Past

Featuring approximately one hundred works, this retrospective exhibition covers Wolin’s entire career with key selections from all ten of his major series, including his earliest landscapes and portraits of stonecutters, Holocaust survivors, war veterans, and people experiencing homelessness.

This focus exhibition explores the transmission of knowledge through the textile legacies of Central and South America to show the powerful role of cloth to transfer cultural wisdom across generations. The historical legacies of these textiles testify to the contemporary vitality and resilience of the communities they originate from in Central and South America.

Drawn from the collections of the Eskenazi Museum of Art, this exhibition examines how artists have leveraged the challenges and possibilities of the watercolor medium over two centuries.

This student-curated focus exhibition explores the rich imagery of vase painting in ancient Greece. It is being developed by IU students in the Arts and Sciences Undergraduate Research Experience (ASURE) program, with the mentorship of Dr. Julie Van Voorhis and Ancient Art curator Juliet Graver Istrabadi.

Textiles displayed in this exhibition explore the changing uses of dyes in cloth making during the twentieth century in West Africa. It features cloths made by Asante, Bamana, Fula, and Yorùbá artists including indigo-dyed textiles and “mud” dyed bògòlanfini cloth among others. Designing with Dyes explores how people have circulated materials, technologies, and knowledge through cloth.

How does one experience a photograph that appears “unphotographic”? Focusing on the material and tactile properties of the medium, Direct Contact: Cameraless Photography Now is the first contemporary survey to examine cameraless photography across generations, cultures, and ideologies. Referred to as photograms or contact prints, cameraless photographs are made using analogue photography’s foundational elements: light, chemistry, and light-sensitive surfaces.

In the Setswana language spoken by artist Mohau Modisakeng's family, life is thought of as a passage and is called botshelo, which means “to cross over.” Humans are called bafeti (voyagers), a word that acknowledges the transience of the human experience. To reflect on South Africa's complex histories of colonialism and 20th-century Apartheid, the South African Department of Arts and Culture commissioned Mohau Modisakeng to make Passage for the South African pavilion of the 57th Venice Biennial in 2017.

At the museum, history is kept in the present while the works of living artists are collected to look toward the future. Museums show how human history ebbs and flows like the tide, with current events washing over and echoing moments from the past. All the artists represented in Currents are people of color, women-identifying, or queer—identities that historically have been underrepresented in museum collections, including those of the Eskenazi Museum. Each of these newly acquired works supports the museum’s teaching and research mission.

This focus exhibition features four art objects that offer a variety of insights the Nazis’ condemnation of German modernist art, their persecution of Jewish artists, and their looting of Jewish art collections.

Positive Fragmentation: From the Collections of the Jordan D. Schnitzer and His Family Foundation will feature more than 180 prints by contemporary women artists who employ a strategy of fragmentation in their artistic process. Derived from the Collections of Jordan D. Schnitzer and His Family Foundation—one of the largest private print collections in the world—the exhibition is presented by the National Museum of Women in the Arts (NWMA) in partnership with the American University Art Museum.