威尼斯人赌场
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2011年展览
意大利贝拉
9月9日至12月18日
五个多世纪以来，游客们一直在意大利半岛寻找考古遗迹、建筑和艺术珍品以及自然奇观。 早在这一地区的各个州统一为现代的意大利国家之前，学者、朝圣者、艺术家和游客就前往罗马、威尼斯、佛罗伦萨和其他城市的古代和现代著名古迹，以绘画或版画的形式带回他们访问的记录。 早在16世纪和17世纪，雕刻和蚀刻就已经出现了活跃的贸易，到18世纪，vedute（风景画或版画）的传统已经确立。
This exhibition begins with examples of the fully-developed genre, including a panoramic city view and so-called “optical” prints, which were meant to be viewed through an apparatus designed to increase the illusion of depth. 乔瓦尼·巴蒂斯塔·皮拉内西（Giovanni Battista Piranesi）的蚀刻版画代表了这一时期罗马电影技术和艺术的最高点。
19世纪美国前爱国者詹姆斯·麦克尼尔·惠斯勒（James McNeill Whistler）的威尼斯蚀刻版画体现了他更大气、更纯粹的美学方法。 They were highly influential on later printmakers, who adopted many of Whistler’s compositional strategies as well as his experimental approach to etching.
这次展览完全来自圣约瑟夫大学艺术博物馆的永久收藏，是对一个迷人的艺术流派和一些最有成就的大师的介绍。 这也是对已故的约翰（杰克）克罗克特（John (Jack) Crockett）的致敬，他是艺术博物馆的慷慨朋友和捐赠者，曾与美国国务院一起在意大利任职。
收藏亮点
June 3 – August 28
The University of Saint Joseph 艺术博物馆’s summer installation of the permanent collection features paintings and works of art on paper by American and European artists from the 19th to the 21st century. 除了从绘画收藏的亮点，几个分组侧重于特定的主题。 其中一家画廊以美国和欧洲的抽象版画为特色，包括Joan Miró、Duilio barnab<s:1>、Robert Motherwell、Sam Gilliam和Sol LeWitt的作品。 艺术博物馆实习生Scott Nikola选择了从肯·拉特纳（Ken Ratner）的收藏中借来的约翰·斯隆（John Sloan）和特丽莎·伯恩斯坦（Theresa Bernstein）的城市景观作品。 In another thematic grouping, several author portraits by James Britton, including woodcuts of Edgar Allen Poe, Mark Twain, and Walt Whitman, are being shown with prints by Thomas Hart Benton and Robert Lawson depicting subjects from Poe’s 鄂榭家族的覆灭 and Twain’s 《哈克贝利·费恩历险记》.
波斯视野：来自伊朗的当代摄影
3月24日至5月22日
An exhibition of 58 works of photography and video installation by 20 of Iran’s most celebrated photographers. 它收集了当代伊朗的个人观点，通过个人的情感过滤，同时解决了公众的担忧。
Anti-Irish and Anti-Catholic Cartoons by Thomas Nast an Exhibition of Nineteenth-Century Political Cartoons from Harper’s Weekly
2011年1月14日至3月13日
Thomas Nast, who has been called “the father of American political cartoons,” was arguably the most influential cartoonist of his day. He is credited not only with creating or popularizing some of our most enduring symbols (the Republican Elephant, Santa Claus), but also with bringing down the corrupt Tammany Hall administration of William M. (“Boss”) Tweed. As a man of his day, however, Nast harbored a number of prejudices which found expression in his work for Harper’s Weekly. 其中突出的是强烈的反天主教和反爱尔兰情绪，这成为他19世纪70年代漫画的一个特别焦点。
Himself an immigrant from Germany, Nast often expressed sympathy with those seeking equality as American citizens — recently-freed African-American slaves, Native Americans, and Chinese immigrants. 然而，他对爱尔兰天主教徒的无情谴责与他更为进步的观点形成鲜明对比。 Through analysis of selected cartoons from Harper’s Weekly, this exhibition examines the political and cultural sources of Nast’s prejudice, identifies the strategies and stereotypes he employed, and reveals some enduring methods for demonizing “the other” that are as common in our own day as in Thomas Nast’s.
《说明偏见》中的所有作品都来自朱迪思和诺曼·兹洛茨基2006年赠送给圣约瑟夫大学艺术博物馆的礼物。
大约1910年：纽约的移民生活
2011年1月14日至3月13日
A selection of works from the Collection of Ken Ratner, including works by John Sloan, Jerome Myers, and others, this installation presents these early twentieth-century artists’ decidedly sympathetic depiction of immigrant life on New York’s lower East Side.