Copia—Retail, Thrift and Dark Stores,
January 22 - May 18, 2014
This insightful, decade-long, three-phase investigation of the American consumer psyche traces a route from exuberant excess to the bleak architectural landscapes of closed malls and empty parking lots. For his first chapter, Retail, photographer Brian Ulrich traveled extensively across the United States to document shoppers in vast and ubiquitous enclosed malls and big-box stores. He relied on a hand-held camera with the viewfinder at waist level to create candid images of people engrossed in navigating an abundance of goods. Ulrich then turned his attention to thrift stores, which became a primary destination for a growing segment of the country’s population in the wake of the 2008 financial crisis. The Thrift chapter focuses on workers attempting to bring order to the mountains of donated, discarded, and unwanted consumer products. Lastly, in Dark Stores, Ghostboxes, and Dark Malls, Ulrich utilized a large-format view camera to produce richly detailed photographs that explore the lasting impact of the economic recession. This chapter contains haunting landscapes of the interiors and exteriors of abandoned buildings.
The Print Room
An Exhibition by the Chipstone Foundation
January 22 - August 3 2014
The Print Room is an immersive exhibition that explores transfer-printed ceramics and their role in print culture. Presented alongside prints and printed ephemera, transfer-printed ceramics are important vehicles for visual, textual and cultural communication. The exhibition displays a wide variety of patterns and images that makers invented and appropriated for use on ceramics, including eastern-inspired chinoiserie designs, commemorative portraits, and reproductions of popular paintings.
Between Critique and Absorption
Contemporary Art and Consumer Culture
January 22 - May 18, 2014
The six contemporary artists included in this exhibition—Kota Ezawa, Gabriel Kuri, Josephine Meckseper, Kaz Oshiro, Dan Peterman, and Shinique Smith—employ a range of visual and conceptual strategies to interrogate consumerism. As the title suggests, these artists offer nuanced commentary on the subject matter. Rather than criticizing the compulsion to consume on a superficial level, they dismantle this insistent cultural phenomenon from the inside out. This approach requires direct appropriation of the vocabularies and methodologies of the market forces they target, hence the use of source material like post-consumer plastic waste, discarded clothing, receipts, advertising and marketing campaigns, window displays, and common household goods. The resulting artworks expose consumption as a flawed but enduring societal impulse.
An Exhibition by the Chipstone
January 22 - August 3 2014
We will die, civilization will crumble, life as we know it will cease to exist, but trash will endure, and there it was on the street, our ceaselessly erected, ceaselessly broken cenotaphs to ephemera and disconnection and unquenchable want.
Robin Nagle, Picking Up: On the Streets and Behind the Trucks with the Sanitation Workers of New York City
Today’s obsessive materialism occurs without consideration of what happens to things when we no longer need or want them. In An Aesthetic Afterlife, five Wisconsin artists literally address the myriad problems raised by our “throw-away culture.” But they do so somewhat optimistically, using old objects to create beautiful works of art. Secondhand objects are saved from their potential graves, proving that it is possible for them to live an aesthetic and purposeful afterlife.
June 4 – August 3, 2014
Scrutiny After The Glimpse
Depicting the human form has been a primary focus of artists since the beginning of recorded engagement. Looking at a portrait or figure painting has usually been thought to be an isolated occasion with a finite meaning. This exhibition of paintings, drawings, prints, and sculpture from the Haggerty’s permanent collection explores the potential of these objects to evince multiple meanings based on context and proximity to other works.
AGOD (acronym for animated GIF* of the day) is an “organic” video about the fear of order and disorder. The work is comprised of daily animated gifs, created and collaged over a 3-year time span. The non-linear, open-ended narrative speaks to the rapidity and abundance of information available in the digital age.
*GIF is an acronym for graphic interchange format. GIFs are computer files used for the compression and storage of digital video images.
August 20 – December 23, 2014
The Killing Cycle
The year 1966 was a turning point for painter and filmmaker Alfred Leslie. That fall, a devastating fire destroyed Leslie’s studio-home and all of its contents. This personal loss, as well as the death only a few months earlier of his close friend and collaborator, poet Frank O’Hara, provided fertile ground for artistic inspiration. The Killing Cycle is a series of constructed narratives that synthesize fact and fiction to describe the beach scene car crash that ended O’Hara’s life. Part personal testimony and part metaphor for loss, these five “painted stories” will be exhibited together for the first time in over twenty years.
Yangtze The Long River
Over a period of three years, Nadav Kander photographed scenes he encountered on the banks of China’s Yangtze River. More people live along the Yangtze, the third longest river in the world, than in the United States. As he traveled upstream and more than 4,100 miles from the river’s mouth at the coast, a high-traffic shipping port, toward The Three Gorges Dam, the largest in the world, past Chongqing, a rapidly expanding urban and economic center, to the river’s source in the Himalayan mountains, Kander was struck by the human and environmental impact of China’s dizzying rate of development. His photographs of the people and landscapes he encountered on his journey explore themes of impermanence and displacement, and ultimately question the price of modernity.
August 20 – May 17, 2015
Looking at Communities from an Art Museum
Over the course of the fall 2014 and spring 2015 semesters, the Haggerty will present Clear Picture Looking at Communities from an Art Museum, an exhibition featuring diverse works from the museum’s permanent collection. Clear Picture is an experimental, student-curated project led by Marquette faculty members. The exhibition will serve as a multi-disciplinary textbook and laboratory for four undergraduate Journalism and Spanish courses. Works will be added to the walls throughout the year as students explore ways of constructing narratives through the selection and display of art.
This exhibition is organized by Dr. Eugenia Afinoguénova (Associate Professor of Spanish, Department of Foreign Languages and Literatures) and Dr. Pamela Hill Nettleton (Assistant Professor, Journalism and Media Studies, Diederich College of Communication) and has been recognized with the Way Klingler Teaching Enhancement Award, which supports the development and implementation of innovative teaching projects. Dr. Julia Paulk (Assistant Professor of Spanish, Department of Foreign Languages and Literatures) will take over Dr. Afinoguénova’s role in the project for the spring semester.
Current Tendencies III
Artists from Milwaukee
August 21 - December 22, 2013
Current Tendencies III features the work of nine emerging, mid-career, and established Milwaukee artists working in a variety of media including photography, painting, drawing, printmaking, and sculpture. The artists participating in the exhibition are Tyanna Buie, William E. Carpenter, Evan Gruzis, Jon Horvath, Mark Mulhern, Jean Roberts Guequierre, Cassandra Smith and Jessica Steeber (in collaboration) and Jason S.Yi.
Re-seeing the Permanent Collection
The Viewer's Voice
August 21 - December 22, 2013
This exhibition highlights works from the Haggerty’s permanent collection selected by Marquette faculty, staff, and students. The featured work represents a wide range of styles, processes, and media created by Renaissance to contemporary artists from diverse locales. Project participants wrote a brief reflection on the piece they choose, expressing why they were drawn to the work and, in the case of some professors, how the work is used in their teaching practices.