Fold: Mary Jo Karimnia

Mallory/Wurtzburger Gallery

August 14 – October 16, 2016

Mary Jo Karimnia is an artist, arts administrator, curator, and arts activist in Memphis. Influenced by her travels and affiliations with artists from Bolivia, she currently works for Crosstown Arts doing creative, community-based projects. Much of Karimnia’s work is steeped in the feminine, often stemming from her choice of media (beading, embroidery, fabrics such as pillow cases and aprons) that have traditionally domestic connotations. Particular ideas may be realized in intensely bright, beaded panels or embroidered onto small vintage linens. Karimnia purposely omits the faces of figures in her work, preferring the anonymous nature of costumes. Costumes, including those from cosplay conventions, dancers in Bolivia, or the Catrina figure at a local Day of the Dead Festival allow viewers to explore personae, look back to a specific heritage, or toward a fantasy.

The exhibition, Fold, is based on simple origami shapes–paper cups, houses, boats, stars, hearts, pinwheels, and birds. Karimnia photographs eye-catching patterns from various sources, folds them into origami, photographs them again, and then builds them in her desired media. Fold includes embroidery and prints on vintage fabrics and seed-beaded panels of anonymous figures in fancy dress costumes that take on a sense of magic through their embellishment.


 

Henri Guérard and the Phenomenon of the Artist’s Fan in France, 1875 –1900 

July 31 – October 9, 2016

Organized by the Dixon Gallery and Gardens  

Drawn from the Dixon’s own collection, as well as public and private collections across the United States and Europe, Henri Guérard and the Phenomenon of the Artist’s Fan in France, 1875 – 1900 celebrates that brief yet exciting period when the hand fan became a collective aesthetic phenomenon. Henri-Charles Guérard was probably the most gifted and prolific Parisian fan specialist of his age, producing hundreds of designs.  Guérard was so well known for his mastery of the intaglio printing process that Edouard Manet and Edgar Degas sought his advice. Degas was so enthralled by the format that he proposed that a room in the 1879 Impressionist exhibition be devoted to fans. Among the countless Parisian painters who experimented with the fan-shaped support—including Degas, Camille Pissarro, Paul Gauguin, Jean-Louis Forain, and many others whose works are in the exhibition—no artist explored the arcing form more frequently or over a longer period of time than Henri Guérard.

Henri Guérard and the Phenomenon of the Artist’s Fan in France, 1875 – 1900 examines artists’ fascination with the form with a selection of Japanese fans, in addition to French examples and Guérard’s extensive contributions.

A catalogue accompanying the exhibition is availble for purchase in the museum store


Everyday English: The Charlotte Stout Hooker Collection of English and Continental Ceramics 

July 31 – October 9, 2016  

Organized to coincide with the publication of catalogue of the collection, The Charlotte Stout Hooker Collection of English and Continental Ceramics   

Everyday English considers the marketing and consumption of eighteenth and nineteenth century English porcelain through the Dixon’s Charlotte Stout Hooker Gift of English and Continental Ceramics. Everyday English also highlights Mrs. Hooker’s accomplishments as a collector, exhibiting both her popular useful wares and rare ornamental finds.


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