Exhibitions Archive

Elisabeth Frink: Mountain Hawks and Other Creatures

January 21, 2019 to May 24, 2019
Dubois Gallery, Maginnes Hall, 2nd & 3rd floors

Prints from the LUAG permanent collection

 “I was brought up in the War, and I think I used birds as a vehicle for all sorts of aggressive forms… They became like bits of shrapnel and flying things, you know, with very sharp beaks” — Elisabeth Frink

Dame Elisabeth Frink (1930-1993) was not quite nine years old when World War II shattered the calm of her English countryside home.  Raised near a military airfield in Suffolk, she experienced horses and birds of prey side-by-side with crashing airplanes and machine gun fire.  Frink was part of a generation of sculptors drawn to pitted metal surfaces and spiky, alienated forms that became signifiers of post-war anxiety.  The critic Herbert Read dubbed them “The Geometry of Fear” for their powerful apocalyptic effects.  From her earliest days at the Chelsea School of Art, London, Frink also made prints like the ones in this exhibition.  Starting in the mid-1960s, her tone begins to shift away from the chaos of her earlier work.  Using a more naturalistic hand, Frink expresses her deepening concern for the relationship between human beings and the natural world.      

Frink is best known as a sculptor of outdoor bronzes.  Two of her monumental commissions include Eagle, installed at the JFK memorial in Dallas, Texas; and Risen Christ, for Liverpool Cathedral. 

Robert Doisneau: Paris After the War

January 21, 2019 to May 24, 2019
Dubois Gallery, Maginnes Hall, 4th floor

Selections from the LUAG permanent collection

“They always say that the photographer is a hunter of images.  Really, we are fishermen with hooks and lines.”—Robert Doisneau

Considered one of France’s great 20th century photographers, Robert Doisneau (1922-1994) created an archive of 450,000 original negatives by the time of his death.  Alongside other noteworthies like Brassaï and Édouard Boubat, Doisneau illuminated the humanity of Parisians struggling to resume everyday life in the aftermath of World War II.  Although he began taking pictures at the age of sixteen, Doisneau’s natural shyness led him to prefer shooting objects instead of people.  Eventually, he would turn this to his advantage, using the invisibility of the photographer to uncover the poetry of the streets, which would become his lifelong subject.  Through surreal and humorous juxtapositions, Doisneau revealed the warmth of city life all around him.  As World War II threw Paris into disarray, Doisneau was drafted into the Resistance as a soldier and a photographer, capturing the occupation and liberation of Paris.  Perhaps his most famous picture, Le Baiser de l’Hôtel de Ville (The Kiss by the Hôtel de Ville), 1950—included in the current exhibition—distilled the romance of the city in the post-war era.  His freelance photography appeared in the pages of Life and Vogue, and his work continues to be shown and celebrated today internationally.

Peter Turnley: The Compassionate Lens

August 27, 2018 to December 7, 2018
Dubois Gallery, Maginnes Hall 9 W Packer Ave Bethlehem PA 18015

If it happened in the last thirty years, photojournalist Peter Turnley was there. Documenting international events including Apartheid, Kosovo, Ground Zero, and the Arab Spring among others – Turnley’s work has appeared in the pages of Harper’s, LIFE, National Geographic, The London Sunday Times, Le Monde, New Yorker, DoubleTake, and on the cover of Newsweek over forty-three times. His photographs often draw attention to the struggles of marginalized and oppressed populations, including the ongoing refugee crisis. At the same time, he uses his lens to uplift moments of beauty, justice, and inspiration. His noteworthy subjects have included Indira Gandhi, Barack Obama, Fidel Castro, Ronald and Nancy Reagan, Nelson Mandela, Princess Diana, Yasser Arafat and many more.

Peter Berg: Labyrinths

August 27, 2018 to December 7, 2018
Siegel Gallery, Iacocca Hall 111 Research Drive Bethlehem PA 18015

Peter Berg (1948-1997) was known for sculptural installations that moved in and out of existing architecture with discreet presence. Fabricated from standard building materials, Berg’s constructions of wood, sheetrock, spackle, and paint often merged with their surroundings, sprouting walls, plinths, maze-like passageways, and rooms with no obvious entry points. His minimalist and geometric interventions invited viewers to experience their own shifting perception of space and human scale. Drawings were an important part of Berg’s practice. In this exhibition, Berg’s monumental abstract drawings suggest ideas of imaginary space expanding and contracting beyond physical limitations. Berg said, “[Drawings] are my memories, my unrealized pieces. They are the vehicle to the final building process, and they are the memory of having built it.”

The Future is Female: Prints by Women Artists

August 27, 2018 to May 24, 2019
The Gallery at Rauch Business Center 621 Taylor Street Bethlehem PA 18015

The Future is Female but so is the past. With or without the visibility they deserve, women have engaged the art of printmaking from its beginning. Technically sophisticated and physically demanding, the art of producing multiple images (impressions) from a single plate (a matrix) takes many forms, including etching, engraving, lithography, woodcut, and silkscreen. The second half of the 20th century witnessed an explosion of interest in the medium’s creative potential. Today many artists embrace printmaking for its ability to create editions consisting of multiple prints of the same image, each with the integrity of an original work of art. This exhibition highlights contemporary women artists in the LUAG Teaching Museum permanent collection, including Faith Ringgold, Janet Fish, Maud Morgan, Matsubara Naoko, Françoise Gilot, Nancy Spero, Marisol Escobar, Bridget Riley, Carmen Herrera, Belkis Ayón, and Käthe Kollwitz.

Pedro Meyer: Truth from Fiction

July 2, 2018 to May 24, 2019
Fairchild-Martindale Study Gallery 8A W. Packer Ave Bethlehem PA 18015

Pablo Picasso famously declared: “Art is a lie that tells the truth.” Surely, the art of photography – with its mechanically unbiased reproduction of the frozen moment – can’t lie. Or can it? Mexican photographer Pedro Meyer (b. 1935), a pioneer in the digital revolution of contemporary photography, insists that all photographs – manipulated or not – are equally true and untrue. Meyer  argues that digital manipulation continues the tradition of so-called “straight photography” in which unwanted details are cropped out, or the photographer directs the scene from behind the camera, asking his subject to step out of the shadows into better light. In addition, Meyer contends that unseen elements like memory or emotion present themselves with a physical reality equal to visible objects. In his photographs, these elements often appear with a clarify that connects his work to the tradition of Magical Realism.