Upcoming and Ongoing Events
boston college fine arts department
In their "Art & Digital Technology "classes, Professors Karl Baden and Georgie Friedman teach students to use Photoshop and Illustrator software to creatively combine text and image. This exhibition, which includes designs for book and magazine spreads, posters, advertisements and CD covers, features excerpts from the students' final projects. Sponsored by the Art, Art History, and Film Department, and the Boston College Libraries. At left: a work by Dillon Coyne '16.
BC Art Club Spring Student Art Show
Carney first-floor Student Programs Hallway and 104A
Open daily through April from 8:30 a.m.-6:00 p.m. (8:30 p.m. with BC ID)
This annual event showcases work by talented BC student artists from all majors. At left: Katie Carsky '16, Anatomical Heart, 2015 (colored pencil).
On the hundredth anniversary of the Easter Rising, this first comprehensive examination of the Irish Art and Crafts movement promises to demonstrate how the visual arts of early 20th-century Ireland, like the concurrent literary revival, shaped how the Irish perceived their transformation from colony to independent nation. The exhibition will feature metalwork and textiles from University College Cork's Honan Chapel, widely considered the masterpiece of the Irish Art and Crafts movement. Objects throughout the exhibition will demonstrate how their makers evoked the rich cultural heritage of Ireland while looking ahead toward its future. Diana Larsen (Assistant Director, Exhibition Design, Collection Management and Curatori at the McMullen Museum) and Professor Vera Kreilkamp (Irish Studies), curated the exhibition in collaboration with Virginia Teehan of University College, Cork. Above: Jack Yeats (designer), Dun Emer Guild (maker), Sodality banner depicting Naomh Iarfhlaith (Saint Jarlath), 1904 (linen, silk and wool; ca. 85 x 55 cm.; St. Brendan's Cathedral/Clonfert Diocesan Museum, Loughrea).
Recreating Identity: The Arts and Crafts Movement in Ireland
Burns Library, Boston College; Library hours
February 1 – June 12, 2016
Complementing the McMullen Museum's The Arts and Crafts Movement: Making it Irish, the Burns Library's exhibit will focus on the craft and industrial societies established to promote handpress printing and bookbinding. Sponsored by the Boston College University Libraries. Review of the show in The Heights.
Following 9/11, as the slow march to the start of the war in Iraq began, the inevitable and ubiquitous news reports ramped up as well. In response, Professor Mary Armstrong created this series of paintings as meditations on war. In them, she conveys the vulnerability of victims, the exasperating and destructive machismo of the principal actors, and even the “unfathomable connection between humor, Eros, and violence” connected with war. Sponsored by the Fine Arts Department and Boston College Libraries. Above: Mary Armstrong, Launch, 2006 (oil on panel).
The theme of this semester's rotating exhibit of student photography is "Boston and the Greater Boston area." At left: a photograph by Lauren Nilles '17.
For her "Making History Public" class last semester, Professor Dana Sajdi chose the theme of "historical monuments." Students used primary sources and other materials housed at the John J. Burns Library to research various topics and to curate this exhibition, which explores how built structures can be assigned different meanings and uses over time. There's an online component to the exhibit at http://daedala.org/monuments/.
This exhibition draws photographs from three University Archive collections – special guests and events, athletic photos and building and campus images – to illustrate iconic moments in Boston College History. At left: Fathers Sweeney, Devlin and Donovan help ready President John F. Kennedy for the University's Centennial Convocation, April 20, 1963.
The Testimony of Faces: Struggle, War and Change Among Tobacco Workers
Atrium Gallery, Boston College Theology and Ministry Library
March 1 – May 31, 2016
During the Contra War, Lisa Fitzgerald photographed many of the tobacco field workers who became her friends while she lived in Nicaragua ministering as a Religious of the Sacred Heart. In the years since, she has returned repeatedly to visit and again photographed her friends, documenting visually how a lifetime of work and war, as well as the process of aging, has wrought changes in their appearance. At the same time, the portraits capture powerfully the dignity of the sitters, as well as the bond of trust and friendship between photographer and photographed.
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