Museum of Art Presents ‘The Ivory Mirror’ with Opening Lecture and Reception June 24

“Office of the Dead, Book of Hours,” beginning of the 16th century, parchment by an unknown artist, France. The Huntington Library, San Marino, California

Stephen Perkinson, Peter M. Small Associate Professor of Art History and guest curator, delivers the  keynote address, “Lessons for Living: The Macabre in Renaissance Art” to open the Bowdoin College Museum of Art exhibition The Ivory Mirror: The Art of Mortality in Renaissance Europe

Perkinson’s talk, which is free and open to the public, will begin at 4 p.m., Saturday, June 24, 2017, and will be followed by a reception on the Museum steps at 5 p.m.

This major exhibition explores the rich visual culture of mortality in Renaissance Europe. Exquisite artworks — from ivory prayer beads to gem-encrusted jewelry — evoke life’s preciousness and the tension between pleasure and responsibility, then and now. Refreshments will be served and family activities will be led by Bowdoin College students.

Slideshow: Museum of Art Kicks Off ‘Second Friday Brunswick’ ArtWalk

The monthly series of events known as “Second Friday Brunswick!” kicked off Friday, June 9, 2017. Among the participants is the Bowdoin College Museum of Art, where visitors to the exhibitions were invited to enjoy free treats from local fave Gelato Fiasco. Read more and see the slideshow in Bowdoin News. 

Museum of Art Portrait Exhibition in The New Yorker

Robert Rauschenberg, Self-Portrait (for “The New Yorker” Profile), 1964, ink and graphite on paper

Writing in The New Yorker magazine, author and art critic Calvin Tomkins made reference to Bowdoin College Museum of Art exhibition This Is a Portrait If I Say So: Identity in American Art, 1912 to Today, which ran from June to October 2016.

The exhibition took its name from a work by twentieth-century artist Robert Rauschenberg, who is currently the subject of a retrospective at the Museum of Modern Art. Tomkins, however, chose a work not featured at the MOMA show to write about. He refers to it as Rauschenberg’s “tiny masterpiece” that he created for The New Yorker in 1964, and which was featured in the This is a Portrait show: a self-portrait consisting of the artist’s thumbprint next to his initials.