September 13–December 13
Opening: September 12, 5–9pm
Brandeis University
415 South Street
Waltham, MA 02453
Exhibitions
Lisa Yuskavage: The Brood
LA/MA: ’60s Pop From Both Coasts
Jason Rhoades: Multiple Deviations
Rose Video 07: Nira Pereg
Foster Mural: Joyce Pensato
Permanent installation
Mark Dion: The Undisciplined Collector
The Rose Art Museum announces the opening of its fall exhibitions, along with a new permanent installation by Mark Dion. An opening reception will be held on the evening of Saturday, September 12, beginning at 5pm.
About the exhibitions:
Lisa Yuskavage: The Brood advances a boldly unique vision for the figurative tradition in painting and the potential relationship of the medium to contemporary culture. Tracing one distinct line through the career of painter Lisa Yuskavage (b. 1962), The Brood tracks the artist’s development from her emergence in the early ’90s to the present, focusing on major works in three related painting formats: diptychs, triptychs, and what Yuskavage calls “symbiotic portraits.” The artist’s first monographic exhibition in an American museum in more than 15 years, The Brood is accompanied by a catalogue with essays by Curator and Henry and Lois Foster Director Christopher Bedford, Suzanne Hudson, Catherine Lord, and Siddhartha Mukherjee, as well as an interview with the artist by Rose Art Museum Curator-at-Large Katy Siegel. The exhibition will travel to the Contemporary Art Museum St. Louis in January 2016.
LA/MA: ’60s Pop From Both Coasts contextualizes masterpieces from the Rose Art Museum’s core collection by placing the work of these primarily East Coast artists alongside that of their lesser-known West Coast peers, drawing attention to LA’s most important exponents of Pop and suggesting new ways in which the Rose might expand and diversify its account of American Pop of the ’60s.
Jason Rhoades: Multiple Deviations is the first museum exhibition to focus exclusively on what the artist called his “Editions.” Jason Rhoades (1965–2006) saw his practice as continuous and interconnected, and an exhibition of the artist’s Editions can thus be viewed as a window into his broader practice. “I don’t understand my works as being separate from one another,” Rhoades explained. “There are a few breaks, but I basically understand them as one piece. In order to see one work, you have to look back in reference to the others.”
Nira Pereg (b. 1969) sheds light on subtle rifts, obscure rituals, and real and ephemeral transformations that activate the spaces of her native land. Rose Video 07 displays Pereg’s video installation The Right to Clean (2015), which centers on Jerusalem’s Church of the Holy Sepulcher, venerated by multiple Christian denominations as the site of Christ’s crucifixion, burial and resurrection. The exhibition was organized in partnership with the Israel Museum, Jerusalem and will be on view concurrently at Ticho House. A co-produced catalog, including an interview with the artist by Timna Seligman, curator of Ticho House, and essays by Faculty Curator Gannit Ankori, Christopher Bedford, and Boris Groys, will be published in October 2015.
Wood-paneled and furnished with the trappings of a 1961 collector’s den, Mark Dion’s The Undisciplined Collector evokes the year of the Rose Art Museum’s founding and serves as an introduction to the rich history of collecting at Brandeis University. For his permanent installation, Dion (b. 1961) selected objects from Rose’s permanent collection and related collections across campus to create an immersive and interactive environment.
Also announcing Rosebud: a new satellite gallery featuring works from the Rose Art Museum’s collection of video art. Opening September 12th, 10am–1pm at 683 Main Street, Waltham, MA.
For more information on Rosebud, the Rose’s fall exhibitions, its Collection in Focus presentation, Joyce Pensato’s site-specific mural, and upcoming museum programs, please visit: www.brandeis.edu/rose
Press inquiries: Nina Berger, [email protected] / T +617 543 1595
These exhibitions and associated programs are made possible through funding provided by the Steven S. Alpert Endowed Lecture Fund, Artis, The Philip and Muriel Berman Foundation, the Bronfman Brandeis-Israel Collaboration, the Henry and Lois Foster Fund, the Hersee Fund, the Barbara Lee Family Foundation, the Massachusetts Cultural Council, the Bertha C. and Edward Rose Museum Endowment Fund, the Sun Hill Foundation, and the Andy Warhol Foundation for the Visual Arts.
