From Advertising to Art: 19th Century Trade Cards and the
Unfettered American Imagination
November 19, 2019 – January 5, 2020
Opening reception: Friday, November 22 from 5:00–6:30 p.m.
Gallery talk with Dr. Lenore Metrick-Chen: Friday, November 22 at 6:00 p.m.
The 270 original American advertising cards in this exhibition explore 19th century social and visual culture. The cards reflect a time of cultural change and cultural anxiety as America shifted from an agrarian to an industrial economy and into an emerging world power. In the course of advertising all sorts of new commodities, card artists created wildly inventive new visual languages of montage and proto-surrealism in which human forms merged with animals, vegetables, machines and fruit. The result could be demonizing and dehumanizing or it could convey a carnivalesque sense of magic, shifting visual culture from the Victorian moralizing realistic style towards Modernism.
From Advertising to Art was originally curated by Dr. Lenore Metrick-Chen, an art and cultural historian, for display at Drake University. Metrick-Chen’s ongoing study of the impact of Chinese in Western art recently culminated in her publication, Collecting Objects/Excluding People: Chinese Subjects and American Visual Culture, 1830–1900.
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.
Dazzle Hour: Thursday, February 13 at 5:00 p.m.
Gallery talk with artists Phillip Chen and Randy Hemminghaus: 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.
About the gallery talk with Randy Hemminghaus and Phillip Chen: They will discuss the works included in the exhibition in detail as well as their collaborations. 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 programs are 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, Friends of the Hearst, and legacy funding in memory of Clara A. Trapp. 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
November 7 – December 29
Public discussion with UNI curatorial students: Thursday, November 7 at 4:00 p.m. with an opening reception to follow from 5:00-6:30 p.m.
Though James Hearst was known primarily as a poet, during his long literary career he also wrote essays, journalism, fiction and a memoir. This exhibition explores many lesser-known facets of James Hearst’s writing and offers an introduction to the work of one of Cedar Falls’ literary greats. 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.
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. with 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.
Fiber Form: Works by Teddi Finegan
September 27 – November 3, 2019
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.
Clayton Fowler Watercolors
September 6 – October 27, 2019
Clayton Fowler (American, 1912–1984) was an artist, art historian, lecturer and instructor who taught at both the University of Northern Iowa in Cedar Falls and at St. Lawrence University in New York. On display are watercolors from the Hearst Permanent Collection, the Collection of Dean and Geraldine Schwarz of Decorah, and the University of Northern Iowa Gallery of Art Permanent Collection.