Spring 2014 exhibitions & programs

Spring 2014 exhibitions & programs

Rose Art Museum at Brandeis University

Top: Mika Rottenberg, Bowls Balls Souls Holes (still), 2014. Lower left:
Charline von Heyl, The Colour Out of Space (detail), 2013. Lower right: Chris
Burden, Trapezoid Bridge (detail), 2003.*
February 7, 2014
Spring 2014 exhibitions & programs

February 14–June 8, 2014

Rose Art Museum
Brandeis University
415 South Street
Waltham, MA 02453


Mika Rottenberg: Bowls Balls Souls Holes
Chris Burden: The Master Builder
Rose Projects 01A |The Matter That Surrounds Us: Wols and Charline von Heyl
Collection in Focus: The Threshold of Recognition

Rose Video 02 | Mark Boulos and Josephine Meckseper
Through March 16, 2014

Rose Video 03 | Maria Lassnig and Mary Reid Kelley
March 26–June 8, 2014

Thursday, February 13
Spring exhibitions opening: 5–8pm
Artist talk: Mika Rottenberg, 6:30pm

Wednesday, March 12
Artist talk: Mark Dion, 6pm

Tuesday, March 25
Rose Video 03 opening: 5–8pm
Artist talk: Mary Reid Kelley, 6pm

Tuesday, April 1
Curator talk: Katy Siegel, 5pm

Wednesday, April 2
Artist talk: Charline von Heyl, 6pm


The Rose Art Museum announces the opening of its spring exhibitions on Friday, February 14. An opening reception will be held on the evening of Thursday, February 13, from 5 to 8pm. At 6:30pm, Mika Rottenberg, the recipient of this year’s Ruth Ann and Nathan Perlmutter Award, will discuss her work and Rose exhibition with Director Christopher Bedford in the museum’s Lois Foster Gallery.

Mika Rottenberg: Bowls Balls Souls Holes is Rottenberg’s (b. 1976) first solo museum exhibition in the United States. Conceived in relation to the Rose’s expansive Lois Foster Gallery, the exhibition offers a selective account of the thematic and formal interests that have structured Rottenberg’s development to date. In addition to Squeeze (2010) and Tsss (2013), the Rose will present Rottenberg’s newest video installation, Bowls Balls Souls Holes (2014), a major new work commissioned and funded in part by the museum. The exhibition will be accompanied by a monograph on the artist with essays by Christopher Bedford, Julia Bryan-Wilson, and Wayne Koestenbaum.

Chris Burden: The Master Builder presents a near comprehensive account of Burden’s (b. 1946) small-scale Erector set bridges. Modeled after bridges imagined and real, the artist’s Erector set sculptures extend his work as a social engineer, demonstrating his dual commitment to empiric and symbolic inquiry. Burden’s bridges are constructed from vintage and reproduced Meccano and Erector parts, perforated metal construction toys first marketed at the start of the 20th century. As part of The Master Builder, Burden is constructing a two-story Erector set skyscraper that will be installed in the museum in April.

Rose Projects 01A |The Matter That Surrounds Us: Wols and Charline von Heyl inaugurates Rose Projects, a new initiative at the Rose Art Museum. Each project series will consist of three exhibitions addressing different aspects of a thematic, scholarly concern. Since the 1970s, “project” exhibitions in U.S. museums have focused on monographic presentations of young artists in an effort to inject the contemporary into institutional contexts. With the aim of foregrounding curatorial thought and creativity, Rose Projects, by contrast, emphasizes the timeliness of the idea structuring the related projects, marrying careful scholarship to adventurous thinking. Rose Projects 1, organized by Curator at Large Katy Siegel, focuses on artists who refuse the categorical divides between representation and materialist abstraction, image and object, looking instead for different models of reality through paintings that exist on the threshold between the recognizable and the unknown.

The first of Siegel’s three exhibitions brings together artists from different historical moments: Wols, born Alfred Otto Wolfgang Schulze (1913–1951) and Charline von Heyl (b. 1960). Wols and von Heyl use traditional mediums in non-traditional ways, broadening and reveling in the spectrum of possible colors, surfaces, and images they can produce. For both artists, art has the potential to reveal profound desires and realities that often remain unnoticed, or even invisible.

Collection in Focus: The Threshold of Recognition presents work from the Rose collection—Juan Gris’s Le Siphon (1913) and Fernand Léger’s La Femme Bleue (1929)—alongside Thomas Scheibitz’s Nebenwerte (2013). This small exhibition, organized in collaboration with Brandeis Fine Arts Professor Nancy Scott, is part of the museum’s rotating Collection in Focus series, which highlights and draws new connections among important and often understudied objects from its renowned holdings.

Rose Video 02 | Mark Boulos and Josephine Meckseper continues with Meckseper’s (b. 1964) Mall of America (2009), on view through March 16. Lingering on advertisements, shop windows, and the looming architecture of Minnesota’s Mall of America, Josephine Meckseper exposes the political implications and ramifications of American consumer culture.

Rose Video 03 | Maria Lassnig and Mary Reid Kelley opens on March 26, following a reception and artist talk by Reid Kelley on March 25. The third iteration of Rose Video draws a link between the historical animation-based practice of Austrian artist Maria Lassnig (b. 1919), whose landmark videos from the early 1970s reflect on art and gender, and the contemporary videos of Mary Reid Kelley (b. 1979), who writes and performs lyrical, pun-filled ballads about WWI-era women in environments animated through her black and white drawings. The pairing of Rose Video 03 explores video’s relationship to other media—performance, drawing, and poetry—and reflects on the trajectory of feminist video art.

Press Inquiries: Nina Berger, [email protected] / T +1 617 543 1595

These exhibitions and associated programs are made possible through funding from the Rose Art Museum Endowed Fund, Ruth Ann & Nathan Perlmutter Artist in Residency Annual Award Program, Hersee Fund, Steven S. Alpert Endowed Lecture Fund, Francesca Seulitrinic Art Education Fund, and the Office of the Provost, Brandeis University.
*Top: Mika Rottenberg, Bowls Balls Souls Holes (still), 2014. Single channel video installation. Courtesy of the artist and Andrea Rosen Gallery, New York. Lower left: Charline von Heyl, The Colour Out of Space (detail), 2013. Oil, acrylic, and charcoal on canvas. Collection of Lizbeth & George Krupp. Courtesy of the artist and Petzel, New York. Lower right: Chris Burden, Trapezoid Bridge (detail), 2003. Stainless steel reproduction Mysto Type I Erector Parts. Photo: Brian Forrest. Courtesy of Chris Burden Studio.

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Rose Art Museum at Brandeis University
February 7, 2014

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