威尼斯人赌场
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2009年展览
Edmund Blampied（1886-1966）版画大师
Sept. 25 – Dec. 20, 2009
One of the best-known artists to hail from Britain’s Channel Islands, Blampied achieved renown as a printmaker in the 1920s. 他小时候住在泽西岛的农村，自学绘画，这为他的一生提供了灵感和题材。 Having gained attention for his cartoon drawings of local worthies, Blampied was able to attend London’s Lambeth School of Art, following which he secured full-time employment as a newspaper illustrator.
虽然插图仍然是他职业生涯的重要组成部分，但他今天最出名的是独立的蚀刻画、干点画和平版画。 1910年左右，布兰皮德在夜校学习蚀刻。 仅仅几年后，他也掌握了干点技术，并被伦敦的莱斯特画廊聘用，该画廊计划出版他的版画（1919年，在第一次世界大战造成的延误之后）。 Blampied’s work was prized by collectors and widely praised by critics throughout the 1920s, but as the boom in print collecting faded in the 1930s, he increasingly painted in oil and watercolor and eventually returned to Jersey.
Blampied’s early subjects – the farm workers, the seaweed collectors (“vraikers”), the townspeople of Jersey – were his lifelong inspiration. The island’s old-fashioned way of life held great interest for this artist who so admired Daumier and Rembrandt. Blampied wrote that “the human quality in art has always appealed to me…I have always sympathized most strongly with the human’s effort for existence, his tragic mistakes, his humour…” Blampied’s work embodies not only a deep sympathy for the laborer, but a sharp eye for human foibles as well. The exhibition, drawn entirely from the collections of the University of Saint Joseph 艺术博物馆, featured many of Edmund Blampied’s most famous drypoints and etchings as well as drawings and a painting.
Opening Reception: Thursday, September 24, 6 – 7:30 p.m.
Members’ Preview: 5 – 6 p.m. – featuring a brief museum talk by 艺术博物馆 Director Ann H. Sievers
宁静的牧场：20世纪早期艺术家对美国农业的看法
July 7 – Sept. 6
客座策展人：卡拉·奥克莱，实习生，圣约瑟夫大学艺术博物馆
20世纪初，美国文化发生了巨大的变化。 曾经是美国特色的乡村生活方式正被繁华城市的发展、经济萧条和战争的艰辛所席卷。 在这种新的混乱的存在中，许多艺术家选择描绘一个仍然像家一样的美国。 农民简单而富有成效的生活方式对突然变得繁忙的城市社会很有吸引力，田园风光之美也引起了许多美国艺术家的兴趣。
本次展览重点展示了尤金·希金斯、米尔顿·艾弗里和托马斯·威洛比·纳森等艺术家的作品，他们都捕捉到了美国农村的特点。 Many pieces like Nason’s wood engravings depict the tranquil beauty of New England farms, in contrast to pieces by Higgins and John Edward Costigan, who illustrate the toil of farm work. 本次展览中的每件艺术品都以独特的视角展现了美国农业，但它们都有着同样熟悉的田园环境的宁静。 “和平牧场”是一个通过20世纪早期艺术家的眼睛展示美国乡村之美的作品展览。
被光击中：艾伦·凯里摄影回顾展
April 3 – June 21
This exhibition was the first comprehensive examination of Ellen Carey’s photograms, many of which were on view for the first time. Long renowned for her abstract Polaroid “Pulls,” the artist has created concurrently a stunning body of work using one of photography’s earliest processes, the photogram. 通过这种从直接放在感光纸上的物体上获得阴影图像的传统技术，凯里获得了引人注目的抽象，这些抽象在色彩和光线的概念方法上完全是当代的。 展览中最近的作品以手持笔灯的发光轨迹为特色，将她创新的彩色摄影技术转化为对宝丽来材料的新颖使用。
开幕酒会：4月2日下午6点至8点。
好如黄金：托马斯·纳斯特眼中的19世纪金融争议
Jan. 13 – March 15, 2009
著名政治漫画家托马斯·纳斯特对19世纪末美国社会面临的一系列金融问题发表了看法。 His trenchant visual commentaries in the pages of Harper’s Weekly helped shape opinion in an age that faced many issues similar to those of today. Monetary policy, taxation, inflation, and tensions between trade unions and business owners were among Nast’s most frequent topics in the 1870s, when he was at the height of his powers.
Nast’s arsenal consisted of his extraordinary skill as a draughtsman combined with a clever and biting use of puns and symbols both borrowed and invented. The Bible, Shakespeare, and Aesop’s Fables provided inspiration, as did popular songs and current colloquial expressions. In the course of his career at Harper’s Weekly, Nast codified the use of the Elephant and the Donkey to represent the Republican and Democratic Parties and employed the traditional personifications of the United States, Lady Liberty and Uncle Sam, to bold effect in witty and powerfully persuasive images.
本次展览的所有作品均来自朱迪思和诺曼·兹洛茨基赠送给圣约瑟夫大学艺术博物馆的礼物。
与新年相关的庆祝活动“金、银、美钞”将于29日（星期四）下午6点至8点30分举行。 本次活动鼓励创意服装，将提供优雅的食品和饮料，音乐，门奖和寻宝活动（咨询电话：860.231.5367）。