Vignettes: Concentrated Views of RAM鈥檚 Collection
Artwork cannot be experienced in a vacuum. The meaning of individual pieces can fluctuate and change鈥攏ot just between what the artist intended and what the viewer sees but also within the dynamics created in the context of a gallery space. Playing with this idea, Vignettes is comprised of several smaller exhibitions of works gathered under various organizing principles or themes鈥攅mphasizing specific characteristics of the individual pieces and overall groupings. These groupings are inspired by RAM鈥檚 history or collection in different ways鈥攆or example, some reference past exhibitions while some highlight time periods, favored pieces, or ideas donors explored. As a vignette is defined as a 鈥渂rief, evocative description鈥 of a larger entity, each group of this exhibition is a self-contained idea that gives a sense of RAM in a 鈥渟napshot鈥 through curatorial eyes.
Celebrating RAM鈥檚 20th anniversary and featuring textiles, art to wear, art jewelry, photography, prints, ceramics, and more, this atypical presentation highlights the range of the permanent collection in its variability of artist voices and backgrounds as well as types of media. Panels next to each sub-theme contain keywords or ribbons of thought that link artworks together. While the words offer curatorial transparency, visitors are encouraged to find their own meaning and potential connections.
Some of the over-arching themes in Vignettes include glamour, black/white, colorful, 1940s/2000s, topical, out of the ordinary, and cosmic.
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Artwork cannot be experienced in a vacuum. The meaning of individual pieces can fluctuate and change鈥攏ot just between what the artist intended and what the viewer sees but also within the dynamics created in the context of a gallery space. Playing with this idea, Vignettes is comprised of several smaller exhibitions of works gathered under various organizing principles or themes鈥攅mphasizing specific characteristics of the individual pieces and overall groupings. These groupings are inspired by RAM鈥檚 history or collection in different ways鈥攆or example, some reference past exhibitions while some highlight time periods, favored pieces, or ideas donors explored. As a vignette is defined as a 鈥渂rief, evocative description鈥 of a larger entity, each group of this exhibition is a self-contained idea that gives a sense of RAM in a 鈥渟napshot鈥 through curatorial eyes.
Celebrating RAM鈥檚 20th anniversary and featuring textiles, art to wear, art jewelry, photography, prints, ceramics, and more, this atypical presentation highlights the range of the permanent collection in its variability of artist voices and backgrounds as well as types of media. Panels next to each sub-theme contain keywords or ribbons of thought that link artworks together. While the words offer curatorial transparency, visitors are encouraged to find their own meaning and potential connections.
Some of the over-arching themes in Vignettes include glamour, black/white, colorful, 1940s/2000s, topical, out of the ordinary, and cosmic.
Artists on show
- Aaron Bohrod
- Adál Maldonado
- Alfred Wertheimer
- Amber O'Harrow
- Amos Kennedy
- Andree Tracey
- Andy Buck
- Anne Miotke
- Anne Wilson
- Azusa Fukawa
- Babs Haenen
- Barbara Brandel
- Barbara Heinrich
- Barbara Lee Smith
- Beatrice Wood
- Ben Shahn
- Bennett Bean
- Beverly Mayeri
- Binh Pho
- Blue Corn
- Chiu Tsang-yi
- Christie Brown
- Chunghie Lee
- Claire Curneen
- Clea Carlsen
- Colette
- Deidre Scherer
- Dirk Staschke
- Dorothy Dehner
- Doug Jeck
- Edmund Lewandowski
- Edward Eberle
- Esther Shimazu
- Ettore Sottsass
- Eva Zeisel
- Francis Ford
- Geo Lastomirsky
- George Fred Keck
- Gerda Flöckinger
- Gerlad Bentley Gregg
- Gertrud Natzler
- Giles Gilson
- Hannah Keefe
- Helen Bitar
- Huang Tsun-ren
- Irvin Tepper
- J.M. Syron
- Jackie Abrams
- James Doran
- James Groleau
- Jan Hopkins
- Jan Huling
- Jane Sauer
- Jane Weintraub
- Jason Walker
- Jay Musler
- Jean Bonnie Bishoff
- Jean Stamsta
- Jeanette Ahlgren
- Jeffrey Blake
- JoAnna Poehlmann
- Joel Otterson
- Jose Chardiet
- Joyce J. Scott
- Judy Moonelis
- Julia Hill
- Karen Dahl
- Keiko Hara
- Ken Loeber
- Kenojuak Ashevak
- Kiyomi Iwata
- Laurence Rathsack
- Laurie Hogin
- Linda Wabanimkee
- Lino Tagliapietra
- Lisa Reinertson
- Luis Molinari
- Madeline Tafoya Naranjo
- Maggie Henton
- Mary Alice Wimmer
- Mary Frank
- Mary Lee Hu
- Mary Preston
- Michael Velliquette
- Mimmo Paladino
- Nancy Koenigsberg
- Naomi Kobayashi
- Nora Fok
- Norman Bergsman
- Otto Natzler
- Patrick Nagatani
- Peter Change
- Phil Stern
- Reika Iwami
- Richard Diebenkorn
- Richard Ford
- Richard Notkin
- Robert Carston Arneson
- Robert Stackhouse
- Rose Cabat
- Rosita Johanson
- Roy DeCarava
- Ruth Lee Kao
- Sandra Enterline
- Sergei Isupov
- Seth Randal
- Starr Hagenbring
- Sue Coe
- Sydney Cash
- Terence Main
- Therman Statom
- Tina Fung Holder
- Tommy Simpson
- Tomoharu Murakami
- Toshiko Takaezu
- Truman T. Lowe
- Warrington Colescott
- Wendell Castle
- Wendy Maruyama
- William C. Harper
- Yael Herman
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Artwork cannot be experienced in a vacuum. The meaning of individual pieces can fluctuate and change鈥攏ot just between what the artist intended and what the viewer sees but also within the dynamics created in the context of a gallery space.