Since 1992, the Center for Art, Design and Visual Culture has maintained a nationally-touring exhibition program, featuring one-person retrospectives and solo exhibitions of influential American artists, including Nancy Graves (1992), Kate Millett (1996), Adrian Piper (1999), and Fred Wilson (2001).
Thematic traveling exhibitions organized by CADVC have included Ciphers of Identity (1993), Minimal Politics (1997), White: Whiteness and Race in Contemporary Art (2003), Andrea Robbins and Max Becher:Portraits (2008), and For All The World To See: Visual Culture and the Struggle for Civil Rights (2009).
Travel venues in the United States, Canada, and the United Kingdom have included the Barbican Centre; Studio Museum in Harlem; the Museum of Contemporary Art; the International Center of Photography; the Andy Warhol Museum; the Santa Monica Museum; the Addison Gallery of American Art; the Art Museum and Pacific Film Archive; University of California, Berkeley; the Chicago Cultural Center; The Contemporary Art Center, Cincinnati; Mount Saint Vincent University; the Cleveland Center for Contemporary Art; and the Contemporary Art Museum at the University of South Florida.
Upcoming traveling exhibitions include:
Harun Farocki & Trevor Paglen
Akademie Der Kunste, Berlin, Germany
September 15th - December 15th, 2014
Gallery 400, University of Illinois, Chicago
January 23rd - March 7th, 2015
Visibility Machines explores the unique roles Harun Farocki and Trevor Paglen play as meticulous observers of the global military industrial complex. Investigating forms of military surveillance, espionage, war-making, and weaponry, Farocki and Paglen each examine the deceptive and clandestine ways in which military projects have deeply transformed, and politicized, our relationship to images and the realities they seem to represent. The exhibition initiates critical questions about the crucial part images play in revealing essential but largely concealed information, and places the oeuvres of Harun Farocki and Trevor Paglen within the broader cultural and historical developments of the media they are creatively working with, namely photography, film, and new media. Curated by Niels Van Tomme.
Where Do We Migrate To?
Varmlands Museum, Karlstad, Sweden
January- April 2015
Curated by Niels Van Tomme and organized with the Center for Art, Design and Visual Culture, Where Do We Migrate To? explores contemporary issues of migration as well as experiences of displacement and exile. Situating the contemporary individual in a world of advanced globalization, the artworks address how a multiplicity of migratory encounters demand an increasingly complex understanding of the human condition. As such, the exhibition allows multiple perspectives about its subject matter to unfold simultaneously, opening up a range of political, psychological, poetic, and pragmatic manifestations of the contemporary migrant experience.
Where Do We Migrate To? features the work of nineteen internationally recognized artists and collectives, including: Acconci Studio, Svetlana Boym, Blane De St. Croix, Lara Dhondt, Brendan Fernandes, Claire Fontaine, Nicole Franchy, Andrea Geyer, Isola and Norzi, Kimsooja, Pedro Lasch, Adrian Piper, Raqs Media Collective, Société Réaliste, Julika Rudelius, Xaviera Simmons, Fereshteh Toosi, Philippe Vandenberg, and Eric Van Hove.
An accompanying film and video program, curated by Sonja Simonyi and
presented in partnership with the Film and Media Studies Program at Johns
Hopkins University, will feature eight programs/screenings by a wide range of international filmmakers and video artists: Chantal Akerman, Herman Asselberghs, Ursula Biemann, Pavel Brailia, Oliver Husain, Isaac Julien, Tanja Ostojic, Egle Rakauskaite, Ben Russell, Ulirch Seidl, Berni Searle, Usha Seejarim, Lonnie van Brummelen and Siebren de Haan (list subject to change).
A national tour is currently being organized through November 2016.
Admission to the exhibition is free. The Center for Art, Design and Visual Culture is open Tuesday through Saturday from 10 am to 5 pm and is located in the Fine Arts Building. For more information call 410-455-3188.
The exhibition was made possible, in part, with the support of the Flemish Government through Flanders House.
For All the World to See: Visual Culture
and the Struggle for Civil Rights
explore the official Website
Organizing Institutions: Center for Art, Design and Visual Culture, University of Maryland, Baltimore County and the Smithsonian National Museum of African American History and Culture, Washington, D.C.
Curator: Maurice Berger, Research Professor, Center for Art, Design and Visual Culture, UMBC
In September 1955, shortly after Emmett Till was murdered by white supremacists in Money, Mississippi, his grieving mother, Mamie Till Bradley, distributed to newspapers and magazines a gruesome black-and-white photograph of his mutilated corpse. Asked why she would do this, Mrs. Bradley explained that by witnessing, with their own eyes, the brutality of segregation and racism, Americans would be more likely to support the cause of racial justice and equality. “Let the world see what I’ve seen,” was her reply. The publication of the photograph transformed the modern civil rights movement, inspiring a new generation of activists to join the cause.
Despite this extraordinary episode, visual culture is rarely included in the history of the modern civil rights movement. For All the World to See is the first comprehensive museum exhibition to explore the historical role played by visual images in shaping, influencing, and transforming the fight for civil rights in the United States. The exhibition is comprised of over 250 objects, including posters, photographs, graphic art, magazines, newspapers, books, pamphlets, political buttons, comic books, toys, postcards, and clips from film, newsreels, and television. Maurice Berger, cultural historian and Research Professor, Center for Art, Design and Visual Culture, University of Maryland, Baltimore County is the curator of the exhibition.
For All the World to See looks at images in a range of cultural outlets and forms, tracking the ways they represented race in order to alter beliefs and attitudes. The exhibition examines the extent to which the rise of the modern civil rights movement paralleled the birth of television and the popularity of picture magazines and other forms of visual mass media. Images of the civil rights era were ever-present and diverse: the startling footage of southern white aggression and black suffering that appeared night after night on television news programs; the photographs of black achievers and martyrs in Negro periodicals, which roused pride or activism in the African-American community; the humble snapshot, no less powerful in its ability to edify and motivate. In each case, the war against racism and segregation was waged—by civil rights leaders, activists, and ordinary people alike—not with bricks or flesh or words but with pictures. By including a compendium of iconic objects, motion pictures, and intimate portraits of black life, For All the World to See attempts to reach museum visitors on a deeply personal and moving level as it offers important insights into the way visual images forever changed the cultural and social landscape of the United States.
For All the World to See is co-organized by the Center for Art, Design and Visual Culture, UMBC and the Smithsonian National Museum of African American History and Culture, Washington, D.C. A comprehensive, richly illustrated companion book written by Maurice Berger with a foreword by the celebrated essayist, novelist, and librettist Thulani Davis will published by Yale University Press in May 2010. A comprehensive WEBSITE also launched in May 2010 (WWW.FORALLTHEWORLDTOSEE.ORG), and will include an online version of the exhibition, online film festival, and educational materials.
The exhibition currently has five confirmed venues: International Center of Photography in New York (21 May to 12 September 2010);The DuSable Museum of African American History, Chicago, IL (January 17 through May 15, 2011); The National Museum of American History, Smithsonian Institution in the galleries dedicated for use by the Smithsonian National Museum of African American History and Culture (June 10, to Nov. 27, 2011); The Center for Art, Design and Visual Culture (Nov. 15, 2012 - Mar. 10, 2013); and The Addison Gallery of American Art, The Phillips Academy (Spring/Summer 2013).
Funding for the exhibition has come from the National Endowment for the Humanities, Trellis Fund, National Endowment for the Arts, St. Paul Travelers Corporation, the Texas Foundation, and the Maryland State Arts Council. Additional support has come from CBS News Archives, Ed Sullivan/SOFA Entertainment, Sullmark Corporation, and Sony Pictures Entertainment.
For All the World to See was designated a “We the People” project by the National Endowment for the Humanities. The goal of the “We the People” initiative is to “encourage and strengthen the teaching, study, and understanding of American history and culture through the support of projects that explore significant events and themes in our nation’s history and culture and that advance knowledge of the principles that define America.”
Top Photo: Eikoh Hosoe: META