Gregory Euclide’s intricately crafted sculptural works explore the tension between idealized, picturesque views of landscapes and actual experiences of being in nature. Using traditional methods of landscape painting combined with natural materials and found objects, Euclide constructs three dimensional encapsulated worlds where pristine notions of landscape meet the reality of our current environment.

This exhibition features over 100 pieces of Southwestern pottery produced by some of the most active pottery-producing Native American tribal groups in the Southwest region of Utah, Colorado, Arizona, and New Mexico. The exhibition compares and contrasts techniques, styles, designs, and materials used by artists working in the following pueblos: Acoma, Cochiti, Hopi, Kewa, Maricopa, Santa Clara, San Ildefonso, and others.

All of the works in the exhibition are from the private collection of Brenda and John Blom. Since the early 1990s, they have acquired fine examples modern pottery from potters, traders, shops, and pueblo villages in the Southwest. “Southwestern pottery is not only one of the world’s important art forms,” Blom explains, “it is the most accessible.” The Bloms began collecting pottery during a trip to Santa Fe in 1991 with their friends Allan and Carol Hayes. Since then, John Blom and Al Hayes have co-authored three books on Southwestern pottery, and the Bloms have amassed a collection of over 1,500 pots.

All of the works in the exhibition are from the private collection of Brenda and John Blom.

Edward Burtynsky: Oil is an examination of one the most important subjects of our time by one of the most respected and recognized contemporary photographers in the world. From 1997 through 2009, Burtynsky traveled internationally to chronicle the production, distribution, and use of this critical fuel. In addition to revealing the rarely seen mechanics of its manufacture, he photographs the effects of oil on our lives, depicting landscapes altered by its extraction from the Earth and by the sprawl generated around its use.

These images tell an epic story of mankind expressed through our discovery, exploitation, and celebration of this vital natural resource.

Edward Burtynsky: Oil is organized by the Corcoran Gallery of Art, Washington, D.C.

Lead Sponsor

Carol Franc Buck Foundation

Major Sponsor

The Phil and Jennifer Satre Family Fund of the Community Foundation of Western Nevada

Support

Scotiabank Group

Additional Support

Barrick Gold of North America, Kathie Bartlett, Mark E Pollack Foundation, and Lance and Karyn Tendler

Arthur and Lucia Mathews are widely acknowledged as two of California’s most prolific artists working in what is widely known as the California Decorative Style during the early twentieth century. The aesthetic they fostered incorporated classical references, idyllic landscapes and a muted tonal color palette applied to a variety of works from murals and paintings to wooden frames and decorative objects. Their careers unfolded during the height of the American Arts & Crafts movement, when an emphasis on fine design and craftsmanship was placed on the hand-made production of material goods and objects.

As residents of San Francisco, their philosophical emphasis on the importance of aesthetics and design contributed to the revitalization of the city following the 1906 earthquake. In many of their paintings, California is represented as a new Arcadia, with mythological figures wearing fanciful Greek robes dancing or frolicking in idyllic settings. They often incorporated stylized motifs based on swans, peacocks, zodiacal figures, and botanicals into their work, and their landscape paintings of cypress trees on the Monterey Peninsula—where they spent many summers—have become icons of that region.

All of the artworks in this exhibition are from the collection of the Oakland Museum of California.

Major Sponsors

George and Irene Drews, Edgar F. and Ella C. Kleiner, Gordon and Cecile Peters, and John H. O. La Gatta

For Your Eyes Only is an exhibition of artist’s books that explores the structural possibilities of the book, and includes works by artists and printers Julie Chen, Tim Ely, Peter Koch, Eunkang Koh, Patti Scobey, Barbara Tetenbaum, and more.

As long as there have been books, artists have been experimenting with the form of their construction. In the latter half of the 20th century, techniques in the visual arts and traditions in the art of the book from the previous century onwards met, mingled, and hybridized, resulting in the broad and energetic genre known as the artist’s book. This collision has resulted in an amazing array of beautiful, delightful, and downright strange books that are folded, cut, glued, and otherwise modified to make objects that are often more sculptural than text to be read.

Paul D. Miller, aka DJ Spooky that Subliminal Kid, is a composer, multimedia artist, and writer who creates bridges between sound art and contemporary visual culture. Through music, photographs and film stills from his journey to the Antarctic, along with original artworks, and re-appropriated archival materials, Miller uses Antarctica as an entry point for contemplating humanity’s relationship with the natural world. Based on The Book of Ice—part fictional manifesto, part history, and part science book—this exhibition combines video footage of past performances with graphics and dynamic data visualizations related to climate change in the Earth’s polar regions.

DJ Spooky has collaborated with drummer Dave Lombardo of thrash metal band Slayer; singer, songwriter and guitarist Thurston Moore of Sonic Youth; Chuck D of Public Enemy fame; rapper Kool Keith; Towa Tei, formerly of Deee-Lite; Vernon Reid of Living Colour; The Coup; artists Yoko Ono and Shepard Fairey and many others. Miller is currently featured on Syfy Channel’s Let’s Imagine Greater web series, and has performed around the world from France to Japan to Mexico City. In 2010, DJ Spooky became one of the first DJ’s to create an iPhone app, called DJ Mixer.

Bovey Lee’s meticulously crafted paper-cut drawings explore the struggle between nature, urbanization, and the ownership of natural resources. Lee’s drawings are rooted in her study of Chinese calligraphy and pencil drawing, mediums in which she was immersed while growing up in Hong Kong.

Lee begins by sketching out her ideas by hand. She then devises a digital template made up of photographs, downloaded images, scans from magazines and books, and vector graphics. After her template is in place, she hand cuts the image with a knife onto a single sheet of Chinese rice paper.

The often airy and fragile, lace-like structures she creates contrast sharply with the themes of power, sacrifice, and survival underlying her work.

“Cutting paper is a visceral reaction and natural response to my affection for immediacy, detail, and subtlety,” Lee explains. “The physical demand from cutting is extreme and thrilling, slows me down and allows me to think clearly and decisively.”

While teaching art at the University of California, Santa Barbara during the 1980s, artist Ciel Bergman discovered increasing amounts of plastic trash washing up on the local beaches. She began to pick up the detritus with her friend Nancy Merrill. Together they created an installation titled Sea of Clouds What Can I Do that was exhibited in 1987 at the Santa Barbara Contemporary Art Forum.

During the artmaking process, and prompted by “witnessing the suffering of many beached, garroted and dying sea mammals, strangling in plastic” Bergman conceived the idea for recycling waste plastic to create a sustainable road paving material to reduce our dependence on oil. As a result, she helped launch the product known as Plasphalt™, which combines recycled plastic and asphalt. Plasphalt™ provides superior performance and reduced costs compared to traditional asphalt paving, but to date has yet to be adopted widely by roadbuilders.

The Nevada Museum of Art is pleased to present a solo exhibition of drawings by German artist Jorinde Voigt, recent winner of the prestigious Guerlain Drawing Prize in 2012. Although Voigt has exhibited widely internationally, this will be her first solo exhibition at an art museum in the United States.

In her large-scale drawings, Voigt makes reference to a wide-range of subjects—from weather and geography to music, literature, and philosophy. Far from objective representations, however, her lyrical notations are rendered in a unique visual language that is not easily deciphered. Composed of both objective and subjective elements, Voigt’s algorithmic systems make visible an invisible world that is complex in its shifting movements and overlapping influences.

Jorinde Voigt was born in Frankfurt, Germany and currently lives in Berlin. The Museum of Modern Art, New York and the Musée d’art moderne du Centre Pompidou in Paris have recently acquired Voigt’s work for their permanent collections. She has had exhibitions at the Museum Van Bommel van Dam, in The Netherlands, the NKV Nassauischer Kunstverein, Wiesbaden, Germany, Gemeentemuseum, The Hague, Netherlands, and the Von der Heydt-Museum, Wuppertal, Germany, and the David Nolan Gallery, New York.

This powerful and haunting series of fifty photographs documents and examines the placement and treatment of American juveniles housed by law in facilities in the United States.

For the past five years, photographer Richard Ross has interviewed and photographed both pre-adjudicated and committed youth in the juvenile justice system. To date, he has visited more than 250 facilities in 30 states—including Nevada. Ross has photographed in group homes, police departments, youth correctional facilities, juvenile courtrooms, high schools, shelters, classrooms, interview rooms, and maximum security lock-down and non-lock-down shelters, to name just a few. By photographing the children from behind or by obscuring their faces, the children’s identities are always kept anonymous.

Ross received his Master of Fine Arts degree from the University of Florida, Gainesville and teaches art at the University of California, Santa Barbara. He was principal photographer for the Getty Museum and their Villa Project and does editorial work for the New York Times, Los Angeles Times, San Francisco Examiner, Vogue, La Repubblica, and Architectural Digest.

Exclusive Sponsor

Wilhelm Hoppe Family Trust