• Mohamad Hafez, Badr Family, 2017. Mixed media, Dimensions variable. Credit nelsonimaging.com

  • Shanta Lee Gander, CROW GODDESS, 2020. Archival pigment print, 26 3/4 x 40 in. (68 x 101.6 cm). Courtesy of the artist.

  • William Villalongo (American, b. 1975) Embodied, 2018 (detail). Laser cut felt with archival pigment print. Museum purchase, Way Fund, 2020.7. Published by Graphicstudio, University of South Florida, Tampa, FL. Photo: Will Lytch

  • Mohamad Hafez, Fereshteh, 2017. Mixed media, Dimensions variable. Credit nelsonimaging.com

  • Labels with personal reflections are displayed in the "absences" where we have removed artwork whose subject matter or background is harmful to members of our community.

  • Abstracts: Opening Space for Imagination

  • Wylie Garcia (American, b. 1980), Toast Can Never Be Bread Again, 2016 (detail). Acrylic on canvas. Museum Purchase, Joan Kalkin Acquisitions Endowment, 2021

  • Romare Bearden  (American, 1911-1988), The Family, 1975 (detail). Color etching and aquatint on paper. 20 x 26 inches © 2021 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

 

Spring 2022 Exhibitions

Opening February 8

This spring we are excited to present two new entirely exhibitions, the reinstalled Storytelling Salon, and a new interactive space for our Learning Studio. In the East Gallery, we feature UNPACKED: Refugee Baggage. Created during the summer of 2017, this multi-media installation is the work of Syrian-born, New Haven CT artist and architect Mohamad Hafez and Iraqi-born writer and speaker Ahmed Badr. On the Marble Court balcony, we present the newest installation of Shanta Lee Gander's Dark Goddess series — a mix of ethnography, cultural anthropology, an exploration of the sacred feminine, and a co-creation with each of the individuals featured in Gander's photo series.

 

UNPACKED: Refugee Baggage

Mohamad Hafez, Ferreshteh, 2017. Mixed media, Dimensions variable. Credit nelsonimaging.com

In UNPACKED: Refugee Baggage, artist Mohamed Hafez sculpturally re-creates rooms, homes, buildings and landscapes that have suffered the ravages of war. Each is embedded with the voices and stories of real people—from Afghanistan, Congo, Syria, Iraq and Sudan— who have escaped those same rooms and buildings to build a new life in America.

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DARK GODDESS: An Exploration of the Sacred Feminine

Shanta Lee Gander, SHE… KILLER OF BAD MEN (II), 2020. Archival pigment print. Courtesy of the artist.

Dark Goddess: An Exploration of the Sacred Feminine, an exhibition of Shanta Lee Gander’s photo series of the same name, has been six years in the making. The series started off as an initial idea and inquiry: Who or what is the Goddess when she is allowed to misbehave? Who is the Goddess when she is allowed to expand beyond bearer of life, nurturer, and all of the other boxes that we confine women to within our society?

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STORYTELLING SALON

William Villalongo, "Embodied," 2018

In the Storytelling Salon, we consider the power of storytelling to enact change through artworks from the collection and a conversation space intended for gathering ideas about what new kinds of stories can be told in the Museum.

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ABSENCE: Seeing and Unseeing the Fleming’s Collection

Absence: Seeing and Unseeing the Fleming’s Collection

Markers of Absence: Seeing and Unseeing the Fleming’s Collection will be on view as large labels throughout the Museum. In these spaces, we have removed artwork or are deinstalling galleries that have been on view for decades and whose subject matter or background is hurtful to members of our community. Instead of filling these spaces with new artworks immediately, we have left them as intentional signs of the Museum’s commitments to transparency and holding itself accountable. Staff and students are using these texts to reflect on the problematic histories behind the collections and galleries, and to rethink what we collect, how we display it, and the words that accompany it.

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Support for this Spring is provided by the Kalkin Family Exhibitions Fund, the 1675 Foundation, the Walter Cerf Exhibitions Fund, the Joan Kalkin Acquisitions Endowment, the Vermont Arts Council and the Fleming Board of Advisors.

Exhibitions header

 

The Fleming Reimagined: Dismantling Historical Oppression and Confronting Institutional Racism

The staff at the Fleming Museum have been reckoning with how to become an anti-racist museum that’s more responsive, relevant, and inclusive. We want to know what you think about our ongoing conversations about our values and priorities.

Read the Full Statement

This semester we feature a rich schedule of programs and events related to our current exhibitions.

Events and Programs

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