, Utah, c. 1942-1943, Watercolor on paper, 12.625 x 14.562 inches, Museum Purchase with the Dorothy Wanlass Endowment Fund

A WORSE YESTERDAY | Abe Blashko, Fragments of the 20th Century, 1942, Pastel on paper, 19 x 25 inches, Museum Purchase with the Dorothy Wanlass Endowment Fund

AWRY ECOSYSTEM | Leo Amino, Dream of a Cocoon, 1950, Maple wood, 33.25 x 6.5 x 5.5 inches, Gift of the Marie Eccles Caine Foundation

AWRY ECOSYSTEM | Karen Kunc, Outflow, 2007, Woodcut, 14 x 14 inches, Museum Purchase with the Charter Member Endowment Fund

AWRY ECOSYSTEM | Joseph Mugnaini, The Murder of Moby Dick, 1980, Etching, 18 x 24 inches, Museum Permanent Collection

AWRY ECOSYSTEM | Kenneth Callahan, Multitudes, 1985, Oil on board, 26 x 42 inches, Gift of the Marie Eccles Caine Foundation








