William Kentridge

Kentridge + Chen

Proposition; Pressure; Proof
The Prints of William Kentridge and Phillip Chen

January 24 – March 15, 2020
Opening Reception: Friday, January 24 from 5:00-6:30 p.m.
Gallery talk with artists Phillip Chen and Randy Hemminghaus on Thursday, March 5 at 6:00 p.m.

This exhibition brings together the work of internationally-recognized printmakers William Kentridge and Phillip Chen. Kentridge (b. 1955) was raised in Johannesburg, South Africa, sensitized by the region’s violent history of colonial power; Chen (b. 1953) lived in Chicago for much of his adult life, raised in a household challenged by anti-Chinese legislation of the late 19th and early 20th century, facing the legacy of exclusion, foreclosures, and the denial of citizenship. Both artists gravitated towards printmaking early in their formative years, drawn to its crucial role in the dissemination of political critique, protest, and dissent exampled by the volition of artists such as Hogarth, Goya, Daumier, and Kollwitz.

While aligned in using print as a platform for revisioning, Proposition; Pressure; Proof presents the work of Kentridge and Chen in terms of their openness to using print to test ideas, to think and to act through the creation of images, and to convey intensely personal memories and reckonings. The exhibition encourages visitors to see printmaking—or artmaking more generally—as a matter of knowing and not knowing; a testing of ideas; a piloting of a hypothesis that is proven under press pressure.

Artists Randy Hemminghaus and Phillip Chen will discuss the works on exhibition at a public gallery talk on Thursday, March 5 at 6:00 p.m. As master printer at the former Brodsky Center for Innovative Editions at Rutgers, Hemminghaus began collaborating with Kentridge in 2000. Hemminghaus printed all of Kentridge’s works in the exhibition through close collaboration with the artist. Phillip Chen has exhibited extensively both nationally and internationally. Major institutions have added his work to their permanent collections, including the Brooklyn Museum, New York Public Library, Carnegie Institute Museum of Art, Art Institute of Chicago, and San Francisco Museum of Fine Arts. Phillip Chen is the recipient of the Louis B. Comfort Tiffany Award and Pollock Krasner Grant; he was named a Guggenheim Fellow in 2018. Proposition; Pressure; Proof and related programming is made possible in part by funding from the Robert and Shirley Berg Fund at the Cedar Falls Community Foundation, the Cedar Falls Art and Culture Board and Friends of the Hearst. Works by William Kentridge are on loan from the Mason Gross School of Art at Rutgers University; works by Phillip Chen are on loan from the collection of the artist

For more information on the artists and their work please follow the links below:
William Kentridge – MOMA The Guggenheim Museum + art21 + TATE + The Broad
Phillip Chen – MOCA Artist Website + The Guggenheim Museum + The Art Institute of Chicago + A/P/A Institute of NY + Sioux City Art Center

James Hearst in Prose

James Hearst in Prose

Public discussion with UNI curatorial students: THIS THURSDAY at 4:00 p.m. with an opening reception to follow from 5:00-6:30 p.m.

This exhibition ​features a series of displays that offer explanations and analyses of Hearst’s three prose collections—his memoir, ​My Shadow Below Me; a collection of essays, ​Time Like a Furrow; and a co-written novel, ​Bonesetter’s Brawl.

Additional displays present information on Hearst’s  uncollected farm journalism, essays, and fiction. A booklet with excerpts of Hearst’s writing will  also be produced as part of the exhibit. The exhibit will also highlight “Radio and the Farm Boy,” a  recently discovered 1923 article in ​Wallace’s Farmer ​that is believed to be James Hearst’s earliest work published outside of Cedar Falls.  

[This exhibition was prepared in conjunction with graduate English students in the UNI Department of Languages & Literatures, under the advisement of Professor Jim O’Loughlin.]

New Exhibition in Oil Paint

Caylin Graham Exhibition

Caylin Jayde:
Extirpations in the Anthropocene

October 3–31, 2019 *(date has been extended through November 3)
Opening Reception: October 10 from 5:00–6:00 p.m.
Artist’s remarks at 5:45 p.m.

In Extirpations in the Anthropocene, artist Caylin Jayde shares a series of new oil paintings borne out of her interest in our local ecosystem. As the 2019 Hartman Reserve Visiting Artist, Caylin researched endangered species found in Black Hawk County, working with the Black Hawk Wildlife Rehabilitation Project, the UNI Museum, and biologists and naturalists from across the Midwest. The work on display depicts creatures isolated and threatened by their diminishing habitats. The annual Hartman Reserve Visiting Artist program offer an individual or ensemble in search of creative endeavors the opportunity to pursue their artistic discipline while being surrounded by Hartman Reserve’s inspiring landscape and wildlife. Partners and sponsors for the 2019 round of the program are: Catherine Ann Livingston Fund at the Community Foundation of Northeast Iowa, Hearst Center for the Arts, Friends of Hartman Reserve and Friends of the Waterloo Center for the Arts.

[Image: Rusty Patched Bumblebee (Bombus Affinis), Oil on canvas, 2019]

New Exhibition in Weavings

Teddi Finiegan

Teddi Finegan: Weavings in Wool
September 27 – November 2
Opening Reception: Sunday, September 29 from 1:00-3:00 p.m.

Works are drawn from private collections, the University of Northern Iowa, the Hearst Permanent Collection and the artist herself. Teddi Finegan, fiber artist, studied weaving with Roy Ginstrom and Malin Selander of Sweden and completed an M.A. in Art at UNI in 1971. She earned a B.S. from the Ohio State University and attended Penland School of Crafts. In her career, Teddi received several awards and is represented in numerous public and private collections.

Teddi Finegan has been a resident at The Western Home in Windridge since 2012. Read her spotlight in The Journal, September 2019, volume 23, issue 9.