The Eli and Edythe Broad Art Museum (Broad Without Walls), pronounced like “road” or “BRO-d”, has three exhibitions open from November 10 through February. Located in East Lansing, roughly an hour from Calvin the Broad Art Museum at Michigan State University is committed to exploring international contemporary culture and ideas through art. The museum’s collection is comprised of both historical and contemporary art. Highlights include: Greek and Roman antiquities; medieval and Renaissance illuminations; Old Master paintings; 19th century American paintings; 20th century sculpture; and works by contemporary artists. See the BAM website for more information + visit the Virtual Broad Art Museum (VBAM).
More information on each of the inaugural exhibitions below:
In Search of Time
(open through February 10, 2013)
In celebrating the opening of this iconic building at Michigan State University, In Search of Time suspends time by exploring the relationship between space and time. By creating dialogues among artworks from the medieval period, the nineteenth, twentieth, and twenty-first centuries, this exhibition gives voice to the longing artists have held for hundreds of years to express their relationship to time and memory.
The artists featured in In Search of Time include Josef Albers, William Baziotes, Romare Bearden, Joseph Beuys, Albert Bierstadt, Brassaï, Jim Campbell, Larry Clark, John Coplans, Joseph Cornell, Benjamin Cottam, Salvador Dalí, Elliott Erwitt, Paolo di Giovanni Fei, Damien Hirst, E.O. Hoppé, Sam Jury, Toba Khedoori, Anselm Kiefer, Helen Levitt, Edouard Manet, Henri Jean Guillaume Martin, Barbara Morgan, Eadweard Muybridge, Fairfield Porter, E. Rieck, Ed Ruscha, Esteban Vicente, Kara Walker, Andy Warhol and mid-late 20th century African sculptures.
Global Groove 1973/2012
(open through February 24, 2013)
Global Groove 1973/2012 features Nam June Paik’s seminal video from 1973, “Global Groove”, as a jumping off point to explore current trends in international video art. As video cameras and digital editing equipment became more and more accessible into the 1990’s and now the 21st century, video became a worldwide medium for artists. Global Groove 1973/2012 is a celebration of this international phenomenon, featuring artists from the Far East, Middle East, Africa, and Europe. The exhibition will celebrate the multiple approaches to the medium artists are using, from low-tech to highly cinematic; personal and diaristic to intensely political and challenging.
The artists of Global Groove 1973/2012 include Bashar Alhroub (Palestinian Territories); Negar Behbahani (Iran); Berry Bickle (Zimbabwe); Sam Jury (Great Britain); Lee Yongbaek (South Korea); Li Ming (China); Basir Mahmood (Pakistan); Zwelethu Mthethwa and Matthew Hindley (South Africa); Nam June Paik (South Korea); The Propeller Group (Vietnam); Eve Sussman and Simon Lee (USA); Zhao Yao (China).
Fritz Haeg: Domestic Integrities
(Open through February 24, 2013)
Los Angeles-based artist Fritz Haeg (b. 1969) is renowned for his commitment to collaborative, environmentally engaged, and educational art production. His previous projects, which have taken place around the world, include edible gardens, public gatherings, urban parades, and architectural interventions. Here Haeg explores the patterns and rituals of local domestic landscapes, mapping the ways objects alter the conditions of being in a space and revealing the ways in which sharing local resources can create collective experiences.
Conceived as a platform for dialogue, communal activity, and the presentation and exchange of homemade goods, Domestic Integrities is centered on a spiral-stitched circular rug that will continue to grow over the course of the installation. Made of used and discarded textiles, including clothing, athletic gear, and bed linens donated or disposed of by local participants, it was produced as part of a community crochet project the artist organized with student groups and other volunteers in the months leading up to the opening of this museum. The rug is becoming an indexical record of the community that helped create it as visitors and collaborating student groups bring to it items they have cooked or produced using elements harvested or found in the area: flowers, pickled vegetables, canned fruit, baked bread, woven textiles, and the like. Some of these offerings may remain on the rug for weeks; others will be removed or replaced daily. Haeg’s project not only transforms the dynamics of the museum space but also challenges the traditional experience of being a museum-goer. In this installation visitors are invited to take off their shoes and make themselves at home on the rug— to sit down and inspect, touch, taste, and smell that day’s various Domestic Integrities.