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 Panopticon, Invisible Gaze, which examines the act of watching and how it reacts to public and private contexts.
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.
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.