The University announced the selection of Karen Elizabeth Milbourne as the new J. Sanford Miller Family Director of The Fralin Museum of Art. Milbourne comes to UVA from the Smithsonian’s National Museum of African Art, where she currently serves as senior curator and acting head of knowledge production. She will assume her new role on January 29, 2024.
Dimly lit gray walls enclose “Radioactive Inactives,” a striking photography exhibit currently displayed at The Fralin Museum of Art. The series of photos was originally created by artists Patrick Nagatani and Andrée Tracey from 1987 to 1988, as they meshed their artistic talent to reveal poignant messages about the darker realities of the modern world.
Hilma af Klint’s 1915 oil painting “The Swan, No.1” captures imagery of two swans on two separate sides of the same canvas. Few would mention, let alone accept the idea of math being applicable to something as renowned as this work of art. However, Dr. Jiajun Yan — professor in the Department of Mathematics at the University — argues that Klint’s entire piece is executed on the principle of mathematics.
In the dark shadow of the grove, on the margin of the brook, he beheld something huge, misshapen, black and towering. It stirred not, but gathered up in the gloom like some gigantic monster ready to spring upon the traveler.”
In June 1844, landscape painter Russell Smith traveled for hours from Philadelphia to Virginia on a hot, dusty train to meet up with geologist William Barton Rogers, a professor of natural philosophy at the University of Virginia.
University students took up arms — scissors in one hand, paintbrush in the other — on October 23 in Campbell Hall’s Elmaleh Gallery. Urban and Environmental Planning Prof. Jennifer Lawrence united these students by hosting the Like the Waters We Rise Poster Workshop, teaching art as a method for climate justice activism.
Stepping foot onto the second floor of The Fralin Museum of Art, one crosses the threshold between the stress of everyday life and the fluid, expressive world of abstract art. This art has lived in the “Processing Abstraction” exhibit since its opening in February.
In the heart of Charlottesville, a vibrant and close-knit community of creative souls gathers to celebrate the art of stitchcraft. Black Women Stitch, a local award-winning sewing group with over 20,000 followers on Instagram, stands as a testament to the resilience, creativity and cultural richness of Black women in the realm of textiles.
There is always a waitlist for Stanley Stepanic’s course, “Dracula.” The University of Virginia assistant professor has been teaching it since 2007, and the number of students has grown every year. There are about 200 students enrolled this semester.
Cooler weather and colorful foliage in Charlottesville can mean only one thing: fall is in full swing at the University of Virginia, where the school and students have created a raft of spooky offerings between now and Oct. 31, Halloween night.
One of the most significant touring exhibitions of Aboriginal Australian art ever staged returns to the city where it was first envisioned. The Fralin Museum of Art at the University of Virginia presents “Maḏayin: Eight Decades of Aboriginal Australian Bark Painting from Yirrkala” from Feb. 3-July 14, 2024. The exhibition features more than 50 masterpieces of ochre painting on eucalyptus bark, many of which have never been on view outside of Australia.
In this workshop three artists and two curators and scholars will discuss their practice of working between and across the media of photography and textile, opening avenues to understand each in new ways, which are haptic, gendered, material and decolonial.
