The Davis Museum at Wellesley College has a full slate scheduled for the cultural institution’s big Spring 2019 re-opening on Thursday, Feb. 7, 5:30 – 9pm. There are events for everyone from the educated art lover to the casual enjoyer, to families with kids in strollers. Here’s more information on upcoming events.
The museum will showcase special exhibitions through June 10 of artists working in mediums from painting to video to photography. Here’s a little about what to expect from each:
Art_Latin_America: Against the Survey
This exhibit will highlight the Davis Museum’s extensive and diverse collection of Latin American art, formed over the past twenty+ years. The exhibition’s thesis is expansive — on one side Art, from abstract paintings to political posters and photojournalism; on the other America, understood broadly and accurately, as geography demands.
Please note: Tickets are required for entry to this special exhibition. General admission, $20; Wellesley College alumnae, $12. Free entry for all students with I.D., Wellesley College faculty and staff, Friends of Art members, and Durant Society members.
If you want to see the exhibit for free, make sure you get over to the Davis on Feb. 7, 5:30 – 9pm for their big re-opening celebration. After that, you have to pay to see Against the Survey. The rest of the museum is open free of charge during regular museum hours.
This installation will feature video work from the past decade by three leading Latin American artists, all of whom refer metaphorically to those who have vanished because of state crimes and political violence.
Yinka Shonibare explores the inheritances of colonialism in our contemporary, globalized world. Best known for using wax print cloth to represent historic cultural and economic interdependence, Shonibare also has long plumbed a rich palette of other media and symbols—including firearms.
Bread and Roses
In 1957, in the midst of the Cold War-era crackdown on the Communist Party and other “Un-American” activities, the optometrist, social activist, and self-taught photographer Milton Rogovin was labeled the “Top Red in Buffalo.” Ostracized and silenced by his local community, Rogovin, together with his wife Anne Rogovin, turned to photography as a means of continuing his commitment to social equity, a commitment echoed by the political slogan, “Bread and Roses.”