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Opened in 1992, the UNO Art Gallery is a professional exhibition spaces consisting of two large galleries (1,500 square feet) and a Hexagon gallery (675 square feet) plus adjoining offices, a kitchen, and a storage facility

Quintessence: The Alternative Spaces Residency Program Number 3

The gallery guide discusses the works involved with the Alternative Space Residency Program that was sponsored by the Dayton City Beautiful Council and Wright State University. Quintessence number three showcases the third year of a six year long project.https://corescholar.libraries.wright.edu/restein_catalogs/1008/thumbnail.jp

Michele Lauriat - Careena Melia - Serhat Tanyolacar: The Grant Wood Art Colony, 2014–15

Michele Lauriat, the Painting and Drawing Fellow, expanded her beyond | return series as well as the minds of her students. Serhat Tanyolacar, the Printmaking Fellow, explored political issues in his performance pieces and utilized the University of Iowa’s state-of-the-art printmaking facility. return | beyond, the culminating exhibition of Lauriat’s and Tanyolacar’s work, was held in the Levitt Gallery of Art Building West on The University of Iowa campus in April 2015. Careena Melia, the Theater Fellow, advanced her Gertrude Bell Project while introducing her Collaborative Process students to Grant Wood. Melia’s final presentation was on April 25, 2015. This catalogue documents return | beyond and The Gertrude Bell Project

Veronese’s Goblets: Glass Design and the Civilizing Process

Taking its cue from Veronese’s lavish Wedding at Cana (1563), this article explores the meanings of fine and ordinary glassware, focusing on the performative value of Renaissance goblets. Drinking vessels are analyzed here as tools for the gradual transformation of human behavior, or the ‘Civilizing Process’ that sociologist Norbert Elias expounded. In the mid-sixteenth century, new designs for fine glasses supported and shaped the proper conduct expected of guests and servants in banquets. Iconographic sources such as the exquisite wine cups depicted by Veronese, didactic literature and the objects themselves document the kind of challenges and expectations that handling glass in public induced. By the end of the sixteenth century, the affordability of simple but elegant goblets allowed common people to adopt the drinking manners of the elite, thus furthering the association between glassware and the concept of civility.https://digitalcommons.risd.edu/faculty_work/1000/thumbnail.jp

Earthly Pleasures: Bounty in Ukiyo-e Prints (2015)

Earthly Pleasures or, broader, nature’s riches and man, is a topic for an exhibition project of the ukiyo-e prints curatorial course taught at RISD in the Fall Semester of 2015. When deciding on this subject matter we were curious to see how the urban art of ukiyo-e with its focus on figurative representation of celebrities dealt with the nature theme, essential for Japanese culture and all-pervading in Japanese classical visual arts and literature. Did ukiyo-e artists include images of nature in their compositions? If yes, then who, when and how? It is with this quest in mind that a selection of thirteen prints from the collection of the RISD Museum has been made. ... -- Foreword, Earthly Pleasures: Bounty in Ukiyo-e Prints Contributing Authors Zashary Caro, Sabrina Catlett, Daniel Chae, Boong Chamnanratanakul, Erika Chang, Jamie Chen, Jolene Dosa, Megan Farrell, Saskia Fleishman, Rachel Hahn, Serena Hong, Minkyung Kim, Do Yun Kwak, Yuri Lee, Laura Lin, Nandi Lu, Shanaiya Maloo, Minty Pitaksuteephong, Tim Rooney, Isabelle Rose, Caitlyn Sit, Jessica Song, Alyssa Spytman, Juan Tang Hon, Fallon Wong, Yiran Jasphy Zheng.https://digitalcommons.risd.edu/thad_studentwork_ukiyo-e_prints_exhibitioncatalogs/1003/thumbnail.jp

Marching Through the Floating World: Processions in Ukiyo-e Prints (2020)

Marching through the Floating World is a book that accompanies a student curated virtual exhibition of the same title. This exhibition is dedicated to images of processions in ukiyo-e woodblock prints. Ukiyo-e or “pictures of the floating world” was a vibrant style of urban art that flourished in Japan in the 17th- 19th century, predominantly in the form of mass-produced woodcuts. Steeped in everyday pleasurable pastimes of townspeople, ukiyo-e prints reflected contemporary culture to its fullest, whether fact or fiction, often the two amalgamated in a witty way. Processions constituted a noticeable theme in ukiyo-e prints as they were an integral part of the commoners’ visual experience. Daimyo processions were traveling from the warlords’ domains to the shogunal capital of Edo (Tokyo) and back as demanded by the sankin-kotai or alternate attendance system. Community processions with exotic floats were essential for matsuri, Shinto and Buddhist festivals. Art, however, goes beyond reality, and in ukiyo-e prints one sees daimyo processions parodied by beautiful women or mimicked by boys. Parades by foreign embassies also appear in ukiyo-e prints, primarily parades of the Korean embassies, often fantasized. Depicted were also processions of supernatural beings or imaginary nostalgic processions in prints of the Meiji era. Students’ research essays on prints like those mentioned above (and more!) were compiled into a book, which together with educational wall labels, programming brochures and souvenirs constitute an outcome of an art history course taught at RISD in the fall of 2020. This is the eighth project of the kind. ... -- Foreword, Marching Through the Floating World: Processions in Ukiyo-e Prints Contributing Authors Julie Alter, Kade Byrand, Cecilia Cao, Young Ju Choi, Nate Epstein-Toney, Emma Fujita, Catherine Hackl, Helina He Yuheng, Victoria Khrobostova, Benjamin Lamacchia, DaRong Lang, Sofie Levin, Julian Linares, Deirdre Rouse, Joshua Sun, Rauf Syunyaev, Tiffany Weng, Yue Xu, Yuanqing Echo Yao, Kaori Yasunagi, Manni Yu, Wei Zhang, Si Nong Summer Zheng, Holly Gaboriault.https://digitalcommons.risd.edu/thad_studentwork_ukiyo-e_prints_exhibitioncatalogs/1007/thumbnail.jp

Asakusa ~ Gateway to the Floating World (2019)

Asakusa, a bustling district of Japan’s capital, emerged as a heart of city life during the Edo period (1603-1868). Its popularity continued after Edo was renamed Tokyo in 1868 soon after the beginning of the Meiji era. ... Thus, Asakusa came to function as a physical and metaphorical path to and site of ukiyo – ‘the floating world,’ an Edo period term, referring to the modern habits and aspirations of townspeople. The notion of ukiyo embraced the lifestyle of city dwellers, their pleasure-seeking, vanity and devotion, intellectual sophistication and playfulness. All this was captured with remarkable exactitude in the ‘pictures of the floating world’ – ukiyo-e, the style of visual art that started in painting but truly developed in the mass-produced medium of woodblock printing. It was this big theme – Asakusa as the hub of popular culture – that became the focus of inquiry for RISD students of the art history curatorial course Ukiyo-e Prints (H 791) in the fall semester of 2019. Investigating the original ukiyo-e prints from the collection of the RISD Museum, students have selected Keisai Eisen’s triptych Picture of the Kanzeon Thunder Gate at the Kinryuzan Sensoji Temple in Edo, 1828, as the nucleus of their exhibition project. Students then singled out aspects of the culture of the ‘floating world’ that are present in this composition or resonate with it. Accordingly, nine additional prints were chosen for the exhibition project to illustrate the relevant topics. A challenging task was to elaborate a meaningful layout of the exhibition in which the nucleus print had to hold the central position, while all other were envisioned as displayed radially. Working in small study groups, students explored all prints in comprehensive essays, discussed their findings in class with their peers, and put together a scholarly catalog. ... -- Foreword, Asakusa ~ Gateway to the Floating World Contributing Authors Barbara Bieniek, Cain Cai, Anna Campbell, Jina Choi, Kaanchi Chopra, Olivia Diamond, Connor Gewirtz, Mary Iorio, Peiqing Jiang, Kalyani Kastor, Roger Li, Emily Mahar, Connor Nguyen, Jacqueline Qiu, Xin Lan Violet Ren, Chenxi Tracy Shi, Song Tan, Cam Unruh, Xiaoben Wang, Yixiao Owen Wang, Jordan Weed, Yuki Xu, Qingyi Yang, Yinan Yang, Yueting Val Zhaohttps://digitalcommons.risd.edu/thad_studentwork_ukiyo-e_prints_exhibitioncatalogs/1006/thumbnail.jp

SUKIMA: Vertical Views of the Floating World (2017)

Sukima is a Japanese word for a crack in a door, a narrow space that opens up when the panels of the sliding doors are pushed to the sides. ... You’ve seen enough to electrify your imagination and let it complete the picture. This is what happens when you look at a long and narrow ukiyo-e print in a pillar format – hashira-e. Or perhaps this partial sight only unleashes your curiosity and, craving a fuller view, you expand the narrow slit and can now enjoy broader vistas replete with details. For such cases ukiyo-e designers came up with upright diptychs and even triptychs. Exploration of these two types of perception – we can describe them as an evocative one (in the case with the hashira-e) and an evidence-based (in the case of vertical polyptychs) – became a focus of an ukiyo-e prints exhibition curated by RISD students in the fall semester of 2017 as a part of their art history course. The project was based on the collection of the RISD Museum that has continuously supported students’ aspirations to acquire real- life curatorial experience. The current exhibition is the fifth in succession. ... -- Foreword, SUKIMA: Vertical Views of the Floating World Contributing Authors Meredith Barone, Anna Rose Chi, Emilee Chun, Pooja Cavale, Clara Creavin, Indy Dang, Cindy Del Rio, Janice Gan, Sophi Miyoko Gullbrants, Jung Eun Han, Janice Kim, Yujin Kim, Tamao Kiser, Quincy Kuang, Osub Lee, Kirthank Manivannan, Zachary Nguyen, Jay Park, Pornmanie Na Snidvongs, Jaeyong Sung, Pornpiya Mim Tejapaibul, Lara Torrance, Clarke Waskowitz, Anna Xuan, Chi Yang, Katherine Yoon, Qianyi Zhang.https://digitalcommons.risd.edu/thad_studentwork_ukiyo-e_prints_exhibitioncatalogs/1004/thumbnail.jp

Wish You Were Here, Hiroshige (2014)

As if responding to the call of the exhibition title ...(someone in the class sensed the artist’s personal invitation), a group of RISD students undertook a virtual journey through space and time to Edo period Japan. For a duration of a semester the entire class plunged directly into the midst of the Tokaido world, mixing with all kinds of travelers and local residents, learning their customs and manners, trying out various travel modes and road-side services, exploring every bend of the road, in winter and summer, at dawn and dusk, in sunshine and violent storm. ... “Wish you were here,” is an exclamation of a traveler overwhelmed by the new sights and desiring to share the excitement with those of kindred spirit. The class that authored this project enthusiastically addresses these words to the exhibition’s visitors and catalog readers. -- Foreword, Wish You Were Here, Hiroshige Contributing Authors Annie Bai, Hanjie Bao, Shannon N. Crawford, Yue Meredith Du, Emily G. Fang, Jordan Hu, Haesoo Ji, Alexandra Ju, Chae Hyun Kim, Yi Bin Liang, Jacqueline Lin, Tiara F. Little, Hanyu Liu, Alexander Mattaway, Devyn Park, Jimin Park, Mina Park, Jacob Reeves, Jonathan Rinker, Joseph Sands, Karnth Sombatsiri, Rachel Whitely, Chaoqun Wang, Therese Tachee Whang, Xiaowei Vica Zhao.https://digitalcommons.risd.edu/thad_studentwork_ukiyo-e_prints_exhibitioncatalogs/1001/thumbnail.jp