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Clarence H. White and His World The Art and Craft of Photography, 1895-1925

Clarence H. White and His World
The Art and Craft of Photography, 1895-1925

October 7, 2017 through January 7, 2018

Making History Visible Of American Myths and National Heroes

Making History Visible
Of American Myths and National Heroes

September 26, 2017 through January 14, 2018

Rouge Michael Kenna

Rouge
Michael Kenna

October 14, 2017 through February 11, 2018

Hold A Meditation on Black Aesthetics

Hold
A Meditation on Black Aesthetics

November 4, 2017 through February 11, 2018

Clarence H. White and His World: The Art and Craft of Photography 1895–1925 Clarence H. White. By the Sea (Rose Pastor Stokes)
Exhibition

Clarence H. White and His World: The Art and Craft of Photography 1895–1925

October 7, 2017
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January 7, 2018
Making History Visible: Of American Myths and National Heroes Titus Kaphar, American, born 1976. Billy Lee: Portrait in Tar, 2016.
Exhibition

Making History Visible: Of American Myths and National Heroes

September 26, 2017
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January 14, 2018
Rouge: Michael Kenna Michael Kenna, British, born 1953. The Rouge, Study 18, Dearborn, Michigan, 1993
Exhibition

Rouge: Michael Kenna

October 14, 2017
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February 11, 2018
Hold: A Meditation on Black Aesthetics
Exhibition

Hold: A Meditation on Black Aesthetics

November 4, 2017
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February 11, 2018

Making History Visible

This fall, as part of a rich campus-wide initiative examining the ties of early University trustees, presidents, faculty, and students to the institution of slavery, the Museum is presenting a broad range of opportunities to explore the ways in which artists represent and engage with American history and wrestle with a legacy that puts Princeton not just at the center of our nation’s struggle for freedom but also at the heart of its long association with slavery.

The Power of Images | Director's Letter Fall 2017

In my view, the best public art is not simply pleasing but is also provocative and memorable, inviting us to consider our relationship to it even after we have left that space for another. Great public art should not always immediately satisfy.

Seeing to Remember: Representing Slavery across the Black Atlantic

How should our institutions represent slavery in their exhibitions and collections? Anna Arabindan-Kesson, assistant professor in the departments of Art and Archaeology and African American Studies, investigated this question this past spring together with eight undergraduate students in her new course, “Seeing to Remember: Representing Slavery across the Black Atlantic.”