Explore photography, science, portraiture, and the art of observation in this extraordinary series of four exhibitions.
Lee Godie, untitled; gelatin silver print;15 ½ x 14 ¼ in. Collection of Scott H. Lang.
Known predominantly for paintings and drawings in tempera, watercolor, and ink, Chicago artist Lee Godie favored her own self-image as her principal subject.
Installation view of Lee Godie: Self-Portraits at the John Michael Kohler Arts Center, 2015.
A dialogue between science and spiritualism.
Anonymous, untitled, n.d.; gelatin silver print. Photography Collection, Harry Ransom Center, The University of Texas at Austin.
Louise Parke, Spiritualist Séance Robe, n.d.; muslin; 72 x 46 in. Courtesy of the Wisconsin Historical Society.
In the first museum exhibition of this body of work, the Massengill family photo collection demonstrates the role of photography in the recounting of daily lives.
Evelyn Massengill, untitled, c. 1930s; hand-colored photograph; 1 3/4 x 1 1/2 in. Courtesy of Maxine Payne and Christian Berst Art Brut.
Massengill Family, untitled, c. 1930s; hand-colored photograph; 1 3/4 x 1 1/2 in. Courtesy of Maxine Payne and Christian Berst Art Brut.
The unifying element of Photography and the Scientific Spirit is that all the works in the exhibition characterize invention and imagination in a manner described by Walt Whitman as “the scientific spirit.”
Jay Gould, Cell Stories, 2011; pigment print; 24 x 30 in. Courtesy of the artist.
John Chervinsky, Sum of the Parts, 2007; archival inkjet print; 23 x 28 in. Courtesy of the artist.
Meghann Riepenhoff, Littoral Drift #06 (Triptych, Rodeo Beach, CA 08.01.13, One Wave, Splashed), 2013; cyanotype; 36 x 24 in. Courtesy of the artist.
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