See the massive and very rare The Book of the Lagoons by artists Helen Mayer and Newton Harrison on view in the CA+E Research Library, 11 a.m. – 2 p.m., Wednesday-Sunday.

Purchased with funds from the Elke Hoppe Youth Advancement Trust.

Minerals have been used as a source of pigment ever since humans began making rock art from ochre in Africa, Australia, and Europe more than 300,000 years ago. Ulrike Arnold, who lives in Germany and Arizona, began using earth minerals for her paintings in 1980.

In 2002 Arnold met the owners of the Southwest Meteorite Laboratory, a business in Arizona that supplies meteorite thin sections to NASA and other scientific organizations around the world for study purposes. The laboratory provided her with the dust generated from sectioning meteorites found in China, Namibia, Greenland, Argentina, Arizona, and New Mexico.

To paint with these earth minerals, Arnold grinds stones and rocks into a paste that she mixes on location with an acrylic binder. To work with the meteoritic materials, Arnold spreads her canvases on the ground, applies glue onto the surface then pours the fine particles of iron, nickel, and chondrules over the surface. Chondrules are primitive compounds that are the oldest solid material found in our solar system, and building blocks of the planets.

Arnold’s work incorporates terrestrial minerals from 200 million years ago, and meteoritic dust as old as 4.5 billion years. Her paintings embody the geology of the remote locations in which she works–from Chile’s Atacama Desert and remote Australia to Easter Island¬–as well as the formation of the planets. The paintings seek to evoke the emotional connection between Earth and Heavens, sky and ground, a connection that has been painted from prehistoric time until the present.

Mexican artist Frida Kahlo’s extraordinary life and iconic biographical paintings have earned her international renown in the world of modern art. Upon Kahlo’s death in 1954, more than 6,500 personal photographs and items belonging to her and husband/artist Diego Rivera were sealed and put in storage. For more than half a century this great collection of personal memorabilia remained hidden from the public. In 2007 this collection was opened and Mexican photographer and curator Pablo Ortiz Monasterio inventoried and catalogued 240 images to create the Frida Kahlo: Her Photos exhibition.

These images reveal a little-known side of the artist and lifelong resident of Coyoacán, a Mexico City suburb and Arlington, Virginia’s sister city. The collection of photographs in this exhibition reflect Kahlo’s tastes and interests, the experiences she shared with those close to her, and her complicated, but also thrilling, personal life. Viewers get an insider’s look, not only through who was behind the camera, in front of the lens or the anonymous nature of some of the work but also through the annotated writing found on the back of many of the photographs.

From family pictures and snapshots taken with lovers, to images that reveal relationships with Russian Marxist revolutionary Leon Trotsky and American photographers Edward Weston, Alfred Stieglitz, artist Georgia O’Keefe and actress Dolores del Rio, this exhibition provides a glimpse into Kahlo as never seen before.

This exhibition was organized by the Frida Kahlo and Diego Rivera Museums. Its worldwide tour is managed by Terra Esplêndida.

Major Sponsor

IGT

Ashley Blalock fuses craft and fine art to create objects and site-specific installations inspired by everyday artifacts from the female domestic sphere. She uses the meditative process of crochet to explore themes of discomfort and coping mechanisms used to provide solace from the stress and trauma of modern life.

Blalock’s site-specific installation, Keeping Up Appearances, consists of vibrant red forms nailed to the wall that are actually giant crochet doilies. Although non-threatening and quaint in a domestic setting, in the gallery and at this scale the forms overtake the viewer and cover the walls.

New York-based artist Emilie Clark creates art installations informed by the history of science and natural history. The latest in series of works focused on the work and lives of Victorian women scientists and naturalists, Sweet Corruptions departs from the work of Ellen H. Richards—a sanitary chemist who studied air, water, and food.

Richards was the first female student and then professor at MIT, and had a profound interest in the relationship between people and their environment. She also brought the word “ecology” into the English language. Clark uses Richards’s work as a structure and guide, treating her own studio like a laboratory.

The work in this project includes the collection and preservation of the artist’s family’s food waste for one year; an interactive Research Station sculpture that includes an audio piece, specimens, a dissecting microscope (for the public’s use) and terraria; a book; and, drawings and paintings.

Sponsors

Maureen Mullarkey and Steve Miller

Stephen Shore’s seminal work Uncommon Places is considered one of the most celebrated and influential collections of photographic work produced in the past 40 years. These images chronicle the artist’s multiple cross-country road trips, exploring the American landscape from 1973-1981. Shore used a wide-format view camera to capture moments that are highly detailed and complex, presenting to the viewer a dense snapshot of the American built environment. Formal concerns such as framing and structure are paramount to his work.

Shore was born in 1947 in New York, and his career began in the mid-1960s, as a frequent visitor and photographic chronicler of the scene at Andy Warhol’s “Factory.” Warhol’s work influenced the young photographer, who began creating his black and white works sequentially and in series, delighting in American culture. The Metropolitan Museum of Art in New York honored Shore with a solo exhibition when he was 23 years old. The same year he began working with color film, attracted to the medium’s ability to record the range and intensity of hues seen in life. Shore, together with William Eggleston, is one of the country’s pioneering color photographers. His works transforms banal scenes of everyday life into fine art.

In celebration of 150 years of statehood, the Nevada Museum of Art honors the “Battle Born” state with a significant exhibition detailing the journey toward October 31, 1864. This special show features historic treasures from our nation’s capital, including a special Nevada Day Weekend presentation of the original Emancipation Proclamation signed by President Abraham Lincoln, on loan from the National Archives in Washington, D.C. The document will be on view for a limited number of hours October 30 through November 2. Also on exhibit are Timothy O’ Sullivan photographs, historical Nevada objects, and statehood documents on loan from important regional museums.

Each of three galleries on the Museum’s second floor houses a unique combination of significant objects telling the story of Nevada’s journey to statehood. Highlights include: the 175-page transcription of Nevada’s State Constitution that was sent from Territorial Governor James Nye to Abraham Lincoln via telegram—the longest telegram at that time which cost nearly $60,000 to send (in today’s dollars); the original copy of the Nevada State Constitution, typically held in storage at the Nevada State Library and Archives in Carson City; never-before-displayed Civil War-era muster rolls of the Nevada Volunteers; artifacts belonging to Nevada’s first governor Henry G. Blasdel and Captain Joseph Stewart, commander of Nevada’s Fort Churchill; as well as the historic Austin Flour Sack used to raise money for the troops during the Civil War.

Two sets of original Timothy O’Sullivan photographs on loan from the Library of Congress in Washington, D.C., bookend the exhibition. Highlights include O’Sullivan’s famous photograph Dead Soldiers on the Battlefield at Gettsysburg from 1863, as well as over 20 Nevada photographs taken by O’Sullivan in 1867 as part of Clarence King’s government-sponsored Geological Exploration of the Fortieth Parallel. This is the first time these historic O’Sullivan images of Nevada have been shown in the state. The exhibition includes items on loan from the Nevada State Museum, the Nevada State Library and Archives, the Nevada Historical Society, the Library of Congress, Washington D.C., and the National Archives, Washington, D.C.

View the original Emancipation Proclamation, on loan from the National Archives, Washington, DC

Thursday, October 30, 2014 / 10 am – 7 pm
Friday, October 31, 2014 / 10 am – 5 pm
Saturday, November 1, 2014 / 10 am – 5 pm
Sunday, November 2, 2014 / 10 am – 5 pm

Exclusive sponsor

E. L. Wiegand Foundation

Media support

KTVN Channel 2 News and KUNR Reno Public Radio

timepaths is a process-based, multi-media installation by Reno-born artist Franklin Evans that investigates the complex paths he’s taken as a contemporary artist. Now living in New York and showing in galleries internationally, Evans first started painting at Stanford University as an undergraduate in 1987. At that time university art programs tended to maintain distinct boundaries between various media. Evans, however, sought a more complex visual language and began to explore the dissolution of distinct media through collaborations with choreographers, writers, and curators. His resulting installations take on the appearance of labyrinthine studio spaces where materials from diverse times and places in his life provide context and are given equal attention.

The installation at the Nevada Museum of Art will consist of multiple intersecting systems of work that Evans has been developing over the past five years. Among them will be photoappropriation, a visual exploration of the artist’s own personal family photographs; curationappropriation, a system that explores the artist’s relationship to the contemporary art gallery system; wallmemoryskin, which specifically refers to past wall installations, and wallnotes and readingnotes that combines the artist’s diaristic excerpts from his journals and audio notes. All of these will be experienced in relation to Evans’ signature tape screens made from painted canvas strips that he refers to as painthallstage.

Sponsors

Ms. Chris Mattsson, Carole Server and Oliver Frankel, Mr. and Mrs. Michael C. Stanley, Wynn Resorts, City of Reno Arts and Culture Commission, and the Nevada Arts Council , a state agency, and the National Endowment for the Arts, a federal agency

Maurice Sendak: 50 Years, 50 Works is a comprehensive memorial exhibition of 50 select artworks by the late author, artist and illustrator Maurice Sendak celebrating the 50th anniversary of the publication Where the Wild Things Are, Sendak’s universally revered children’s book.

Presented by the Nevada Museum of Art Education Department, the exhibition is geared towards children and families and is accompanied by special family events for all ages, storytelling in the galleries, special classes, film screenings, and literacy and writing workshops.

The exhibition includes works in a variety of media and offers a survey of the highlights of Sendak’s career and the diverse art forms in which he was renowned. From children’s literature and Broadway to the opera, animated films and young adult textbooks, Sendak remained an iconic American illustrator and author, acclaimed around the world for his genius and influence on generations of readers and young adults.

This exhibition was organized by Opar, Inc. and AFA, New York. Special thanks to AFA, New York for their support.

Lead sponsors

Edna B. Benna and the Robert Z. Hawkins Foundation

Major sponsors

John H. O. LaGatta, Alexandra LaGatta and John LaGatta II

Sponsors

Leonard and Kristen Remington

Supporting sponsors

Chelsea and Jarrod Dean, Dr. Valerie M. Fridland and Craig S. Denney, Caroline and Jim Kaplan, Janet K. Mello, Fong and J.P. Menante, Susan and Brian Pansky, Paul Baker Prindle and Benjamin Karl, Mary Jayne Rader, Malena and Spencer Raymond, Robin and Steve Welch, and Emily and Joe Wieczorek

Media sponsor

KTVN

This feature exhibition celebrates the iconic landscape paintings of Phyllis Shafer, while also carefully examining her early artistic influences shaped by her time spent in New York and the San Francisco Bay Area. The title of the exhibition, “I only went out for a walk…” is inspired by a phrase written by nineteenth century naturalist and conservationist John Muir, and links to Shafer’s work as a plein air painter who frequently finds inspiration in the Sierra Nevada.

The largest presentation of her work to date, the exhibition will include nearly 100 paintings, gouaches, and drawings dating from the 1980s to present. In addition, visitors will encounter displays Shafer’s working tools such as brushes, paints, sketchbooks, notebooks and unfinished drawings.

A fully-illustrated book documenting Shafer’s work from the 1980s to the present accompanies the exhibition. Interview by Ann M. Wolfe, Senior Curator | Deputy Director, 112 pages, hard cover, $40 per copy. Copies available for purchase in the Museum Store or call 775.398.7206.

Major sponsor

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

Additional sponsors

Mimi Ellis Hogan, The Law Office of Tammy M. Riggs, P.L.L.C., Cheryl Sedestrom, and the Nevada Arts Council, a state agency and the National Endowment for the Arts, a federal agency