Jul
10
Fri
Opening Reception & Ririe-Woodbury Dance Performance @ Utah Museum of Contemporary Art
Jul 10 @ 7:00 PM – 9:00 PM
Opening Reception & Ririe-Woodbury Dance Performance @ Utah Museum of Contemporary Art

Join us for the opening reception for Sean Morello’s Constellations & Supersymmetries and Kyle Jorgensen’s Parastroke.

UMOCA will also partner with Ririe Woodbury Dance Company to present a durational movement installation alongside PanopticonInvisible Gaze, which examines the act of watching and how it reacts to public and private contexts.

 

Jul
11
Sat
Family Art Saturday: Move It, Move It @ Utah Museum of Contemporary Art
Jul 11 @ 2:00 PM – 4:00 PM

Move It, Move It
After visiting the exhibit Adjunct to experience Karin Hodgin-Jones’ entrancing motor-powered sculptures, engineer your own kinetic artwork powered by the turn of a hand-crank.

Jul
16
Thu
Art Talk: Amanda Douberley on Claes Oldenburg’s Geometric Mouse @ Utah Museum of Contemporary Art
Jul 16 @ 7:00 PM – 8:30 PM

JIMG_3908 (640x640)UL 16 | 7 PM | ART TALK

With Amanda Douberley, Lecturer in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago

Join us for a discussion of Claes Oldenburg’s Geometric Mouse.
Oldenburg is widely known for his large-scale, site-specific sculptures, initiated by Lipstick (Ascending) on Caterpillar Tracks in 1969. Created during the same year, Geometric Mouse is arguably the most self-reflexive of Oldenburg’s early public art projects, and unique within the artist’s oeuvre for its combination of a small-scale multiple with a large-scale sculpture. Through Oldenburg’s exploration of mass production, industrial fabrication, and branding, Geometric Mouse reveals the stakes of making public sculpture, not only at a crucial moment in the artist’s career, but also at a decisive turning point in the history of public art in the United States.

 

Amanda Douberley’s research interests center on twentieth-century sculpture, architecture, and design; corporations and the arts; and theories of the public sphere. Her writing has appeared in Art Journal, Art Papers and Nierika: Revista de Estudios de Arte.  Upcoming publications include a dialogue with the artist Paul Druecke in A Companion to Public Art (Wiley-Blackwell, forthcoming). Amanda received her PhD in Art History from the University of Texas at Austin in 2015.