The following exhibitions are available to museums and university art galleries with secure, environmentally controlled facilities and professional staff experienced in handling works of art. Scroll to the bottom of the page for exhibition requirements. For questions or further information contact Registrar Corey Gross at 269/349.7775 x3133 or email@example.com.
|Philip Evergood, The Little Accomplices, 1939, oil on burlap. Purchased with donations from members, 1960/1.10||American Perspectives on Modernism
Drawn from the KIA collection, this exhibition includes works by Stuart Davis, Marsden Hartley, John Marin, Charles Sheeler, Max Weber and other American modernists. Responding to the artistic developments in Europe, these artists sought new ways to picture the rapidly changing times of the early 20th century.
34 paintings and prints (oil on canvas or board, ink on paper, watercolor, woodcut, lithography, etching, drypoint, and screenprint)
|Robert Indiana, Number 2, 1968, screenprint. Bequest of Charlotte Collins from the Charles and Charlotte Collins Collection, 2009.31||Drawn to Abstraction: Prints from the 1960s and '70s
The mid- to late-20th century in America was a time of boundary testing and social critique. Artists, too, challenged accepted techniques and subject matter while critically examining the role of art in society. Printmaking brought the excitement of the New York and International art scene within reach of middle-class collectors. The works in this exhibition capture the vibrancy of the emerging abstract movements during this time, including Abstract Expressionism, Minimalism, Op Art, and Pop Art. This exhibition features an extraordinary collection of works on paper by artists widely recognized as giants of 20th-century art: Josef Albers, Helen Frankenthaler, Robert Rauschenberg, Roy Lichtenstein, Claes Oldenburg, Frank Stella, and others.
40 works on paper (lithography, screenprint, intaglio, woodcut)
|Luis Jimenez, Self-Portrait, 1996, soft ground etching, multiplates | Permanent Collection Fund Purchase, 2005.9||BOO! Images of the Macabre
Why are we so attracted to images of the macabre? Exploring our fears inspires a quickening of the pulse and heightens our awareness of the mysteries of life--and death. Psychologist Carl Jung wrote that the artist's role is to give expression to the shadow side of humankind, which usually dwells below the level of consciousness. He advocated forcing shadows into the light in order to master dark impulses and maintain a healthy balance. Engage your subconscious through art that explores eerie landscapes, creepy creatures, ghostly figures, and other mysterious intersections of reality and imagination.
30 works of art
|Dave Coverly, I got a good deal on a carpet remnant, pen and watercolor. Purchased with funds given by Curt and Beth Hartman, 2010.11||Speed Bump: The Comic World of Dave Coverly
The wit and whimsy of Dave Coverly reveal the truths of the human experience, from the workplace to family life and beyond. Step into the world and work of this nationally syndicated cartoonist. Coverly's original daily and Sunday cartoons are featured, along with his illustrations from Sue MacDonald Had a Book, written by fellow Michigan resident, Jim Tobin. This exhibition contains 60 pieces of Coverly's original art and insights into the cartooning process--certain to delight audiences of all ages. Institutions booking this exhibition have made independent arrangements directly with Dave Coverly and/or Jim Tobin to schedule artist talks, book signings, or workshops to complement the exhibition.
60 works of art and 8 delightful text panels written by the artist
|James McNeill Whistler, San Biagio, 1879, etching and drypoint. Director's Fund Purchase, 1965/6.68||Shimmerings of Light, Mysteries of Shadow: The Etching Revival of the 19th Century
This exhibition begins with three works by Rembrandt, but then focuses on the artists of the 19th-century "etching revival," including such masters of the medium as James McNeill Whistler, Charles Meryon, and Samuel Palmer. The works illustrate how etching, which required the artist to use line alone, introduced a new way of both drawing and perceiving the world.
|Federico Castellon, The Dagger Dropped Gleaming Upon the Sable Carpet, 1968, lithograph. Director's Fund Purchase, 1969/70.50.15 Courtesy of Michael Rosenfeld Gallery LLC, New York, NY||Fear and Folly: The Visionary Prints of Francisco Goya
and Federico Castellon
Though separated by about 150 years, Francisco Goya (1746-1828) and Federico Castellon (1914-1971) often appear closer to one another than to their contemporaries, as they both turned their attention to the human condition. In this exhibition, the artists are represented by important print series: Castellon's lithographs for Edgar Allen Poe's The Masque of the Red Death and Goya's etchings from Los Disparates (or The Proverbs). Many artists have been drawn to things dark and fantastic, but few have probed the human condition with the insight and truthfulness found in these images.
38 works on paper (lithograph, etching and aquatint)
|Kunisada Utagawa, The Actor Nakamura Shikan IV as Otomo no Kunonushi, 1860, woodblock print. Collection of the Kalamazoo Institute of Arts; Gift of Miss Fillette Many 1960/1.327||Impressions: Printmaking in Japan
This selection of 30 prints illustrates the flowering of Japan's printmaking culture from the 17th to the 21st century. Four thematic groupings demonstrate the demand for prints in Edo's urban culture, Kabuki theater and the 47 Ronin, landscape and Western influence, and adaptations to global markets and practices. Works include woodblock prints by Hiroshige and Utamaro, who first captivated 19th-century Western artists. Modern and contemporary artists employing techniques of etching, aquatint, and drypoint are also represented.
Requirements for borrowing include:
- Limited-access gallery space with light and climate controls. Unless indicated otherwise for a specific exhibition, relative humidity of 40-60% and temperature of 66-74 degrees should be maintained at all times.
- Light levels in the galleries will not exceed 15 foot candles (10 fc for photography and works on paper). No lights are permitted during non-exhibition hours. Direct daylight and fluorescent lighting are prohibited.
- The exhibition will be unpacked, repacked, moved, handled, and installed under professional supervision by personnel who have had previous experience in handling art objects. The same individuals should be responsible for unpacking and repacking the objects.
- Trained security guard(s) must be present at all times when open to the public.
- Exhibition area must be locked with an electronic security system alarmed during closed hours.
- Locked, environmentally stable interior exhibition storage and staging areas.
- Crates must be stored in clean, dry, pest-free storage during the exhibition.
- Fire detection and protection systems are required.
- Proof of insurance coverage covering the value of the exhibition while on site and during transit to and from the borrower.
- Approval of loan is subject to review of borrowing institution's Standard Facility Report.
- Shipping to be booked through approved fine arts carrier. Shipping costs are the responsibility of the borrower.
Cost of extended exhibition period, beyond 10 weeks, will be pro-rated.
For more information contact Registrar Corey Gross at 269/349.7775 x3133 or firstname.lastname@example.org.