伊丽莎白·迈尔斯
米切尔艺术博物馆
Asking persistent 和 timely questions about the human experience, through art 和 with extraordinary artists.
Some Light Reading (A Summer Exhibition)
5月4日开幕
在这个展览中, 艺术品的 five artists 和 poetic texts by four writers address the magical, life-making qualities of light. Referenced here are the sun 和 moon, the stars, an oil lamp, 和 an electric ch和elier. But visual art 和 literature can be sources of illumination as well. The writer 和 activist 罗尔蒂, writing about “poetry as illumination,曾经说过, “The quality of light by which we scrutinize our lives has direct bearing upon the product which we live, 和 upon the changes which we hope to bring about through those lives.” The artists 和 writers include Vija Celmins, 艾米丽迪金森, Rockne克雷布斯, 罗尔蒂, 维吉尔马蒂, 艾琳·迈尔斯, 艾琳·内夫, 弗吉尼亚·伍尔夫, 和巴哈尔Yürükoğlu.
Image: 艾琳·内夫, Moon Night (detail), 2016, Archival UV pigment on dibond, 40 x 57 inches. Courtesy of the artist.
On View at the Greenfield Library: Two Art Books–Louise Bourgeois 和 Fischli/Weiss
Through September 8, 2024
This exhibition presents two small, zine-like art books, each featuring a single body of work. Though different in temperament 和 focus, both ask fundamental questions about the meaning of life 和 our place in the social or natural order.
莱弗勒 (The Flowers) includes reproductions of 28 gouache paintings created by the French-American artist Louise Bourgeois in 2009–10, a year before she died at the age of 97. Flowers typically symbolize growth, fecundity, 和 rejuvenation. 这里是公寓, silhouetted images–laid out in a regulated sequence–call to mind leafy specimens pressed under glass gathered for future study. 在结构上, they also evoke human anatomy; in hue 和 translucency, the paint looks like fresh blood. Bourgeois herself has verbally made this connection between the natural world 和 the human body, 说, “It seems rather evident to me that our own body is a figuration that appears in Mother Earth.”
Ordnung 和 Reinlichkeit (Order 和 Cleanliness) by the Swiss artist duo Fischli/Weiss, contains 15 black 和 white drawings by the artists from 1981. (The zine on view here is from 2016.) As if extracted from a corporate report–or a textbook, each drawing is labeled as a figure (fig. no. 1等.), supporting a text that is nowhere to be found. The diagrams tackle such topics as the will to power, 爱, 焦虑, 和 the constitution of an organism. One of them intertwines big timeless questions (e.g., “Is the galaxy still growing?”) with small ones (“Is the bus still running?”). The tone seems earnest, but the small scale 和 humorous insertions suggest otherwise. Fischli/Weiss are poking fun at the high expectations we have of them.
新闻 & 突出了
2023年的数字
In the ten months we were open, /m presented 7 exhibitions, exhibited 129 艺术品的 66 艺术家、主持 72 events (receptions, talks, workshops, performances, screenings, 和 tours), brought 17 世界级的艺术家, 策展人, 教育工作者, 和 musicians to 安纳波利斯 from Chicago, 洛杉矶, 纽约, 费城, 里士满, 和华盛顿, DC, 写了一篇 36-页战略计划. (We also ate more than we should have 和 drank 10 gallons of homemade Mexican ponche—not the kind pictured here!)
A New Name, a New Identity
We entered 2023 with a new name: 伊丽莎白·迈尔斯 米切尔艺术博物馆. By replacing “gallery” with “museum” we celebrate of our longst和ing accreditation (since 2012) by the American Alliance of Museums. 我们的新标志, /m, uses the language of subdomains to underscore the museum’s relationship to its host, St. 约翰的大学.
Thank You to our Funders
The 伊丽莎白·迈尔斯 米切尔艺术博物馆’s (/m) programs are made possible through the generous support of the Maryl和 State 艺术 Council, 艺术 Council of Anne Arundel County, CovingtonAlsina, PNC银行, 和 Chesapeake Medical Imaging. Additional support provided by Richard Groenendyke, 约书亚·罗杰斯, 露丝米切尔, John 和 Hilda Moore Fund, Joy Chambers 和 Peter Bungay, Laura Ricciardelli 和 David Watt, 莉莲·瓦诺斯·纳特, 安娜·格林伯格, Norman J. Fisher 和 Doris Fisher Foundation, 米切尔艺术博物馆 Board of Advisors, 和 our other loyal members 和 patrons.
