Untitled
EISENTRAGER•HOWARD GALLERY, THROUGH APR 21
More MFA Thesis Exhibitions
Ceramists Richard W. Schwartz and Kari E. Radasch will present their MFA Thesis Exhibitions April 14-21 at the Eisentrager&38226;Howard Gallery in Richards Hall. An opening reception will take place this Friday from 6-8pm.
Gallery hours are Monday-Wednesday and Saturday, from noon to 5pm; and Thursday from noon-7pm.
http://www.unl.edu/finearts/
€€
15 RICHARDS HALL, 7:30PM
Archaeological Institute of America, Public Lecture
The Lincoln/Omaha Society of the Archaeological Institute of America presents its seventh and final presentation of the 2002-03 season tonight at 7:30pm in Room 15 of Richards Hall. Dr. Cemal Pulak, research scientist and professor at the Institute of Nautical Archaeology at Texas A&M University, will present an illustrated account of the discovery and investigation of one of the most important underwater archaeological discoveries in the Mediterranean Sea.
The excavation of a Late Bronze Age (ca 1300 B.C.) shipwreck at Uluburun, in southern Turkey, revealed a rich and diverse cargo of raw materials and manufactured goods. The ship's cargo, perhaps a royal one, comprises one of the largest and wealthiest assemblages of trade goods ever found in the Mediterranean Sea.
Dr. Pulak holds the Frederick R. Mayer Fellowship in Nautical Archaeology.He is also the Vice-President for the Institute of Nautical Archaeology (INA) in Turkey. Dr. Pulak specializes in Bronze Age seafaring, maritime trade, and technology, and is currently involved with the research and publication of his latest shipwreck excavation, the Late Bronze Age shipwreck at Uluburn, Turkey. Dr. Pulak has directed the excavation of three shipwreck sites, ranging in date from the Late Bronze Age through the 16th century A.D., and participated in the excavation and underwater investigation of many other shipwrecks.
The lecture is free and open to the public.
€€€
538 OLDFATHER, NOON
Human Rights Human Diversity Lecture - 'Exit and Gender'
Chandrank Kukathas, Australian Defence Force Academy
€€
110 OTHMER, 3:30PM
Engineering Mechanics Seminar - 'Shape-memory Alloys: From Microstructure to Macroscopic Properties'
Kaushik Bhattacharya, California Institute of Technology
€€
103 BURNETT, 3:30PM
Psychology Lecture - 'A Psychologist on the Rio Sarapiqui'
Daniel Leger, UNL
€€
NEBRASKA UNION, 6PM
'How a Puppet Saved Mexico from the French: A Study in Mexican National Identity'
William H. Beezley, professor of history at the University of Arizona
€€
Flute Day Concert
date: 4/14/2003
time: 7:30pm
location: Kimball Recital Hall
host: Fine and Perf Arts
contact: Michael Edholm; (402) 472-6865
€€
SHELDON GALLERY, THROUGH AUG 10
Looking at the Big Picture
The Sheldon Memorial Art Gallery at UNL opened a new exhibition on April 12,
Big Canvas: Paintings from the Permanent Collection, featuring historically large paintings intended to communicate 'public' virtues.
In the mid-1950s, art critic Eugene Goosen wrote an essay exploring this revisited phenomenon in the U.S. art world: the prevalence of large paintings, paintings that were not only too big for most collectors to hang in their living rooms, but almost too big for the tight commercial gallery spaces in which they were originally displayed. Goosen saw this as an extremely important development, for painting since the 19th century had been intended for the bourgeois living space.
Big Canvas, which will run through Aug. 10, puts Goosen's questions, asked 50 years earlier, to approximately 25 of the Sheldon's largest paintings. Such 'big canvases' as Mark Rothko's
Yellow Band (1956), Richard Diebenkorn's
Ocean Park No. 89.5 (1975), Helen Frankenthaler's
Red Frame (1964), Carol Haerer's
Untitled (Free Fall) (1967) and Michael Goldberg's gigantic
The Boys Institute (1994) reveal the importance of size to evoke aesthetic power and the sublime, as well as declare the importance of the painting's meaning, whatever it might be.
"
Big Canvas focuses special attention on an important but sometimes overlooked aspect of art's impact: its size," Sheldon curator Daniel Siedell said. "From the 1950s to the present, artists have been interested in making 'big' aesthetic statements, and they have chosen to communicate those 'big' statements through very large canvases. The size of these works is an important part, then, of the work's meaning."
Despite the diversity of meanings these paintings express,
Big Canvas reveals how artists relied on the physical presence and viewers' gut reactions as an important participant in the meaning of these works. In addition, this exhibition will be an opportunity to see paintings not on display in recent years.
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