Mallory/Wurtzburger: A Retrospective
January 22 – April 9, 2017
Sponsored by: Suzanne and Neely Mallory and Mary and Charles Wurtzburger
In keeping with the Mallory/Wurtzburger series’ emphasis on exhibiting the work of local and regional contemporary artists, what better way to highlight Memphis art during the run of State of the Art than through a celebration of the artists from past Mallory/Wurtzburger exhibitions? This retrospective of Mallory/Wurtzburger artists celebrates the exhibition series with new works from some of the artists that have participated from 2008-2015, such as Kate Bradley, Jim Buchman, Joyce Gingold, Martha Kelly, Pixy Liao, Carl Moore, Haley Morris-Cafiero, Kong Wee Pang, Nick Peña, Brian Russell, and more.
Sheila Gallagher, Plastic Lila, 2013; Melted plastic on armature; Courtesy Crystal Bridges Museum of American Art, Bentonville, Arkansas; Photo: Stewart Clements Photography
State of the Art: Discovering American Art Now
January 29 – March 26, 2017
Organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas
Over the course of one year, Crystal Bridges Museum of American Art’s curatorial team logged more than 100,000 miles, traversing the United States to visit nearly 1,000 artists. Traveling to communities large and small, the museum found artists whose work engages broad audiences, demonstrates a high level of skill, and sparks conversation about important issues of our times. This one-of-a-kind exhibition, drawing from nearly every region, offers an unusually diverse and nuanced look at contemporary American art. State of the Art brings together works in a variety of mediums, including painting, photography, fiber, sculpture, video, ceramics, installation, and more. The exhibition examines how today’s artists are informed by the past, innovate with materials old and engage deeply with issues relevant to our community.
Wayne Edge, Baby Budda Smile, 2016; Painted wood, mussel shells and obsidian; Courtesy of the artist.
Wayne Edge: A Sense of Wonder
October 23, 2016 – January 15, 2017
“Nature gives up its bounty and piles it at my house…where they become stars and streaks of light in my sculptures.” Welcome to the world of Wayne Edge—a world where mussel shells become stars and wooden sticks become swooping blackbirds. Edge, a native Memphian, has long made sculptural works out of natural objects that reference organic elements of Earth and its atmosphere. Edge translates the scientific phenomena that fascinate him, like physics and astronomy, into sculpture. A Sense of Wonder features Edge’s most recent work, including sculptures made from objects found at regional landmarks like Pickwick Lake. Rocks, shells, stones, and glass bound to thin wooden sticks transform into dynamic sculptures. Edge bends the sticks and lashes them together into wild, energetic movements that even with their tension retain a sense of lightness and humor. Works such as Milky Way out West represent celestial concepts, while others like Blackbirds Buggin draw directly from wildlife. Taken as a whole, the works on view give the impression of tranquility and reverence for the power of nature.
Mallory/Wurtzburger Galleries sponsored by:
Suzanne and Neely Mallory and Mary and Charles Wurtzburger
John George Brown, Claiming the Shot: After the Hunt in the Adirondacks, 1865
Wild Spaces, Open Seasons: Hunting and Fishing in American Art
October 23, 2016 – January 15, 2017
Wild Spaces, Open Seasons: Hunting and Fishing in American Art celebrates artists’ captivation with hunting and fishing. It will be the first major art exhibition to explore the multifaceted meanings of such outdoor subjects in both painting and sculpture, ranging from the Colonial era to World War II. The exhibition encompasses a wide variety of portraits, landscapes, still lifes, and genre scenes, including iconic works by Thomas Cole, Thomas Eakins, and Winslow Homer, Alfred Jacob Miller, and Arthur Fitzwilliam Tait. In one important example after, these representations of hunting and fishing do more than merely illustrate subsistence or diverting pastimes, they connect a dynamic and developing American nation to its past and its future.
A scholarly catalogue edited by Kevin Sharp, Linda W., and S. Herbert Rhea Director of the Dixon Gallery and Gardens, and published by the University of Oklahoma Press will accompany the exhibition.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
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.
Image: Henri-Charles Guérard, Untitled (Magpie), ca. 1890 6 ⅛ x 22 inches Watercolor on silk Collection of John and Lucy Buchanan
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.
Fold: Mary Jo Karimnia
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.
Image: Mary Jo Karimnia, Magic Heart 3, 2016, Mixed media with seed beads on panel, 6x6x2 inches, Courtesy of the artist
THEIR LINE HAS GONE OUT THROUGH ALL THE EARTH: Spring and Summer Flower Drawings by Carlyle Wolfe
May 22 - August 7, 2016
Oxford, Mississippi-based artist Carlyle Wolfe has spent more than a decade observing the variety of plant forms that grow in the Mid-South. Their Line Has Gone Out Through All the Earth: Spring and Summer Flower Drawings by Carlyle Wolfe is a collection of line drawings that reflects the gradual and constant change in the landscape during the spring and summer months. The exhibition features plants that flower from the months of February to August. This spring found her drawing Virginia Bluebells and Native Azaleas in the Dixon’s Woodland Garden.
Image: Carlyle Wolfe, Queen Anne’s Lace, 2014
The Impressionist Revolution: Forty Years of French Art at the Dixon
April 24 – July 17, 2016
The Dixon’s much lauded permanent collection returns to view in the galleries in a special exhibition celebrating forty years of French art at the Dixon. The Impressionist Revolution: Forty Years of French Art at the Dixon tells the remarkable story of Impressionism through the Dixon’s permanent collection. The Impressionist Revolution chronicles the influences and factors that led to the historic Impressionist Exhibition of 1874. Organized by the Anonymous Society of Painters, Sculptors, Printmakers, etc., a group that included Edgar Degas, Claude Monet, Camille Pissarro, and others represented in the Dixon collection, the exhibition marked the beginning of the Impressionist movement that subsequently affected the course of Western art. The works on view in The Impressionist Revolution demonstrate in how the movement was a crucible for avant-garde styles that followed.
MEMPHIS FLOWER SHOW: The Impressionist Revolution: Forty Years of French Art at the Dixon
April 15 – 17, 2016
Presented biennially by the Memphis Garden Club, the 2016 Memphis Flower Show will exhibit exceptional horticulture, botanical photography, and brilliant floral interpretations inspired by The Impressionist Revolution: Forty Years of French Art at the Dixon.
Thomas Cole’s The Voyage of Life
Organized by Munson-Williams-Proctor Art Institute
January 17 – April 3, 2016
In the late 1820s, British émigré artist Thomas Cole emerged as a leading figure among a group of painters whose works embodied the romantic spirit of pre-Civil War America, later known as the Hudson River School. The Voyage of Life, Cole’s series of four allegorical landscapes is one of his greatest achievements. The exhibition also includes a number of important preliminary landscape and figure studies Cole made for the series, as well as a selection of drawings, prints, and photographs the series directly inspired, some of which have never previously been published or exhibited and are virtually unknown, even in the field of Thomas Cole scholarship. A magnificent landscape by Cole’s pupil and fellow Hudson River School artist, Frederic Edwin Church, will also be on view.
Image: Thomas Cole, The Voyage of Life: Childhood, 1839-1840, oil on canvas, St. Louis Art Museum
Amalgamations: A Digital Reimagining of the Dixon Gallery and Gardens Permanent Collection by Joshua Brinlee
January 10 – April 3, 2016
Amalgamations: A Digital Reimagining of the Dixon Gallery and Gardens Permanent Collection by Joshua Brinlee is a series of work that gives the Dixon permanent collection new life through digital manipulation. Brinlee combines and synthesizes the Dixon’s exemplary collection of paintings, porcelain, and sculpture into new digital collages, restoring a different sort of originality to them.
Image: Joshua Brinlee, A Joyous Festival of the Commedia Dell’Arte, 2015 Digital collage, C-print. Courtesy of the artist.
Painting American Progress: Selections from the Kattner Collection and More
On view in the Brinkley, Phillips, and Willmott Galleries and the Dixon Residence
November 1, 2015 – April 3, 2016
More than sixty paintings and pastels from the Dixon’s permanent collection traveled to Utica, New York as the exhibition Monet to Matisse: The Age of French Impressionism, which closes November 29 at the Munson-Williams-Proctor Art Institute. The overwhelming popularity of Monet to Matisse has kept our permanent collection in high demand across the country. In fact, in the past five years our permanent collection has traveled to seven different venues—receiving enthusiastic reviews and record numbers of visitors at each one. Now, it is time for some beauty rest! All of the works will undergo a conservation assessment when they return to the Dixon. During that time, some will receive a bit of T.L.C. as they prepare to go back on view to celebrate the Dixon’s fortieth anniversary in the spring.
The Nina and Keith Kattner Collection of American paintings, on long-term loan to the Dixon, offer incredible examples of American art. Majestic landscapes from Hudson River School artists William Sonntag, John Frederick Kensett, and Alfred Bricher and the luminous, moody works of Ralph A. Blakelock, provide an extensive back-story to the impressionist-inspired styles on view in Scenic Impressions. The works on view chart American art’s progression towards Modernism from the Hudson River School to Blakelock’s emotive canvases and the works of his Tonalist contemporaries. A survey of American painting of the nineteenth and twentieth centuries, the Kattner Collection provides an in-depth look at the development of American painting. A selection of American paintings from the Dixon’s permanent collection will also be on view in the galleries, complementing the Southern Impressionist paintings on view in Scenic Impressions.
Image: Alfred T. Bricher (American,1837- 1908), The Cliffs at Nahant, ca. 1885; Oil on canvas, 27 x 50 inches; Collection of Dr. and Mrs. Keith Kattner
On view in the Catmur Foyer
November 1, 2015 – April 3, 2016
Pinkney Herbert has long been a vital member of the Memphis art scene. He received a BA from Rhodes College and a MFA from the University of Memphis, and has taught art at Memphis University School, Memphis College of Art, the University of Memphis, and Rhodes College. After living and working in New York throughout the 1980s, in 1992, Herbert returned to Memphis. He imported the New York trend of converting unused industrial spaces into art-making facilities and founded Marshall Arts, a studio space for local, national, and international artists in the Edge district of Downtown Memphis.
Herbert’s synthesis of Memphis and New York influences plays out in the rhythm and color of his energetic, abstract paintings. His canvases are a manifestation of the musical compositions that inspire them, pulsing with expression and tempered with thoughtfully-composed space.
Image: PINKNEY HERBERT, Jack, 2014, oil and digital print on canvas. Courtesy of David Lusk Gallery
Scenic Impressions: Southern Interpretations from the Johnson Collection
November 1, 2015 – January 3, 2016
The Johnson Collection is a private art collection based in Spartanburg, South Carolina that boasts an extensive survey of artistic activity in the American South from the late eighteenth century to the present day. This unique collection illuminates the rich history and diverse cultures of the region. Scenic Impressions: Southern Interpretations from the Johnson Collection will highlight the influence of the Impressionist movement on art in the American South through landscapes and genre scenes created between 1880 and 1940.
Image: Hattie Saussy (1890-1978), Path with Mossy Trees, ca. 1935; Oil on canvas mounted on Masonite, 18 x 26 inches; The Johnson Collection, Spartanburg, South Carolina
My Own Places: Paintings and Prints by Martha Kelly
November 1, 2015 – January 3, 2016
Memphis native Martha Kelly is a painter, printmaker, and illustrator whose work celebrates the Southern landscape, particularly Memphis and the Mid-South. Kelly’s paintings of open fields, spreading skies, and dominating oaks are created with large, flat planes of color with special attention to shadow and light. Her vibrant palette and restrained brushwork are echoed in her woodblock and linoleum block prints, which are punctuated by pops of bright color. All of Kelly’s work begins with sketches completed en plein air, and contain an implicit call not only to revel in the landscape around us, but to preserve it as well.
Image: Martha Kelly, Sentinel, 2015 Linoleum block print on paper, 14 x 22 inches; Courtesy of the artist.
Jun Kaneko Sculpture at the Dixon Gallery and Gardens
MAY 28 – NOVEMBER 22, 2015
Jun Kaneko is an internationally-renowned ceramic artist specializing in large-scale, handbuilt sculptures. His work is featured in over seventy museum collections and thousands of private collections around the world. Kaneko has also designed and completed over fifty public ar t installations in the United States, Canada, China,and Japan. Twenty-four of Kaneko’s large-scale ceramic and bronze sculptures will be placed throughout the Dixon gardens, the most ambitious outdoor sculpture installation in Dixon history.
Kaneko has been a pioneer in pushing the limits of scale in ceramic media. In 1996, he wrote, “If everything in the world was the same size, we probably would not need an idea of scale. Nothing exists by itself. Everything is influenced by other things next to it or close by or the environment which the object is in.” By creating both intimate and monumental ceramic sculpture, Kaneko challenges preconceived notions in both size, context, and composition.These hand-built and hand-glazed monolithic sculptures are colorful, approachable, and visually interactive. His massive“Dangos” (meaning “rounded form” in Japanese), whimsical“Tanukis” (also known as Raccoon Dogs in Japanese folklore),and his large Head sculptures (in both bronze and ceramic),are all breathtaking monuments that seamlessly balance a Zen-like abstraction with a defined physicality.
We invite you to interact with these monumental sculptures throughout three seasons of change in the gardens. Along with ongoing programs and events, a map will guide visitors to each sculpture, creating an experience that allows adults and children alike to discover the beauty of all seventeen acres of the Dixon Gardens through Kaneko’s sculpture.
Made in Dixon
April 5 - 19, 2015
Made in Dixon returns to showcase the latest creations from the Dixon’s fourteen educational programs. A healthy dose of color will once again fill the walls of the Mallory and Wurtzburger Galleries! Every Dixon educational program will be represented in Made in Dixon’s display. Works in every media imaginable — and some beyond — are sure to delight visitors while highlighting the many ways the Dixon interacts with the community.
Made in Dixon displays artwork made at the Dixon from youth programs such as Mini Masters, Family Day, Spring to Art Camp, and Open Studio. Participants in our adult workshops in the galleries and gardens will also have the opportunity to show off their creations, from plein-air painting to container plants. In addition, many of the works on view in Made in Dixon are the result of teens and adults flourishing in the Teen Studio and Exceptional Art programs. Outreach programs Adopt-a-school, Art to Grow, and Colorcopia are touching hundreds of lives, and Made in Dixon is visible proof of the difference the Dixon’s educational programs are making in the Memphis area.
Hail, Britannia! Six Centuries of British Art from the Berger Collection
January 25 – April 19, 2015
Organized by the Denver Art Museum and made possible by the Berger Collection Educational Trust
On size alone, the Berger Collection, on long-term loan to the Denver Art Museum, is without peer among privately-owned collections of British art in America. Hail, Britannia! Six Centuries of British Art from the Berger Collection showcases fifty examples of British art ranging in date from the fourteenth to the twenty-first centuries. The exhibition features stunning portraits, landscapes, sporting subjects, history paintings, and more by Britain’s great masters including John Constable, Thomas Gainsborough, Angelica Kauffman, George Stubbs, and Joseph Wright of Derby.
Image: Hans Holbein the Younger and studio (1497/8 - 1543) Edward, Prince of Wales (later King Edward VI), c. 1538, Oil on panel The Berger Collection at the Denver Art Museum, TL-17310
Lester Julian Merriweather: Nothing Is For Ever Last
January 11 – March 29, 2015
On view in the Mallory/Wurtzburger Galleries
Merriweather has long been a vital and visible member of the Memphis Arts Community. Recently, Merriweather has employed photographic imagery in the form of collage, placing cut paper sourced from magazine advertisements onto large painted canvases.
With a collection of works based on the juxtaposition of mythological and pop-cultural references, Merriweather addresses the materialism of modern life. He references the historical context in which commercial culture originated by using collage in recognizable genres such as marine landscapes and mythological scenes. In the works on view in Nothing Is For Ever Last, ships sail over oceans filled with riches cut from today’s magazines, challenging viewers to connect contemporary capitalism with the colonial conquests of long ago.
Image: Julian Merriweather, Hybrid (after Murakami), 2014, 12x9, cut-paper collage
Rodin: The Human Experience
October 19 - January 4
Rodin: The Human Experience is organized and made possible by the Iris & B. Gerald Cantor Foundation and is presented in memory of John Buchanan, director of the Dixon from 1986 to 1994.
Auguste Rodin (1840–1917) was arguably the most celebrated sculptor of the nineteenth century, and was regarded as the greatest sculptor since Michelangelo. The remarkable works of Rodin will make their triumphant return to the Dixon Gallery and Gardens with Rodin: The Human Experience, an exhibition of fifty-one works in bronze.
Rodin: The Human Experience examines the artist’s multi-faceted explorations of the human figure in bronze, ranging from small scale sketches to the artist’s well-known monumental works. Alongside commissioned works of specific individuals will be Rodin’s sculptural experiments with the human figure, ranging in style from the classically-inspired to the gothic. Visitors to the exhibition will be greeted in Garrott Court by the monumental sculpture, The Three Shades, Rodin’s interpretation of the souls of the damned who stand at the entrance to hell in Dante’s Inferno.
Image: Auguste Rodin, Large Hand of a Pianist, 1885 (cast 9/12 1969); Bronze; Iris and B. Gerald Cantor Foundation
Sponsored by: First Tennessee Arts First ; Campbell Clinic ; RBM Ventures ; Foy and Bill Coolidge ; Liz and Tommy Farnsworth; Chantal and Jeff Johnson ; Nell R. Levy ; Nancy and Steve Morrow; Chris and Dan Richards ; Susan Adler Thorp in memory of Herta and Dr. Justin H. Adler ; Doctors Susan and Bill Warner ; Adele and Beasley Wellford ; 20Twelve
Portraits and Figures: Works by Joyce Gingold and Carl Moore
October 12, 2014 - January 4, 2015
Portraits and Figures: Works by Joyce Gingold and Carl Moore places Gingold’s austere and beautiful sculptural figures opposite the graphic and colorful and lines of Carl Moore’s paintings for a contemporary take on the age-old examination of the human figure.
Image: Carl E. Moore, Mother and Child 2, 2014 Acrylic on canvas panel. Courtesy of the artist
Sponsored by: Suzanne and Neely Mallory, Mary and Charles Wurtzburger
Two Works by Greely Myatt
October 12 - January 4, 2015
Greely Myatt has two of his innovative works on view in the Catmur Foyer welcoming visitors to the museum. Behind the front desk, Greely is showing his The Thinker, a typically wry reflection on Rodin's own well known masterpiece. Also in Catmur Foyer, Greely's The Three Shades does the talking for Rodin's brooding monument on view in Garrott Court.
Memphis-Milano: 1980s Italian Design
APRIL 13 – JULY 13
A retrospective look at the flamboyant and colorful furniture and household objects produced by the Memphis collective between 1981 and 1988. Based in Milan, these iconoclastic architects and designers helped define the look of a generation. Memphis-Milano includes over 150 iconic works that date from its founding in 1981 through 1988, when the group disbanded. By then, Memphis was already part of design history. Sponsored by Karen and Dr. Preston Dorsett; Liz and Tommy Farnsworth; and Nancy and Steve Morrow.
Image: Marco Zanini, Dublin (sofa), 1981, Plastic laminate, metal, and synthetic fabric. Private collection.
Charles Courtney Curran: Seeking the Ideal
July 27 - October 5
Formally trained at the National Academy of Design in New York, Charles Courtney Curran proved his talent early in his career by winning the third Halgarten Prize at the Academy’s annual juried exhibition in 1888 for his painting, A Breezy Day (1887). He used the prize money to finance a move to Paris in 1889 to study painting and refine his skills. Curran returned to the United States in 1891 and established a studio in New York that remained active for the next fifty years. In the summer of 1903 he travelled to Cragsmoor, NewYork, home to a vibrant artist colony. He later built a summer home there and used the area’s majestic vistas as inspirationfor his work. Curran enjoyed a long and successful career over which he created more than 800 works of art.
Charles Courtney Curran: Seeking the Ideal is the first retrospective of the artist since his death in 1942. The work of Charles Courtney Curran reflects the aesthetic movements that influenced American art in the late nineteenth and early twentieth centuries—naturalism, Symbolism,and perhaps the most evident, Impressionism. The exhibitionmirrors the artist’s progression through these influenceswhile revealing the beautiful luminosity consistent in all of hiscanvases and his versatility as an artist. His pursuit of ideal beauty was not only achieved by painting elegant subjects,but also through the careful organization of his compositions,his handling of symbolic light, his thoughtful approach to proportion and format, and especially through his impeccable painting technique. Sixty significant paintings drawn from public and private collections around the country will highlight the idyllic garden scenes for which Curran is known, and will explore common themes in his oeuvre.
Image: Charles Courtney Curran, Shadow Decoration, 1887, Oil on canvas, 18 x 32 inches, Frances Lehman Loeb Art Center, Vassar College, Poughkeepsie, New York; Purchase, 1887.2
April 13 - July 6, 2014
Sponsored by Suzanne and Neely Mallory and Mary and Charles Wurtzburger. In today’s digital age, the lines between illustration and fine art have been blurred: traditional illustrators often also work as graphic designers and use computers to aid them in the creation of their art. Memphis, Illustrated brings together a group of local artists all working within a medium that is increasingly difficult to define. Using the poster as a unifying format, Memphis, Illustrated displays a range of styles and methods from illustration to typography. Personal and commercial projects from Derrick Dent, Michelle Duckworth, John Lee, Kong Wee Pang, and others will be on view,demonstrating the convergence of hand-drawn and digital design. From the whimsical to the didactic and stylized, the posters on view in Memphis, Illustrated provide a sample of the varied talents of Memphis artists.
Image: John Lee, The Jewels of Aptor, 2013 Graphite, acrylic, and Photoshop on paper Courtesy of the artist
Color! American Photography Transformed
January 19 – March 23, 2014
Organized by the Amon Carter Museum of American Art, Fort Worth, Texas Color! American Photography Transformed is organized by the Amon Carter Museum of Art and is supported in part by an award from the National Endowment for the Arts. Photography today means color. Color! American Photography Transformed tells the fascinating story of color’s integration into American fine art photography and how its acceptance revolutionized the practice of art. More than seventy photographs on view in Color! document the transformation of color photography from the Civil War Era to today. Sponsored by Rose M. Johnston and Nancy and Steve Morrow.
Image: Sandy Skoglund, Revenge of the Goldfish, 1980. Silver dye-bleach print, St. Louis Art Museum, Gift of Mr. and Mrs. Fielding Lewis Holmes
Wait Watchers Photography by Haley Morris-Cafiero
January 19 – March 30, 2014
Wait Watchers features a selection of photographs that provide a survey of social experiences from around the world. Using a camera on a tripod or bench, Memphis photographer Haley Morris-Cafiero photographs herself performing mundane tasks in public areas in full view of onlookers. The resulting images reverse the gaze of those that appear visually troubled by Morris-Cafiero’s appearance, revealing a certain truth about how the public views overweight women. “I consider my photographs a social experiment and I travel the world in an attempt to photograph the reactions of a diverse pool of passersby,” she says. “I seek out places that are beautifully lit, allow for an interesting composition and, if possible, set up a scene that references ideal feminine beauty and societal expectations.” In February of 2013, The Huffington Post interviewed Morris-Cafiero about her Wait Watchers series. The interview produced a flood of comments, internet coverage, and international interest in her work. Morris-Cafiero is currently an Associate Professor and Head of the Photography Department at Memphis College of Art. Sponsored by Suzanne and Neely Mallory and Mary and Charles Wurtzburger.
Image: Haley Morris-Cafiero, Cops, 2011. Digital c-print 17 x 16 inches. Courtesy of the artist© Haley Morris-Cafiero 2013
Augusta Savage’s Gamin
January 19 – March 23, 2014
Around 1930, Augusta Savage, working amidst the creative buzz of the Harlem Renaissance, created Gamin, a poignant representation of one of New York City’s many street urchins. The intimate bust-length sculpture instantly garnered attention in New York art circles, leading to a scholarship that financed her first trip to Paris. Celebrating the Dixon’s recent acquisition of this landmark sculpture, this exhibition looks at Savage and Gamin and their place in the larger context of early twentieth century African American art. Surrounded by works by such notable artists as Elizabeth Catlett, Aaron Douglas, and Bob Thompson, Augusta Savage’s Gamin reveals the emotions, history, and politics that informed Savage’s work and that of her contemporaries.Sponsored by the John and Susan Horseman Foundation for American Art.
Image: Augusta Savage, Gamin, ca. 1930Painted plaster, Collection of the Dixon Gallery and Gardens
Brian Russell: Continuum
October 27, 2013 – January 12, 2014
Continuum celebrates the past fifteen years of Brian Russell’s thoughtful and innovative cast glass and forged metal sculptures. His larger works will appear in the gardens, while his more intimately-scaled objects are on view in the Mallory and Wurtzburger Galleries. Russell’s smaller works feature glass cast in simplified shapes resting in minimalist bronze bases. His large outdoor sculptures allow his glass to more actively interact with the elongated curvilinear lines of his metalwork. The painstaking process of creating and casting colored glass and connecting it to forged metal is unique to Russell’s work. In recent years, Russell has turned the focus of his metal work to aluminum, whose malleability lends a sense of immediacy to his finished sculptures. Their modern fluidity contrasts with the ancient techniques used to produce them, creating an active tension between glass and metal elements.
Ashe to Amen: African Americans and Biblical Imagery
Sunday, October 20, 2013 - Sunday, January 5, 2014
Ashe to Amen: African Americans and Biblical Imagery examines the breadth of African American artists’ interpretations of Biblical stories and traditions in historic and contemporary art. The exhibition includes fifty-nine works of art and design that date from the late nineteenth century to the present with nearly fifty artists, many of whom are still active today. Organized by the Museum of Biblical Art, New York.
Image: Jared Small, The Good Samaritan, 2012. Oil on panel. Collection of Brad and Dina Martin
Made in Dixon
Sunday, September 15, 2013 - Sunday, October 20, 2013
Made in Dixon returns to the Mallory and Wurtzburger Galleries to showcase all of the art created by participants in the Dixon’s fourteen educational programs in the past year. With a multitude a media by artists of all ages, Made in Dixon joyfully illustrates the Dixon’s commitment to our community through education in the visual arts.
Love the Leaf
Sunday, July 14, 2013 - Sunday, September 08, 2013
Last fall, the Dixon mounted an awareness campaign entitled “Love the Leaf” that encourages Memphians to discover and enjoy the wonders of art and nature at the Dixon. In 2013, members of the Dixon and the community were invited to submit works of their own creation illustrating how they “love the leaf” for a chance to see their work displayed in our Mallory and Wurtzburger galleries. The works of art of our members and supporters chosen for Love the Leaf is an expression of how the Dixon has inspired interesting and creative ways to love the leaf!
Image: Claudia Tullos-Leonard Parrot Tulips, 2012 Oil on canvas. Courtesy of the artist
Picturing America: Signature Works from the Westmoreland Museum of American Art
August 4, 2013 – October 6, 2013
Fifty-six works from the Westmoreland’s permanent collection comprise this exhibition that spans 200 years of American art, from colonial times to the mid-twentieth century, as America came into its own as the cultural capital of the world. Located in Greensburg, Pennsylvania, the Westmoreland Museum of American Art was founded in 1959 due to the generosity of Mary Marchand Woods, the widow of Cyrus E. Woods, a distinguished statesman and diplomat. While undergoing a major expansion and renovation, scheduled for completion in 2015, we are proud to travel this exhibition to four venues and share these signature works from our collection.
Seen through the subject areas of portraiture, still life and landscape painting, the artists represented in this exhibition serve as a survey of American art beginning in the colonial period with paintings by John Singleton Copley, Benjamin West, and Charles Willson Peale. The Peale dynasty of artists is further represented through works by Rembrandt, Rubens, and Mary Jane Peale. Portraitist Cecilia Beaux, only recently reclaiming the national reputation she had during her lifetime, is represented by two paintings, a loving portrayal of her maternal grandmother—a woman who was an enduring force in the artist’s life—and her only known still life. William Merritt Chase, the great teacher of many of the twentieth-century masters, reveals the surety of his brush in Lady in Pink. Mary Cassatt, one of the most recognized names in American art, shows her signature impressionist style and maternal subject matter in Mother and Two Children.
Organized by the Westmoreland Museum of American Art, Greensburg, PA
Image: Rembrandt Peale (1778-1860), Portrait of George Washington, c. 1824, Oil on canvas, 36 x 29 inches, 42 3/8 x 35 ¾ x 4 inche, Gift of the William A. Coulter Fund, 1958.37
Bijoux parisiens: French Jewelry from the Petit Palais, Paris
Sunday, April 28, 2013 - Sunday, July 21, 2013
ORGANIZED BY THE PETIT PALAIS, PARIS AND THE DIXON GALLERY AND GARDENS.
Bijoux parisiens: French Jewelry from the Petit Palais, Paris brings to Memphis iconic and inimitable jewels from the famous French jewelry houses of Falize, Boucheron, Lalique, Cartier, and others. The exhibition tells the dazzling story of French jewelry from the seventeenth to the twentieth centuries and draws from the extensive collection of fine jewelry, drawings, paintings, and fashion prints from the Petit Palais in Paris, one of the great art museums of France. Bijoux parisiens features nearly seventy works of jewelry and over 200 design paintings, fashion prints, and photographs, tracing changing styles from the Neoclassicism of the Napoleonic era, through the Art Deco. Rubies, sapphires, diamonds, and emeralds sparkle in brooches, necklaces, and earrings, but also in elegant paintings of jewelry design. The exhibition fuses fashion, art, and history through beautiful suites of objects. Bijoux parisiens illustrates the exhibitions, events, and influences that helped establish the great Parisian maisons that are household names today. Bijoux parisiens marks the second collaboration with the Petit Palais after the retrospective exhibition Jean-Louis Forain: La Comédie parisienne in 2011. The exhibition is accompanied by a full-color, hardcover catalogue authored by Gilles Chazal and Martine Chazal of the Petit Palais, featuring an introduction by Dixon director Kevin Sharp.
Image: Artist Unknown, Portugal Devant de Corsage, ca. 1760. Tourmaline, quartz, and silver
Pam Cobb: River Visions
Sunday, April 21, 2013 - Sunday, July 07, 2013
Sponsored by Suzanne and Neely Mallory and Mary and Charles Wurtzburger.
Memphis native and long-time art educator Pam Cobb’s work is rooted in nature and her experiences interacting with various bodies of water. Painting and sculpture, water and landscape, all merge in the carved panels of her most recent work. River Visions brings together large diptychs and small-scale works influenced by the artist’s ongoing connection to water, notably the Tennessee River.
Image: Pam Cobb, Carved Series I, 2012 Acrylic, goldleaf on wood panel. Courtesy of Jay Etkin Gallery
Sustainable Sculpture: Works in Cardboard
Tuesday, April 09, 2013 - Sunday, April 14, 2013
This project was made possible by a generous gift of corrugated cardboard from International Paper. For one week this spring, Memphis College of Art juniors and seniors in Assistant Professor Elizabeth Brown’s Sustainable Sculpture: Works in Cardboard class will showcase their outdoor creations on the grounds of the Dixon Gardens. The sculptures, made completely or mostly out of cardboard, draw on the students’ inspiration from the link between nature and culture. While all sculptures relate to the show’s overarching theme, individual works also touch on ideas of life and death, transformation, transience of time and objects, gender, beauty, history, competition, animal nature of humans, the relationship of the insect world with the human world, and music. The exhibition will make a statement even as it disintegrates over time and with the elements. The students displaying work are Nick Darmstaedter, Ric Evans, Alex Lee, Olivia Logan, Robbie McElhaney, Adra Maner, Melinda Parra, Jonathan Rodriguez, Nicole Trimble, Austin Williams, Lisa Williamson and Sean Winfrey. These promising young artists have used a variety of both traditional sculpting, woodworking, and papermaking techniques, as well as more innovative methods, including knitting with cardboard “yarn.”
Image: Robby McEelhaney, model for Germinate, 2013, cardboard; courtesy of the artist.
Present Tense: Memphis Artists of the Future Juried Student Show
Sunday, February 03, 2013 - Sunday, April 14, 2013
The Mallory/Wurtzburger companion show to Present Tense displays an amazing group of works from talented local high school students. Painting, drawing and photography from students at White Station High School, Hutchison School, St. Agnes Academy, Lausanne Collegiate School, and Bolton Agricultural High School represent the next generation of art from Memphis. This exhibition of artists in progress demonstrates how dedicated educators in Memphis are working hard to cultivate the creative young people in our city.
Image: Kyle Owens, White Station High School, Shirt Sleeves, Charcoal on paper
Present Tense: The Art of Memphis from 2001 – Now
Sunday, February 03, 2013 - Sunday, April 14, 2013
Memphis is a city that exudes creativity and stands for artistic excellence. Present Tense: The Art of Memphis from 2001 – Now captures the energy and diversity of the city's contemporary art scene from 2001 to the present. Featuring over 100 works by more than seventy Memphis-area artists selected by guest curator John Weeden, Present Tense reveals the spark of creativity that makes our city such a vibrant and fascinating place to visit and to live. Outdoor sculpture, video and installation pieces, photography, oil on canvas and a range of sculptural and three-dimensional works from established artists such as Greely Myatt, Hamlett Dobbins, Nancy Cheairs, NJ Woods, Dolph Smith and Pinkney Herbert as well as next generation of notable newcomers will all be on display in one place—The Dixon. The exhibition will fill the galleries, residence, and gardens with outstanding examples of varied contemporary art practices found in our city since the turn of the millennium. The works in Present Tense mark the seminal events in the artistic Renaissance that has taken place in Memphis over the past decade. Never before has the Dixon had the ability to interact with this many local artists and their respective voices at one time. Now is the chance to join in on the conversation by meeting your favorite local artist and discovering the work of another through related educational programming. Present Tense is an opportunity for visitors to examine the role of the visual arts in Memphis and the larger cultural conversation being held in the United States today.
Image: Pixy Liao, Disco, 2008, Digital c-print, Collection of the artist
Sunday, December 09, 2012 - Monday, January 28, 2013
Artists’ Link is a volunteer organization founded in 1989 as a resource and support group for Memphis-area visual artists. In their second juried exhibition in the Mallory/Wurtzburger series, the group will once again showcase the most current work, from oils to watercolors to sculpture.
Fire and Desire: A Passion for Porcelain in the Eighteenth Century
Sunday, October 28, 2012 - Sunday, January 20, 2013
In celebration of the completion of the long-awaited Stout Catalogue of 18th Century German Porcelain, the Dixon is bringing the world-renowned Stout Collection out of the Stout Gallery and into our main exhibition space, re-examining the collection's rich diversity of form and theme.
Portrait, Patron, Muse: Women in the Dixon Collection
Sunday, October 21, 2012 - Sunday, January 06, 2013
Portrait, Patron, Muse: Women in the Dixon Collection explores the various ways in which women have shaped the Dixon’s prestigious permanent collection. The idea for the exhibition originated with the Dixon’s recent purchase of Jacques-Émile Blanche’s Portrait of Eugenia Huici Arguedas de Errázuriz from 1890, a fascinating example of belle époque portraiture. Inspired by Errázuriz’s simultaneous role as subject of a portrait, patron of the arts, and muse to several of the most revered artists of her time, the Dixon has reexamined many of the works of art in the permanent collection that feature women, either in commissioned portraiture or more intimate figure studies. From rustic peasant women to glamorous society queens, Portrait, Patron, Muse celebrates the way one acquisition can almost become a muse in its own right, and inspire us to look differently at works of art we think we know well. The exhibition features examples by Camille Pissarro, Edgar Degas, Jean-Louis Forain, Auguste Rodin, and many others.
Image: Jacques-Émile Blanche, Portrait of Eugenia Huici Arguedas de Errázuriz, 1890 Pastel on canvas. Museum purchase in memory of John E. Buchanan, Jr
The Living Art of Bonsai
Thursday, October 18, 2012 - Sunday, October 28, 2012
Just in time for fall color, we will be celebrating the art of bonsai at the Dixon with a fascinating display of these miniature trees, on loan from Brussel’s Bonsai Nursery, one of the largest suppliers of Bonsai trees in the country. Come and experience the beauty of nature mimicked by the controlling hand of horticulture in this exciting, ancient Asian art form. Opens at 6pm on Thursday, October 18 during Art After Dark. Regular Admission. Free for members.
Jim Buchman Sculpture
Sunday, September 23, 2012 - Sunday, January 06, 2013
Memphis sculptor and art educator Jim Buchman’s evocative, columnar sculptures at first glance stand as simultaneously austere and graceful reminders of ancient architecture and pottery. At the same time, their simplicity of form and technological construction are completely modern, looking to the future. All of Buchman’s works explore texture, shape, light, and shadow through the unique medium of cast concrete. Buchman’s larger-scale works will be installed outdoors around Garrott Court. Sponsored by Suzanne and Neely Mallory and Mary and Charles Wurtzburger