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Current Exhibits

Each year, the Peeler Art Center gallery program presents a wide range of exhibitions and related programming. From traveling exhibitions of national and international significance to shows featuring the work of current students, faculty, and alumni, the gallery program strives to offer a dynamic schedule of interdisciplinary visual experiences.

House Life Project

We’re Open, Come In: The House Life Project
March 7 – April 9, 2019
Peeler Art Center, Visual Arts Gallery

From 2015 through 2017, the House Life Project (HLP) reimagined abandoned houses on Indianapolis’s Near Eastside as hubs for artistic practice and community collaboration. It was a flexible and collaborative project where artists and neighbors formed new relationships, strengthened existing ones, and pooled their creativity in order to examine tough questions related to the changing neighborhood. We’re Open, Come In: The House Life Project transforms the gallery into an inclusive and welcoming space that invites visitors to learn about the HLP, its methods, and its community. Through an array of artworks and interactive installations, the exhibition will spark conversations about neighborliness, housing inequity, and the ways in which art can and can’t facilitate social justice.    

Constructed Landscapes

Sonja Hinrichsen
Big Circle (from 'Snow Drawings'), 2009
digital print on paper
21 x 26 inches
2009.11.1.5
DePauw University purchase

Constructed Landscapes
February 1 – August 1, 2019

Peeler Art Center, University Gallery (lower level)

Visit a museum today, and it’s likely that a major blockbuster exhibition of impressionist painting or perhaps documentary photographs will find the galleries crowded with visitors. Landscape, vis-à-vis observational artmaking, provides an accessible entry point for both casual and frequent museum goers. The subject matter is identifiable, relatable, and the many movements within the genre—including impressionism and hyperrealism—have withstood the test of time.
 
Yet, as with all art genres, the artist mediates the viewer’s understanding of reality and fiction through a complex balancing act of artistic and creative control. As viewers, how do we reconcile the role that artists play as arbiters of reality and artistic vision? Is the world of the artist’s landscape as simple as it might appear at first glance, or is there perhaps more complexity behind these seemingly simple renderings of the landscape?
 
Constructed Landscapes highlights over 50 works drawn from the DePauw University permanent art collection and asks us to meditate on one particular perspective: is the artistic landscape a true representation of reality, or is it simply a construct—an invention of the artist’s mind? Whether intended as memorial, analogy, historical document, or perhaps even a creative exercise, the artist’s landscape reminds us that the way we render and translate the world around us is critical to understanding our place in the 21st century.

Still from Lightning by Paul and Marlene Kos, b&w, mono, 4:3, ½” open reel video, 1976 Image copyright of the artist, courtesy of Video Data Bank at the School of the Art Institute of Chicago.

Paul and Marlene Kos
Still from Lightning, 1976 
b&w, mono, 4:3, ½” open reel video
Image copyright of the artist 
Courtesy of Video Data Bank at the School of the Art Institute of Chicago

Repeat, Repeat: Gestures of Repetition in Video Art
February 1 – June 10, 2019

Peeler Art Center, University Gallery (upper level)

Repeat, Repeat: Gestures of Repetition in Video Art emphasizes repetition as a creative strategy. Comprised of early video works through today, Repeat, Repeat asks viewers to analyze not only the repetitive audio-visual elements, but also the use of repetition—and the tension it creates—as an art form itself.

Repeat, Repeat features eight works drawn from the DePauw University Permanent Art Collection and the Video Data Bank. This exhibition was made possible by the Arthur E. Klauser Asian and World Community Collection Endowment.

Unknown Artist
Coptic textile fragment of a tunic band showing animals and figures, 500 - 599
woven 
3-1/2 (H) x 6 (W) inches
1973.1.2
Gift of Marjorie A. Pena

Quotidian Artisanal Life: Coptic Textiles of Byzantine Egypt                        
February 1 – March 24, 2019
Peeler Art Center 2nd Floor Case Display

The history of Coptic textiles can be traced to the 4th century in Egypt, where the Christian population of artisans wove wool and linen for decorative and practical uses. The term ‘Coptic’ is derived from the ‘Copts’ which were Christian Egyptians during the 4th-13th centuries AD in the early Byzantine to Islamic era in Egypt.

The fragments on display for this exhibit belong to the University Collection. To learn more about these and others in our collection, stop by 2nd floor of the Peeler Art Center.