Test Announcement 123
The Fairfield University Art Museum presents four to six temporary exhibitions annually in the Bellarmine Hall Galleries and the Walsh Gallery. These exhibitions survey a wide swath of centuries and cultures, from the ancient world to modern and contemporary, and are accompanied by an array of educational programming for all audiences.
THE HOLY NAME
Art of the Gesù: Bernini and his Age
Bellarmine Hall Galleries
February 2 – May 19, 2018
This major international loan exhibition will bring together for the first time an important group of dazzling and historically important works of art to tell the twin stories of the rise of the Society of Jesus in Rome and the building and embellishment of the Gesù, its glorious mother church, in the very center of the city. Masterpieces on view include art from the Gesù itself (never before lent to America), the most spectacular being the great Baroque sculptor Gian Lorenzo Bernini’s marble bust of Jesuit theologian and cardinal Roberto Bellarmino, and paintings, drawings, sculpture and prints from numerous museums and private collections in America.
Organized with the endorsement of the Superior General of the Society of Jesus, the exhibition celebrates Fairfield University's Jesuit and Ignation heritage, and will be the catalyst for a rich program of lectures and curricular initiatives. Students, faculty and members of the public will be introduced to works by some of the leading artists of Renaissance and Baroque Rome, commissioned by the Jesuits to promote their power and prestige, serve the order's preaching mission, and trumpet its message of spiritual enlightenment, religious reform, and the Militant Church reborn.
Find more information on the Saint Ignatius Chapel in the Gesù on Khan Academy's website: Pozzo, Saint Ignatius Chapel, Il Gesù.
Generous support for the exhibition is provided by the Samuel H. Kress Foundation and the Robert and Mercedes Eichholz Foundation.
Image Copyright The Fine Arts Museums of San Francisco
March 1 – May 19, 2018
The exhibition presents new works on paper by renowned South African artist William Kentridge (b. 1955), inspired during the writing of his Norton Lectures, which he delivered at Harvard University in 2012. In more than 75 linocut prints based on ink sketches and printed on dictionary and encyclopedia pages, Kentridge revisits a familiar personal iconography, including coffee pots, typewriters, cats, trees, nudes and other imagery, exploring a thematic repertoire that has appeared in art and stage productions throughout his long career. The prints, which shift from identifiable subject matter to deconstructed images of abstract marks, form juxtapositions with the underlying text that suggest skepticism about the creative process and knowledge construction.
Together with charcoal drawing, printmaking forms the core of Kentridge’s studio practice. Since the 1970s he has made over 300 prints utilizing a range of techniques, including etching, drypoint, engraving, silkscreen, lithography, and linocut. Unlike the act of drawing, in which the artist’s engagement with the support is mediated only through the hand and eye, the act of printmaking involves the surprising intrusion of an outside force—the mechanical act that creates the print, not only reversing the drawn image, but also potentially introducing unexpected changes. As Kentridge explained in 2010, “at the other side of the press is a version of your drawing that is different to the marks originally made. A separation, as if some other hand had made the print.”
In 2012, Kentridge held the prestigious Charles Eliot Norton lectureship at Harvard University. In the lectures entitled Six Drawing Lessons, the artist likened his drawing for a print to a “hypothesis,” and the printing press to “a primitive machine for logic.” Rather than follow a predetermined course, the roles played by chance and failure are recurring themes in Kentridge’s discussion of his studio practice. If the result (the “proof,” in both senses of the world) “does not hold out,” he explained, “the proposition must be altered, the plate reworked, sent back through the rollers to reveal a new proof.” Inspired by these lectures, the works in William Kentridge: Universal Archive began as drawings in India ink, executed using both what the artist calls a “good brush” as well as a “bad brush,” one with damaged bristles that produced less controlled marks. Together with his printing team, Kentridge then translated the drawings into linocuts, a technique capable of capturing the fluidity of line in a manner similar to that of drawing. In the resulting prints, trees birds, coffee pots and cats—each brought to life by thick, calligraphic lines—gambol over pages plucked from Encyclopedia Britannica and the Shorter Oxford English Dictionary. The juxtapositions of image and text produces encounters that range from the playful to the melancholy, and which challenge the primacy of traditional (and now perhaps outdated) forms of creating and storing knowledge.
William Kentridge: Universal Archive is organized for tour by the Gund Gallery at Kenyon College and is made possible, in part, by contributions from Alva Greenberg '74, the Gund Gallery Board of Directors and Ohio Arts Council. Funding for the exhibition at Fairfield University is provided in part by the Robert and Mercedes Eichholz Foundation. Venü magazine is the exclusive media sponsor of the 2017-2018 season in the Fairfield University Art Museum's Walsh Gallery.