Double Welcome, 2014
Ink and acrylic on Hanji mounted on canvas
18 H x 18 W inches
Rick Rhodes Photography & Imaging, LLC
Jiha Moon: Double Welcome, Most Everyone’s Mad Here
August 25 - October 29, 2017
Peeler Art Center, Visual Arts Gallery
DePauw University is pleased to present an exhibition featuring new works by multi-media artist Jiha Moon (Korean, Born 1973). Based in Atlanta, Georgia, Moon harvests cultural elements native to Korea, Japan, and China and then unites them with Western elements to investigate the multi-faceted nature of our current global identity as influenced by popular culture, technology, racial perceptions, and folklore. Featuring over fifty works, Moon blurs the lines between Western and Eastern identified iconography such as the characters from the online game Angry Birds© and smart phone Emojis which float alongside Asian tigers and Indian gods, in compositions that appear both familiar and foreign simultaneously.
Jiha Moon: Double Welcome, Most Everyone’s Mad Here is organized by the Taubman Museum of Art, Roanoke, Virginia in collaboration with the Halsey Institute of Contemporary Art, College of Charleston School of the Arts in Charleston, South Carolina. The exhibition is curated by Amy G. Moorefield, Deputy Director of Exhibitions and Collections at the Taubman Museum of Art and Mark Sloan, Director and Chief Curator of the Halsey Institute of Contemporary Art.
Funding for the exhibition is generously provided by the Arthur E. Klauser Endowment and the Asian Studies program.
This Day (Re-enactment of lynching, McCook, S.D., 1925, from the Erased Lynching Series), 2006 - Present
Ink and acrylic on Hanji mounted on canvasCyanotype print on paper
96 H x 144 W inches
Courtesy of the artist
Ken Gonzales-Day: Shadowlands
November 9 - December 15, 2017
Peeler Art Center, Visual Arts Gallery
Ken Gonzales-Day is an interdisciplinary artist whose practice considers the historical construction of race. He supplements his photographs with research and writing that engage critically with history, art history, and Western conventions of race, blending historical tragedies with current events. Using photography and video, he explores trauma and resistance as experienced and embodied by racially oppressed populations in the U.S.
This exhibit will be a concise survey of the artist’s career, including works from the Erased Lynching, Searching for California Hang Trees, and Run Up series. His most recent work draws parallels between historical lynchings and high profile cases of police brutality affecting communities of color today. The core of the Run Up series is a cinematic restaging of the 1920 lynching of Charles Valento. Utilizing details drawn from the coroner’s report and his own archival research, Gonzales-Day chose to focus on this particular event in order to draw attention to the police presence at the scene that tacitly condoned the extralegal violence.
A survey of Gonzales-Day’s work brings up one of his most poignant questions: What is the difference between collective resistance and racially motivated violence? It is a question being asked after recent tragic events in cities around the country, such as Ferguson and Los Angeles, as well as St. Paul and Minneapolis. By presenting historical occurrences in conjunction with contemporary events Gonzales-Day collapses the historical distance and exposes the unchanging reality of racialized violence in the United States.
This presentation of Ken Gonzales-Day’s work is organized by Christopher Atkins, Curator of Exhibitions & Public Programming, at the Minnesota Museum of American Art in St. Paul, Minnesota.
Funding for the exhibition is generously provided by Peace & Conflict Studies and the Prindle Institute for Ethics.
Pulled, Pressed and Screened: Important American Prints
August 30 - December 10, 2017
Peeler Art Center, University Gallery (lower level)
This exhibition of 51 important American prints surveys the activities of artists who put designs on paper during this exciting period. Thomas Hart Benton, Anne Ryan, Milton Avery, Dorothy Dehner, Robert Motherwell, Helen Frankenthaler, Andy Warhol, Elizabeth Catlett, Jasper Johns and Romare Bearden are a few of the artists represented in this examination of the growth in popularity of printmaking among American artists during this 50-year period. Especially significant are the contributions of women to printmaking during this period as well as the impact of African American artists on the graphic arts. Combined with artists who immigrated to the United States during these decades and the increased numbers of painters and sculptors who took up printmaking, this exhibition makes abundantly clear the egalitarian nature of the print.
Organized by the Syracuse University Art Collection.
Shakyamuni Stong Sku (or 1000 bodies)
Early- mid 20th century
Painted pigment on silk54 H x 29 W inches
Gift of Bruce Walker '53
Bruce Walker ’53 Collection of Tibetan Art
August 25 - December 15, 2017
Peeler Art Center, University Gallery (upper level)
Bruce Walker graduated from DePauw in 1953. After two years in the Marine Corps, he became a case officer with the Central Intelligence Agency (1956-1973), working on the Agency's Tibetan resistance project 1960-1968. While stationed in India and Sikkim during the period 1962-1968, he assembled an impressive collection of Tibetan thangkas, works on paper, and religious objects which he donated to DePauw in 2002. The exhibition is also accompanied by a full color catalog with contributions from DePauw University students, faculty, and staff.
Funding for the exhibition and print catalog is generously provided by: the Arthur E. Klauser Endowment, Asian Studies, the Larry & Lesley Stimpert Endowment Fund, Peace & Conflict Studies, and the Prindle Institute for Ethics.