威尼斯人赌场
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2006年展览
来自剧院和茶馆：日本木刻版画中的演员和妓女
Dec. 1, 2006 – Jan. 28, 2007
The “pleasure quarters” of Japanese cities provided a wealth of subject matter for woodblock designers of the nineteenth century. In Edo (Tokyo) the Yoshiwara, like Osaka’s Shinmachi, and Kyoto’s Shimabara, was a licensed pleasure district. At its peak, the Yoshiwara contained some 3000 courtesans of varying grades in almost 200 “houses” where they lived and worked. Actors and other entertainers also helped form the culture of this “floating world” (ukiyo-e) depicted in woodblock prints.
吉原寺占地约20英亩，周围有护城河，只有一扇门。 街道上种满了樱花树和柳树（柳树在中国是卖淫的象征）。 它对任何有钱的人开放，是日本社会中少数几个阶层可以融合的地方之一。 艺伎是指经过多年训练成为熟练艺人的女性，她们在私人聚会或茶馆表演。 在歌舞伎剧场演出的著名演员也经常光顾吉原剧院，在歌舞伎剧场中，男性扮演男性和女性角色。 This exhibition presents a selection of prints inspired by the “floating world.”
Thursday, November 30
5 – 6 p.m. – Members’ Preview for Friends of the University of Saint Joseph Art Gallery
6- 7:30 p.m. – Opening Reception
卡罗尔·克里格·戴维森：《绘画选集》和《阿拉伯》，一个不朽的雕塑
2006年9月16日- 11月19日
Carol Kreeger Davidson, who was the subject of a national touring retrospective in 2002-2003, has been hailed by art historian and critic Donald Kuspit as accomplishing “the convincing reconciliation of abstraction and empathy, that is, of inorganic geometry and organic nature.”
Her sculpture, 阿拉伯半岛, will be installed on campus between Lynch Hall and The Bruyette Athenaeum and will be on view through summer 2009. This sculpture was inspired by the artist’s reflections on Islamic art and culture. Created in 2005, it responds to her experience of living in Sabah, East Malaysia during the late 1960’s as a participant in the Peace Corps, as well as to today’s world conflicts that reveal increasing religious and cultural animosities. The abstract forms of 阿拉伯半岛 create a contemplative architectural space in which one views through calligraphically patterned openings the artist’s evocation of peaceful enclosed gardens. 除了户外雕塑外，艺术画廊还将举办“绘画精选”展览，展览将持续到11月19日。
September 15, 2006
5 – 6 p.m. – Members’ Preview with the artist
6 – 7:30 p.m. – Opening Reception
《天命：理查德·亚德的新作
2006年4月7日- 6月4日
《天命：理查德·亚德的新作 展示了一位被誉为20世纪美国最伟大的水彩画画家之一的艺术家的新作品。 These works explore themes of fate, chance, and transformation, and mark the artist’s return to bright color from his largely monochromatic work of recent years.
Yarde’s dreams and his knowledge of visual traditions from a wide range of cultures supply him with potent images that serve as a springboard for his watercolors. Works featured in this exhibition reference childhood games and African-American folktales, as in 象征的猴子, whose inspiration is a classic trickster figure from folklore. Kismet # 2, 该剧的名字来源于桌游《蛇梯棋》，最初是一种印度教道德游戏，其中梯子代表美德，将玩家提升到涅槃，而蛇（或罪恶）则使玩家远离涅槃。
Yarde’s new watercolors trace their beginnings to 魔力的手, the break-through watercolors he created following a life threatening illness in 1991. Monumental in scale, they combine images of the body’s interior with coded language consisting of dot patterns in intimate self-portraits that address universal themes of spirituality, healing, and the human condition. “My interior world grew very large,” he explains; “I was forced to confront my vulnerability — my dependence on other people and on my spiritual resources.”
理查德·亚德出生于波士顿，以优异成绩获得波士顿大学文学学士和文学硕士学位。 他是马萨诸塞大学阿默斯特分校的美术教授，曾获得联邦美术奖（2002年）和美国艺术与文学学院艺术学院奖（1995年）。
In addition to major solo exhibitions, including 有远见的躯体 (National Academy of Sciences, 2005-6) and Ringshout (Worcester 艺术博物馆, 2003), Yarde’s work has been seen in many important group shows, among them 脉冲：艺术，治疗和转变 (Institute of Contemporary Art, Boston, 2003) and 定位精神：非裔美国人艺术中的宗教与灵性 (Anacostia Museum, Smithsonian Institution, Washington, DC, 1999). 他的作品被许多主要博物馆永久收藏，包括纽约大都会艺术博物馆、波士顿美术博物馆和休斯顿美术博物馆。
《天命：理查德·亚德的新作 is supported in part by the Karen L. Chase ’97 Fund.