DPAM Winter/Spring Events

The DePaul Art Museum has released their winter/spring schedule of events:

Four Saints in Three Acts

January 26 – April 2/ 2017

Taking its title from a 1920s opera composed by Virgin Thomson and libretto by Gertrude Stein, this group exhibition brings together contemporary artists such as Rodrigo Lara Zendejas, Jeni Spota C., Kehinde Wiley, Nate Young, and Andrea Büttner, who appropriate the iconography of saints and other religious forms in order to critically explore their relationship to this imagery.

The Many Faces of Vincent de Paul: Nineteenth-Century French Romanticism and the Sacred

January 26 – April 2/ 2017

Guest-curated by Rev. Edward R. Udovic, CM, PhD, as a companion to “Four Saints in Three Acts,” this special exhibition of nineteenth-century sculptures, holy cards, textiles, decorative arts and prints from the university’s collection will explore how Romanticism impacted the iconographic representations of Saint Vincent de Paul (1581-1660), at the dawn of the modern era.

One day this kid will get larger

January 26 – April 2/ 2017

A group exhibition of emerging contemporary artists who address the ongoing HIV/AIDS pandemic in North America through the lens of childhood, education, popular culture and race, this exhibition is guest-curated by Danny Orendorff and is presented concurrently with the touring exhibition ArtAIDSAmerica, presented by the Alphawood Foundation in Chicago.

Firelei Báez: Vessels of Genealogies

April 27 – August 6/ 2017

Firelei Báez is a Dominican-American artist whose large-scale paintings and drawings evoke the beauty and political implications of hairstyles, textiles, and tattoos for those whose cultural identities have remained traditionally absent from dominant culture. This solo exhibition is organized by the Tarble Arts Center at Eastern Illinois University and curated by María Elena Ortiz, Assistant Curator Pérez Art Museum Miami.

Hương Ngô: To Name It is to See It

April 27 – August 6/ 2017

In this new body of work, Hương Ngô engages with the surveillance archives of Vietnamese anticolonial organizer Nguyễn Thị Minh Khai to reframe the connections among language, gender, and visuality, refracted through the lens of post-colonial subjectivity. The role of performance in the construction of identity is at the forefront of Ngô’s investigation of this historical figure. Minh Khai’s constant crossing of borders – those of nation-states, ethnicities, languages, genders, and classes – via her numerous pseudonyms and disguises, was key to her invisibility to authorities yet renders her difficult to classify even today.