Sigmund Abeles (born 1934), NL/SA, Couple, Fits like a Glove, 1999
12017-03-17T19:25:01-07:00Bryn Mawr College383197083e2e957a4c01625eb8b832e0db85199c161551Pastel on Paper; On loan from Nora Lavori (Class of 1971)
plain2017-03-17T19:25:01-07:00Bryn Mawr College383197083e2e957a4c01625eb8b832e0db85199c
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12017-03-15T15:21:55-07:00Bryn Mawr College383197083e2e957a4c01625eb8b832e0db85199cExhibition ChecklistBryn Mawr College25structured_gallery2017-03-21T20:20:54-07:00Bryn Mawr College383197083e2e957a4c01625eb8b832e0db85199c
"MIRRORS AND MASKS: Reflections and Constructions of the Self", organized by 11 student curators in a year-long 360˚ course cluster, considers the role of mirrors, masks, makeup, and masquerade in explorations of the self. This exhibition includes more than 50 works from the College’s Art & Artifacts Collection, including actual mirrors and masks, as well as works on paper, photographs, paintings, and textiles across the centuries and cultures represented in the Collection.
This exhibition, as well as its catalogue and programs, are supported by the Friends of the Bryn Mawr College Library, the Office of the Provost and its 360˚ program, Library and Information Technology Services (LITS) and its department of Special Collections and program in Museum Studies, as well as the department of History of Art.
1media/mirrors and masks header.png2017-03-15T15:47:51-07:00Exhibition37image_header2017-03-17T22:51:49-07:00 LOOKING IN THE MIRROR
When we look into a mirror, what do we see? Gazing at our reflection transforms us into images. Only our external appearance is visible in the mirror, while all the complexities of human thought and interiority may remain beneath the surface. Many artists, in their own self-portraits, make use of the mirror's flattening effect. Yet the mirror image is not static. It poses the challenge of drawing a dynamic, living self always in flux. In this interaction between artist and reflection, the artist negotiates between image and interiority.
SELF-REFLECTIONS “The mirror bids us examine our defects by knowing ourselves.” - Cesare Ripa, Iconologia (1593)
As Ripa indicates, the mirror has been conceived as a tool for understanding the self. It sets the stage for introspection and self-reflection. But such uses of the mirror are culturally and historically specific. Mirrors are used across time and place for distinct purposes and to sometimes contradictory ends. What can we understand about ourselves by consulting our reflections?
COSTUMING AS SELF-FASHIONING
How do we choose what to wear? Is this choice entirely free? Whether it is selecting what to wear in the morning or dancing a mask as part of a cultural rite of passage, we fashion ourselves in relation to our social world. Dressing up in costumes or masks might allow us to perform our sense of self differently, disrupting the assumption of a singular self and demonstrating the performative nature of selfhood.
Is your sense of self, your identity reducible to your appearance? Sometimes we assume we can know something about people based upon their appearance. Do we use appearances to gender or racialize bodies? These artists use masks or mirrors to resist the ease with which we might interpret appearances as gendered or racialized identities.
1media/mirrors and masks header.png2017-03-15T15:29:38-07:00Events20image_header2017-03-19T15:25:45-07:00
Exhibition Opening/Masquerade Party
Thursday, March 23rd, 4:30-7:30 pm Canaday Library Rare Book Room