April 19- June 21

Visual Language: Mystery and Meaning, work by Thekla Hammond, Cheryl Calleri, and Christel Dillbohner, April 19 - June 21

Opening Day Events: Artisit Discussion, Sunday, April 19, 2:00PM, with a reception to follow on the patio.

This exhibition serves as an invitation to explore the mystery and meaning of the visual image and to participate in a dialogue about visual language. Cheryl Calleri, Christel Dillbohner, and Thekla Hammond, artists who work in varied media and create individual imagery, will exhibit three different bodies of work in the Museum and will pose questions to the viewer to initiate the process of uncovering meaning. 

Calleri explores the grandeur of neural structures and pathways as energy in the dark, transparent paintings with textured surfaces. In daily excercise, Dillbohner burned marks and incised lines into layers of wax, brooding and reflecting on the progress of war. Hammond depicts a sense of yearning for connection in her paintings that are displayed in pairss and contain symbols from historical periods or cultures.

A computer will be provided in the exhibition where guests can particpate in a conversation with the artists via their blog (http://visuallanguage2015.wordpress.com). Additionally, guests are invited to write their reactions on a designated walland include them as part of the exhibition. The recorded dialogue between audience and artist will complete the artistic process. The articulation of the viewer's responses to the art and the artists' answers will live as a record of visual language. 

SMC Museum of Art's Andy Warhol Collection, April 19 - June 14

The Saint Mary's College Museum of Art is pleased to exhibit a recent gift of seven screenprints from the Andy Warhol Foundation for the Visual Arts. The screenprints, donated in 2013, include Sitting Bull from the Cowboys and Indians series, the much-loved Pig with a Fiesta ware-inspired color wheel, Hans Christian Andersen, from Warhol's favorite writers series, with an accompanying illustration for an Andersen fairy tale, and still lifes. The seven new "out of edition" screenprints reflect Warhol's process. These are his preliminary prints, allowing the artist to experiment with inks, paint, color, and paper, before beginning numbered editions. Although preliminary prints are generally not numbered or signed, one of the still lifes is hand-signed and hand-colored by Warhol. 

Also on display are Andy Warhol polaroid prints, given to the Saint Mary's College Museum of Art through a competitive grant process in 2008 via the Foundation's Andy Warhol Photographic Legacy Program. The photographs dated between 1976 and 1986, included images of Dolly Parton, Gianni Versace, R.C. Gorman, Antonio Lopez, Denise Hale, Yves Saint Laurent, Ron Reagen, Jr., Steve Rubell, Keneth Jay Lane, other celebrities and fashionistas, Central Park views, bridges, catwalks, nude figures, and still lifes. 

River Passages: New Works by Danae Mattes, May 24 - September 6

Bay Area Artist Danae Mattes creates abstract, mixed media wall and floor objects using clay, paper, and pigment, activiated by water, which symbolically flows through all aspects of her life and art. In a 2013 essay titled "River Diary" she explains, "When standing at a river's edge, the physical beauty of the riverscape surronds and inspires, yet even more so, the 'event' of a river (which includes my participation) is a fullness of experience that, as with other excursions through the landscape, later translates into my work."

The Darker Side of William Keith: Late Paintings, April 19 - September 6

While in Munich in the late 1880's, Keith's landscape paintings began to evolve. He became influenced by the Munich school and the stimmungslandschaft or "mood landscapes," and his paintings became more somber and subjective. The temperament of his paintings also was influenced by his relationship with Rev. Joseph Worcester, minister of the Swedenborgian Church in San Francisco, his friend and spiritual advisor. Art Historian Alfred Harrison states, "Worcester helped Keith find a new aesthetic in his later, more subjective exploration of spiritual values underlying natural appearences." Keith's post-Munich style was no longer aimed at geographical accuracy. He became an interpreter of nature's spiritual values and not a cataloguer of scientific facts. With this shift, he recieved criticism from his great friend, John Muir, who was a strong proponent of Keith's early works, with their scientific accuracy and realistic depiction of the mountains, flora, and fauna. In addition to the somber moods embodied in Keith's late landscapes, he also began using tinted varnishes or "glazes" on his paintings, as well as turpentine and linseed oil to darken the surface, giving a "patina of age in emulation of the old masters."

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