EN MEDIO | Senses of Migrations
July 9th, 2021 – January 15th, 2022
This exhibit was sponsored by the following:
This exhibit was sponsored by the following:
January – September, 2020
Shane Pickett was an aboriginal artist born in 1957 in the farming town of Quairading, about 100 miles east of Perth, Western Australia. Since the mid-19th century these lands have been stripped and cleared by invaders and renamed the Wheatbelt. In result, the region became central to agriculture in the southwest, leaving little trace of the pre-colonial topography that had long sustained the Nyoongar people. Despite all this, Pickett grew up in a unique Nyoongar environment.
Surrounded by athletic siblings but suffering from rheumatoid arthritis, Pickett gravitated to art from an early age. In 1988 he reminisced, "I can’t recall a time I didn't have a pencil or brush in my hand." It was in the final five years of his life that Pickett broke from the studied realism of his youth, toward an expressive form of gestural abstraction. This exhibition serves not as a survey of Pickett's three-decade long career, but rather, a glimpse of the most significant period of his career where he reached the peak of his abstraction.
October – December, 2019
Nolan Preece has been a photographer for over 40 years and has devoted his work to understanding and mastering early photographic techniques, as well as new processes such as the chemigram (1980) and experimental processes he discovered in the late 1970s using cliché-verre. His materials include platinum, silver gelatin, cibachrome and digital prints. His work is a part of several collections including the Nevada Museum of Art, Logan, Utah and the Utah Museum of Fine Arts, Salt Lake City, Utah.
Nolan uses the cliché-verre technique by smoking the surface of the glass plate with a kerosene lamp. He further continued his experimentation by seeing what would happen if he dripped mineral spirits onto the smoke, a process that creates a chemigram, which, in result, creates beautiful images.
The work presented in this exhibition was curated and hand-picked by the former director of The Lilley, Paul Baker Prindle and together serves as a retrospective of Nolan's work from 1979 to the present (2019) and showcases his journey working with chemistry.
June – September, 2019
Born in 1720 in the Republic of Venice, Giovanni Battista Piranesi originally trained as an architect and draftsman. He began training as an etcher with Giuseppe Vasi in Rome around 1740. By 1747, the body of work included in this exhibition had begun and was worked on for roughly 30 years until his death in 1778. During the creation of this work Piranesi quickly developed a bold style and became known for his dynamic compositions, high contrast and drama. He was believed to have created 135 etchings in total by hand.
Overtime as the copper plates aged, they were put through a process to be re-bit, which is a process involving placing the plates into an acid bath which deepened each line, allowing for more ink to sit within the marks. A newly re-bit plate resulted in a darker heavier print. Piranesi would also add cross hatching and other marks to his compositions thereby adding to the complexity, drama and high contrast between dark and light areas. Later in his career, Piranesi also purchased his own printing press in which its mechanisms produced heavier looking prints as well.
The figures present in the compositions are the everyday people and visitors in contemporary Rome. Many of them are up to no good. Through close observation, viewers may notice figures relieving themselves on ruins, drinking intoxicants and engaging in other types of vagrancy. Piranesi's interest in the sublime is depicted through contrasts of scale between buildings and figures, the range of the figures' activities, in the pulsating skies and the natural overgrowth overwhelming the manmade structures depicted. In result, Piranesi was largely responsible for creating an idea of Rome that inspired scores of later Romantic-era artists.
The Lilley is extremely grateful to the University of Nevada, Reno Special Collections for gifting these prints to our permanent collection. Also, through the generosity of Hon. Frankie Sue Del Papa and support from the City of Reno Arts and Culture Commission, College of Liberal Arts, School of the Arts, Department of Art, Associated Students of the University of Nevada, Reno and the Graduate Student Association, for the first time in over 30 years these works have had the opportunity to be seen together once again.
April – May, 2019
See Her, both an exhibition title and a body of work, encouraged viewers to increase and expand their ability to see and acknowledge indigenous women who have contributed to the artistic history of this land. A history that has been undervalued and remains taught from the perspective of European and Euro-American males, which, in turn, reflects the hierarchies made possible through processes of colonization of land and people. This work also aims to emphasize the need for proactive engagement and behavior that will help us prioritize recognition, respect and value for all people.
Hawk's work incorporates these histories through her use of materials, techniques, symbolism and motifs to promote dialogue and to critique the value systems and hierarchies made possible through capitalism and colonization upon, people, land materials and resources. She references artistic legacies that originated in this land that are still practiced by native women and men as well - such as porcupine quillwork, beadwork, weaving and basketry that are painted on top of materials, motifs and techniques common to modern abstraction.
Hawk reflects her own experiences and draws connections with the world around her. Through her passion for beadwork and quillwork, her practice critically examines North American art history and the broader history of this continent, being particularly interested in how we as people create value systems, how and why we bond to them and how we go about evaluating and evolving our guiding values. See Her aims to assist viewers to think about our collective mother. To see the resilience of the women in their lives. To see our own family history and labor in order to realize our likeness. To realize that we are all equal and capable to see others and practice compassion.
January – March, 2019
Being the initial exhibition for the grand opening of The John and Geraldine Lilley Museum of Art at the University of Nevada, Reno, this exhibition challenges the authority of these exhibitions spaces, as well as the purpose of institutional collection and display practices, while simultaneously poking fun at them.
Several aspects of the exhibition space have been disrupted and is full of questions. From oddly placed text hidden behind the objects, hidden in darkness and even placed on the floor. To a heap of boxes of files, paperwork and documents that imagine the fictional world of a curator's space as they collect and dig through information and historical documents, working to find and preserve ideas.
Why do we care about tangible artifacts more than products of the imagination? What does it mean to investigate the ephemeral? How can we trust the authority of language, and who speaks on behalf of whom? In the attempt to restructure historical narratives in a museum, what gets lost? Terma invites viewers to reconsider preconceived notions of what a museum or gallery space is and what it can be. To imagine a world where objects speak with us and one another, where stories are hidden in the shadows and in our imagination, rather than through ordinary label text.