- Monday – Saturday:
10 a.m. to 4:30 p.m.
10 a.m. to 8 p.m.
Noon to 5 p.m.
June 8 – September 17, 2017
Funded by the Greater Milwaukee Foundation’s Mary L. Nohl Fund and administered by the Bradley Family Foundation, the Mary L. Nohl Fund Fellowships for Individual Artists, now in its fourteenth cycle, provides unrestricted funds for artists to create new work or complete work in progress. This exhibition includes work by the 2016 Fellows: Jesse McLean and Joseph Mougel (Established Artists) and Rose Curley, Robin Jebavy, and Brooke Thiele (Emerging Artists). The fellows were selected from a field of 151 applicants by a panel of three jurors: JoAnne Northrup, Curatorial Director and Curator of Contemporary Art, Nevada Museum of Art, Reno, Valerie Cassel Oliver, Senior Curator at Contemporary Arts Museum Houston, and Julie Rodrigues Widholm, Director and Chief Curator, DePaul Art Museum, Chicago.
Refugee Trilogy is a suite of large-scale charcoal drawings by Connecticut-based artist Rick Shaefer. The works employ the visual language of Baroque painting to express, in a language both familiar and historical, the plight of contemporary refugees, and the persistence of this epic human tragedy across time. The series is comprised of three thematic scenes: Land Crossing addresses the hazardous journeys faced by refugees fleeing war, famine, drought; Water Crossing portrays the perilous journeys across open water; and Border Crossing addresses the conflicts and hostilities faced at borders.
This exhibition explores apocalyptic imagery in the v isual culture of England from approximately 1750-1850, a period that was fraught with political tumult and societal anxiety as dramatic shifts were occurring both domestically and internationally. The World Turned Upside Down brings together paintings, drawings, political prints, pamphlets, and illustrated books, demonstrating the widespread anxiety toward the progress of modernity, and the extent to which the uncertainty of the future could be revealed through prophetic vision.
Acquired by the Haggerty at the end of 2011 with funds from the Mary B. Finnigan Art Endowment, F-111 (South, West, North, East) is one of James Rosenquist’s seminal works on paper. Created a decade after the artist’s painting of the same name, this four-part, 290-inch-long lithograph and screenprint set a new standard of scale for prints in the 1970s. Rosenquist conceived this work during one of the most culturally and politically turbulent decades in American history. He later explained that his subject, the F-111 fighter bomber plane, the most technologically advanced weapon at the time, is positioned “flying through the flak of consumer society to question the collusion between the Vietnam death machine, consumerism, the media, and advertising.”