Exhibition Catalogues

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A collection of the exhibition catalogues.

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Now showing 1 - 20 of 64

17th and 18th century paintings and drawings
(Oakland University, 1998)
Catalog of an exhibition held at the the Meadow Brook Art Gallery in 1998 or 1999. Cover title reads "The Tadeusz and Helen Malinski Collection." The collection shown at the exhibition was courtesy of Dr. Tadeusz Malinski, a professor in the Department of Chemistry at Oakland University.
Appliance | Nolan Simon
(Oakland University, 2004-10-16)
Excerpt from essay/interview: Simon's work encompasses the practical life of operating, of driving, of using electrical devices, of being surrounded by sprayed, machined finishes and of the faceless facades of machines that evoke nothing but efficiency and ease. The eclectic epistemology of these works fuses the Minimalist aesthetics of artists like Donald Judd, the factory ethos of contemporary design and the anodyne whiteness of Formica.
Art in architecture, January 23-March 13, 1977
(Oakland University, 1977)
Catalog of an exhibition held at the Meadow Brook Art Gallery January 23 - March 13, 1977. Includes essays and transcript of a panel discussion and slide presentation held during the exhibition. Includes catalog of the exhibition.
Between matter and spirit : Russian icon painting : [exhibition] Meadow Brook Art Gallery January 10 - February 9, 2003
(Oakland University, 2003) Machmut-Jhashi, Tamara; Kotlyarov, Eduard V.; Gross, Corey
Catalog of an exhibition at the Meadow Brook Art Gallery January 10 - February 9, 2003. Includes essays titled "The Making of an Icon," "Between Matter and Spirit: Russian Icon Paining," and "Russian Samovars." Icons and samovars from the Eduard and Juana Kotlyarov collection. Includes bibliographical references.
Borders and Frontiers: Collage and Appropriation in the Contemporary Image
(Oakland University, 2011-03-05) Goody, Dick; Lashbrook, Debra
Excerpt from essay by Dick Goody: It is paradoxical in the context of the lushness of this exhibition that the above statement, thirty years on, might appear celebratory rather than pejorative. Artists appropriate materials of their time and place, and rapidly the destiny of these “tissues of quotations” becomes the reflective and reflexive visual record of their given epoch. Borders and Frontiers presents a collection of artists that demonstrates both a specialized appetite for the digital and contemporary, yet, at the same time, a blend of quotations from an image bank of the past, and in doing so they build a bridge between historicism, the contextual present, and a conjectural tomorrow.
Chinese art : gift of Professor and Mrs. Amitendranath Tagore
(Oakland University, 1989) Abiko, Bonnie F.
Excerpt from acknowledgement by Kiichi Usui: Amitendranath Tagore , professor of Chinese, and Arundhati Tagore, library technician, enjoyed 25 years of teaching at Oakland and serving in the Kresge Library. They decided to donate their Chinese Art collection to Oakland University before departing to their native India for retirement. The collection contains 29scroll paintings, 11 calligraphies representing a variety of calligraphic styles, and 15 rubbing impressions of old Chinese stone monuments.
Chinese fan paintings : from the collection of Chan Yee Pong
(Oakland University, 1972) Chan, Yee Pong
Catalog of an exhibition held at the Oakland University Art Gallery February 27, 1972 - March 25, 1972. Includes selected photographs of the fans on display and a brief introduction to the history of Chinese fan painting.
Communicable Consumption | Phaedra Robinson
(Oakland University, 2005-03-15) Goody, Dick
Excerpt from essay by Dick Goody: Above all, Robinson is interested in the seminal properties of substances, and in the monolithic thing, the single salient idea that will reveal everything - as she puts it, "the macrocosm in the microcosm." She talks about blood and milk as being seminal fluids - simple yet complex. Simplicity and complexity fascinate her. All the paradoxes and issues embodied in interpretations of what these two liquids can incite -the red and white - keep Robinson's imagination energized.
Contemporary Flânerie: Reconfiguring Cities
(Oakland University, 2009-03-07) Whitehead, Vagner
Excerpt from essay: Contemporary Flânerie: Reconfiguring Cities presents a new generation of transnational artists who respond to cities with the gusto of originary flânerie, so a brief history of flânerie’s aesthetic and intellectual dimensions is in order. Flâneurs of artistic or scholarly pursuits have long been considered iconic figures of modernism who processed newly industrializing cities of the west in subjective terms by aimlessly wandering through them, absorbing startling, contradictory novelties, and translating their experiences into art that was as radically modern as the fleeting moments it attempted to capture.
Critical Voices: Selections from the Hall Collection
(Oakland University, 2022-09-09) Barnes, Leo; Lashbrook, Debra
Excerpt from foreword by Leo Barnes: My relationship with the Hall Art Foundation developed over the five years I worked there from 2012 to 2017. The artworks, collected by Andrew and Christine Hall, present a unique index of the best contemporary art of the late 20th and early 21st centuries. The collection, heavily infused in particular with the work of German and American artists, is a fascinating entrée into the contemporary visual arts in both cultures.
Dickensian London and the photographic imagination
(Oakland University, 2003) Baillargeon, Claude; Bell Cole, Natalie; Martin, John
Catalogue of an exhibition held at Meadow Brook Art Gallery, October 10-November 16, 2003. Includes bibliographical references. Includes essays by exhibition curator Claude Baillargeon, Natalie Bell Cole, and John Martin.
Domestified Angst : Second Recording
(Oakland University, 2008-10-18) Goody, Dick; Lashbrook, Debra
Excerpt from essay by Dick Goody: To say that Johnson’s identity is wrapped up in himself, that is, in his image, is an idiotic aphorism. Yet, the image of his face is often present in his work. His self-depictions channel the simulacra of a saccharine TV announcer. The face becomes a target at which to aim scorn. If it is self-flagellation, it also serves as a signifier of Johnson’s tortured layered identities. However, at the same time, it is symbolic of his personal thick-skinned resilience, survival and scorn: the distorted idiotic face taunts, as if the artist is mocking his personal anxieties stirred up by concerns over the authenticity of his own warped identity.
Employees Only
(Oakland University, 2015-09-11) Goody, Dick; Lashbrook, Debra
Employees Only features the work of Oakland University’s Department of Art and Art History full-time studio art and graphic design faculty.
Encountering the Rare Book
(Oakland University, 2018-09-06) Eis, Andrea; Spunaugle, Emily; Daniel, Dominique; Greer, Katie; Roth, Brad; Barry, Meaghan; Walwema, Josephine; Hartsock, Katie; Payette, Jessica; Navin, Mark; Barlow, Gania; Spagnuolo, Anna; Campoy-Cubillo, Adolfo; Hahn, Stacey; Miller, Karen; Rigstad, Mark; Cassano, Graham; Peiser, Meghan; Reger, Jo; Lewis, Mary; Donahue, Timothy; Palmer-Mehta, Valerie
Excerpt from essay by Andrea Eis: The palpability of book form, as a corporeal container for human thought, is distinctive from the reading of a book. The encounter with a book’s content happens in a reader’s mind; with a tangible book, that encounter is physical as well—it becomes matter for the senses. To hold a book that was printed in 1605, to touch a page that may not have been touched in hundreds of years, is a visceral experience that cannot be replicated in the digital realm.
Ethics of Depiction: Landscape, Still Life, Human
(Oakland University, 2017-09-09) Goody, Dick; Lashbrook, Debra
Excerpt from essay by Dick Goody: 180 years ago, when the first photographs were made, one can only imagine the certainty the phenomenon must have engendered. Finally, here was the ultimate arbiter of truth, the antidote to fantasy and deception because, as we have all heard, “the camera never lies.” Yet it took no time at all for the French photographic pioneer, Hippolyte Bayard, to stage his Le Noyé (Self-portrait as a drowned man) in 1840. All art is staged, all depictions are inventions to some degree. Anything that enters the retina is prone to subjectivity.
Expressive visions and exquisite images : two aspects of art of the 80s from the Richard Brown Baker collection
(Oakland University, 1991) Baker, Richard Brown; Usui, Kiichi
Catalog of an exhibition held at the Meadow Brook Art Gallery October 6 - November 17, 1991. Includes an excerpt by Richard Brown Baker titled "From the Diary of a Collector." Text by Kiichi Usui.
From line to tone : selected prints from the collection of Carl F. and Anna M. Barnes, Jr. : [exhibition] January 15 through February 11, 1984
(Oakland University, 1984) Usui, Kiichi
Catalog of an exhibition held at the Meadow Brook Art Gallery January 15 - February 11, 1984. Includes black and white photographs of prints selected from the collection of Carl F. and Anna M. Barnes, Jr. as well as descriptive essays.
Fundamental(ist)
(Oakland University, 2007) Goody, Dick; Lashbrook, Debra; Jones, Dennis Michael
Excerpt from artist's statement: The words we use in daily conversations enable us to navigate the world. Words (texts) are ubiquitous, but the language of painting (syntax), for most, is something forgotten in early childhood. Paintings operate in the interchangeable region between thinking (language/text) and image (object).
Gilda Snowden Album: A Retrospective 1977-2010
(Oakland University, 2013) Goody, Dick; Snowden, Gilda; Lashbrook, Debra
Excerpt from the essay by Dick Goody: It is difficult to ascertain whether the tornado form chose Gilda Snowden or she selected it for herself. Is it a subject, an image or a theme? She started using the form because, as she has often stated, she fears tornados. It is an exotically menacing form, which she has wrestled with again and again, but it rapidly became a defining leitmotif. Initially, it provided the impetus to abandon more narrative approaches to making art in favor of ones that became increasingly formalistic and abstract. In a manner of speaking, the tornado is Snowden’s version of Cubism, not in the sense that it pays homage to Modernism (it does not), but if, for example, Cubism emancipated form from realism, then the tornado provided her the freedom to become an abstract artist.
Harmony in variation : form and meaning in Native American art : [exhibition] Meadow Brook Art Gallery, January 11 - February 17, 2002.
(Oakland University, 2002)
Excerpt from introduction by Andrea Eis: Each work in this exhibition is the expression of an artist whose creative vision could remain true to a personal articulation, while being explored within a powerful cultural framework. Many works express a Native American worldview: a belief in the complementary aspects of harmony and variation, and in an equibrium in oppositions.

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