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DTSTART;VALUE=DATE:20260328
DTEND;VALUE=DATE:20260824
DTSTAMP:20260727T072138
CREATED:20260205T205408Z
LAST-MODIFIED:20260401T150109Z
UID:8867-1774656000-1787529599@www.daummuseum.org
SUMMARY:Inhabit
DESCRIPTION:Inhabit brings together works from the Daum collection that explore the layered relationships between people and the landscapes they occupy. Spanning sculpture\, painting\, photography\, and printmaking\, the exhibition considers inhabitation not simply as dwelling in a place\, but as an ongoing exchange between body and environment. \nAcross media bodies emerge from\, dissolve into\, or confront their surroundings\, suggesting that identity is shaped as much by terrain as by memory. The landscape in Inhabit is not a passive backdrop. It is charged with history\, labor\, desire\, and change. Fields\, forests\, streets\, and constructed spaces become sites of belonging and displacement\, resilience\, and fragility. \nBy placing depictions of people and landscapes in conversation across materials\, the exhibition foregrounds the reciprocal nature of inhabitation. The works invite reflection on our own embeddedness within social\, ecological\, and built systems\, reminding us that to inhabit is both to shape and to be shaped. \nInstallation shot of "Inhabit" Installation shot of "Inhabit" Installation shot of "Inhabit" Installation shot of "Inhabit" Installation shot of "Inhabit" Amy Meissner\, "Milk on the Tongue"\, 2022; Vintage crocheted potholders\, embroideries\, abandoned crazy quilts\, glass and plastic craft beads\, swarovski crystals; Museum purchase.Amy Meissner\, "Milk on the Tongue"\, 2022; Vintage crocheted potholders\, embroideries\, abandoned crazy quilts\, glass and plastic craft beads\, swarovski crystals; Museum purchase.  Jo Whaley\, "The Dunce: A Bewildered Ruler of an Ambiguous World"\, 1989; Unique Polaroid photograph; Gift of Ricci Racela & Michael Bonahan. Installation shot of "Inhabit" Installation shot of "Inhabit" Larry Thomas\, "Dance"\, 1995-1996; mixed media on canvas; gift of the artist. Installation shot of "Inhabit" Installation shot of "Inhabit" Installation shot of "Inhabit" Installation shot of "Inhabit" Amy Meissner\, "Milk on the Tongue"\, 2022; Vintage crocheted potholders\, embroideries\, abandoned crazy quilts\, glass and plastic craft beads\, swarovski crystals; Museum purchase.Amy Meissner\, "Milk on the Tongue"\, 2022; Vintage crocheted potholders\, embroideries\, abandoned crazy quilts\, glass and plastic craft beads\, swarovski crystals; Museum purchase.  Installation shot of "Inhabit" William Hawk\, \,"Clay Eater"\, 1987; Oil on canvas; Gift of John Mandelker. Installation shot of "Inhabit" Installation shot of "Inhabit" Installation shot of "Inhabit" Installation shot of "Inhabit" Suda House\, "Diana the Huntress\, from the Aqueous Myths"\, 1986; Archival fujiflex print; Gift of the artist. Installation shot of "Inhabit" Installation shot of "Inhabit"
URL:https://www.daummuseum.org/event/inhabit/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.daummuseum.org/wp-content/uploads/2026/02/A_2003.19_JPG.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260423
DTEND;VALUE=DATE:20270602
DTSTAMP:20260727T072138
CREATED:20260330T213340Z
LAST-MODIFIED:20260417T192137Z
UID:8906-1776902400-1811894399@www.daummuseum.org
SUMMARY:"Relay": Special Art Installation by Leticia R. Bajuyo
DESCRIPTION:During the week of April 20-23\, visiting artist Leticia R. Bajuyo will be installing a large\, floating art piece in the halls of the Stauffacher building. Through her large-scale works\, Leticia Bajuyo engages audiences and connects with communities through her site-specific installations that involve community collections of media and memories. By incorporating recognizable materials and forms including CDs\, artificial grass\, and insulation styrofoam\, Bajuyo creates spaces and multi-layered experiences that invite audiences to participate in theatrical re-arbitrations of value. \nLeticia R. Bajuyo is an interdisciplinary artist whose public commissions\, immersive installations\, and delicate visual poems transform collected audio media\, cast metal\, and synthetic remnants into carefully crafted objects that examine how identity\, value\, and desire are constructed and reshaped overtime. Her interest in unpacking value perceptions find their roots in her autobiography growing up bi-racial in a small\, rural town named Metropolis on the border of Illinois and Kentucky. The time and space of quiet landscapes outside and the multi-national dialogues inside her family’s house influenced the development of her critiques of consumer capitalism\, fickle domestic desires\, and internalized pressures of assimilation. She has participated in national and international residency programs including Muscarelle Museum of Art in Williamsburg\, Virginia; Fountainhead Residency in Miami\, Florida; Sloss Metal Arts in Birmingham\, Alabama\, and the From Waste to Art Museum in Baku\, Azerbaijan. In addition to her individual artwork\, she seeks community by participating in artist collectives including Land Report Collective and Project Vortex and serving on the Mid-South Sculpture Alliance (MSA) board of directors and the National Conference on Contemporary Cast Iron Art and Practices (NCCCIAP) steering committee. Bajuyo received her B.F.A. from the University of Notre Dame and M.F.A. from the University of Tennessee. She is an Associate Professor of Sculpture at the University of Oklahoma. Prior to Oklahoma\, she served as an Associate Professor at Texas A&M University–Corpus Christi\, Visiting Assistant Professor at Notre Dame\, and Professor of Art at Hanover College. In addition\, she has taught summer workshops at Anderson Ranch Arts Center and Arrowmont School of Arts and Crafts\, and chairs the Visual Arts panel for YoungArts in Miami\, Florida. \nStudents and art enthusiasts are welcome and encouraged to come observe Leticia’s progress while this complicated piece is installed outside of the Goddard Gallery. \nWebsite: www.leticiabajuyo.com \nStudio photo- credit of Jared Ragland. "Loop Gravity Repeated"\, photo credit Blake Studdard. Leticia Bajuyo headshot\, credit Joel Luks.Leticia Bajuyo headshot\, credit Joel Luks.  "Amplitude South Bend"\, credit Leticia Bajuyo.
URL:https://www.daummuseum.org/event/relay-special-art-installation-by-leticia-r-bajuyo/
CATEGORIES:Artist Lecture,Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261221
DTSTAMP:20260727T072138
CREATED:20260513T195357Z
LAST-MODIFIED:20260715T153815Z
UID:8983-1783382400-1797811199@www.daummuseum.org
SUMMARY:Eye of the Beholder
DESCRIPTION:Seeing is not a neutral act. Our understanding of the visual world is shaped by our experiences\, cultural conditioning\, and surrounding environment. Meaning does not reside solely within an object; it arises from a participatory\, constructed process. As the author Anaïs Nin reminds us\, “We don’t see things as they are. We see things as we are.” \nEye of the Beholder approaches perception from this point of view\, especially as it relates to received notions of femininity. In this exhibition\, artworks that depict readable characteristics of the feminine are placed in conversation with abstract pieces that only allude to femininity’s essential qualities. The materiality of a Donna Sharrett textile\, the palette of a Helen Frankenthaler print\, and the imagery of a Michael Eastman photograph can each become allegories of femininity. When these works are placed in dialogue\, the subsequent comparisons invite us to question whether the very suggestion of the feminine alters how we interpret what we see next. \nIn Eye of the Beholder\, the installation\, itself\, becomes part of this inquiry. In one gallery\, a dense\, salon-style arrangement invites a layered reading through close spatial relationships. In the other room\, a more traditional presentation offers space and visual separation\, encouraging each work to stand on its own. Moving between these two environments\, viewers may notice how associations carry over\, linger\, or dissolve. We are invited to participate in this process\, to question our own habits of perception\, and to consider how suggestion and context shape what is seen. \nUltimately\, this exhibition asks us to consider how we come to recognize and imagine femininity\, not only in what is depicted\, but in what is implied. What appears to be “feminine” may not reside in the object at all\, but in the expectations we bring to it. In the end\, the key to the exhibition is not on the walls\, it is in the eye of the beholder. \nQuestions \n\nWhat three words describe femininity to you?\nWhat artwork in the exhibit speaks to femininity the most in your opinion? Why?\n\nQuote \n“We don’t see things as they are. We see things as we are.” -Anaïs Nin \nThis exhibition was curated by Marcie Teter\, Dr. Meghan McClellan\, and Elena Sofia Raineri. \nAnne Noggle\, "Mary: A Retrospective"\, 1987; Gelatin silver print; Gift of Ricci Racela & Michael Bonahan.Anne Noggle\, "Mary: A Retrospective"\, 1987; Gelatin silver print; Gift of Ricci Racela & Michael Bonahan.  Paul Allen\, "Golden Arch Angel"\, 2014-15; Collage on paper mounted on board; Gift of the estate of Dr. Harold F. Daum. Brian Novatny\, "Woman in Floral Dress"\, 1998; Color Etching; Gift of Dr. Harold F. Daum. Linda Connor\, "Hand with Shell"\, 1971; Gelatin Silver Print; Gift of Ricci Racela & Michael Bonahan. Andy Collins\, Untitled\, 2006; Oil on canvas; Gift of Dr. Harold F. Daum.Andy Collins\, Untitled\, 2006; Oil on canvas; Gift of Dr. Harold F. Daum.  Dennis Brokaw\, "Flower\, Water\, and Logs\, Jack Creek\, Oregon"\, 1984; Dye Transfer print; Gift of P. John Owen Estate. "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" installation shot.
URL:https://www.daummuseum.org/event/eye-of-the-beholder/
CATEGORIES:Community Activity,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.daummuseum.org/wp-content/uploads/2026/05/collins.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261221
DTSTAMP:20260727T072138
CREATED:20260513T201409Z
LAST-MODIFIED:20260715T153851Z
UID:8991-1783382400-1797811199@www.daummuseum.org
SUMMARY:Under Pressure
DESCRIPTION:Drawn from the collection of the Daum Museum of Contemporary Art\, Under Pressure considers abstraction as a site of tension between order and disruption. Rather than offering escape\, abstraction here operates as a point of collision\, where systems intended to stabilize and contain begin to reveal their own instability. \nAcross the works presented\, a sense of underlying tension becomes visible. Control and vulnerability coexist in a state of friction\, producing a persistent and unresolved unease. The exhibition does not seek to resolve these conditions\, but to foreground them. \nFormal structures such as grids and repeated systems are subjected to pressure. They loosen\, fragment\, or give way to gesture. Surfaces accumulate and thicken\, resisting restraint and asserting material presence. In this context\, structures associated with clarity\, protection\, or definition appear increasingly fragile and provisional. \nAbstraction emerges as a charged field in which instinct and control intersect. Systems falter\, and moments of excess or disruption come to the fore. What is revealed is not collapse\, but a sustained state of instability in which order persists without ever fully securing itself. \nUnder Pressure was curated by Alex Britton and Garry Holstein. \nJack Tworkov\, "DA on P #4 Q1-73"\, 1978; Acrylic on paper. Jim Shrosbree\, "Tom Tom (Blaze)\, 1999; Glazed earthenware with flocking. James Brinsfield\, "Super Freak"\, 1998; Acrylic and paper on canvas. "Under Pressure" Installation shot."Under Pressure" Installation shot.  "Under Pressure" Installation shot."Under Pressure" Installation shot.  "Under Pressure" Installation shot."Under Pressure" Installation shot.  "Under Pressure" Installation shot."Under Pressure" Installation shot.  "Under Pressure" Installation shot."Under Pressure" Installation shot.  "Under Pressure" Installation shot."Under Pressure" Installation shot.
URL:https://www.daummuseum.org/event/under-pressure/
CATEGORIES:Community Activity,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.daummuseum.org/wp-content/uploads/2026/05/A_2008.12_JPG.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260812
DTEND;VALUE=DATE:20261221
DTSTAMP:20260727T072138
CREATED:20260205T205814Z
LAST-MODIFIED:20260205T205814Z
UID:8869-1786492800-1797811199@www.daummuseum.org
SUMMARY:Contemporary Visions of the West
DESCRIPTION:The American West occupies a complex space in the cultural imagination\, shaped by frontier narratives\, industry\, land use\, migration\, resilience\, and mythmaking. Contemporary Visions of the West seeks work that reclaims or reimagines Western identities and landscapes beyond nostalgia or stereotype. Artists are encouraged to consider how ideas of the West intersect with issues of place\, labor\, environment\, power\, belonging\, and lived experience in the present moment. \nThis juried guest exhibition will feature artists living and working throughout the United States whose work engages Western themes through a contemporary lens.
URL:https://www.daummuseum.org/event/contemporary-visions-of-the-west/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270301
DTSTAMP:20260727T072138
CREATED:20260205T210104Z
LAST-MODIFIED:20260715T151917Z
UID:8870-1789689600-1803859199@www.daummuseum.org
SUMMARY:Cross-Pollination
DESCRIPTION:Presented at the Daum Museum of Contemporary Art\, Cross-Pollination brings together works from the museum’s permanent collection with significant loans by invited contemporary artists to explore the interconnected relationships that shape the natural world. Across generations\, media\, and artistic perspectives\, the exhibition considers nature not as a static subject\, but as a dynamic network of exchange in which every encounter has the potential to transform what follows. \nThe phenomenon of cross-pollination offers both a biological process and a curatorial framework. As butterflies\, bees\, birds\, and wind carry pollen between plants\, they sustain biodiversity through movement and connection. Likewise\, the works assembled in this exhibition generate new meaning through proximity. Historical works from the Daum Museum’s collection enter into conversation with contemporary practices\, creating moments of resonance that extend beyond chronology and reveal the collection as an evolving body of ideas. \nWorking across painting\, photography\, sculpture\, textiles\, and installation\, the artists engage recurring themes of growth\, migration\, adaptation\, fragility\, and resilience. Plants and pollinators appear throughout the exhibition as enduring symbols of interdependence\, reminding us that life flourishes through relationships rather than isolation. These ecological systems become a lens through which to consider artistic influence\, cultural memory\, and the continual exchange between past and present. \nCross-Pollination invites visitors to experience the museum as an ecosystem where works of art\, like living organisms\, exist within a web of connections that expands with every new encounter. The temporary presence of invited artists does not stand apart from the permanent collection\, but activates it\, allowing ideas to circulate across time and media. Together\, these works reflect the vitality of nature itself\, demonstrating that renewal emerges through diversity\, dialogue\, and the continual movement of ideas.
URL:https://www.daummuseum.org/event/cross-pollination/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/avif:https://www.daummuseum.org/wp-content/uploads/2026/02/R_2025.05.avif
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270301
DTSTAMP:20260727T072138
CREATED:20260715T152721Z
LAST-MODIFIED:20260715T152721Z
UID:9011-1789689600-1803859199@www.daummuseum.org
SUMMARY:Bede Clarke: King's Highway
DESCRIPTION:The Daum Museum of Contemporary Art presents Bede Clarke: King’s Highway\, on view September 18\, 2026\, through February 28\, 2027. Bringing together ceramics and works on paper\, the exhibition examines Clarke’s enduring exploration of the vessel\, drawing\, and the expressive potential of the handmade mark. \nFor more than four decades\, Clarke has investigated the relationship between form\, surface\, and touch. While the vessel remains central to his practice\, his work extends beyond traditional ceramics through an ongoing dialogue with drawing\, color\, and gesture. The resulting works record both the physical act of making and the quiet rhythms that shape the creative process. \nClarke describes his practice as one guided by touch and by an intuitive response to both material and process: “I think I have always cast a pretty wide net in terms of my exploration of clay. Pots and the vessel have held the center but there has been a strong overlay of interest in drawing\, color and leaving a trace of the hand. I navigate both the clay and drawing with an emphasis on ‘touch’ and a felt response to the materials and to my own inner rhythms and sensibilities. I am guided by a dialogue with the work and find myself in agreement when it speaks in a voice that has commitment and conviction\, but also the allure of mystery and enigma. I am always most pleased when the work strikes a balance between wildness and restraint. Through all this work I am most interested in distinguishing the record\, the moment of the hand touching clay\, and the actual quality of feeling surrounding the work.” \nThe exhibition highlights Clarke’s sustained interest in balancing spontaneity with restraint\, allowing each object to embody both the evidence of its making and a sense of quiet contemplation. Through layered surfaces\, expressive line\, and carefully considered form\, King’s Highway invites viewers to consider clay as both a material and a record of human experience. \nBede Clarke is Professor Emeritus at the University of Missouri-Columbia\, where he taught ceramics from 1992 to 2021. He received an MFA from the University of Iowa and a BFA from Eckerd College. His work is represented in museum collections throughout the United States and internationally\, including the Daum Museum of Contemporary Art\, the Taipei County Yingge Ceramics Museum\, the Icheon World Ceramic Center\, the South Bend Museum of Art\, the Martin Museum of Art\, and the Nora Eccles Harrison Museum of Art. Clarke lives and works in Columbia\, Missouri.
URL:https://www.daummuseum.org/event/bede-clarke-kings-highway/
CATEGORIES:Community Activity,Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.daummuseum.org/wp-content/uploads/2026/07/Kings-Highway-Earthenware-7x6.25x1.jpg
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