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    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

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    Sanford Biggers (American, b. 1970), The Pasts They Brought with Them, from The Floating World series, 2013 (detail). Paper collage and silkscreen with hand-coloring. 27 1/2 x 24 inches. Museum purchase, Way Fund, 2020.6

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    Collection of Vernacular Photographs. Varied dates and formats. Gift of Peter J. Cohen, 2018

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    Ross Neher, Idol, 1989 (detail). Oil on linen. Gift of Christian M. McGeachy 1995.2

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    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.

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

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    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

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    Abstracts: Opening Space for Imagination

 

The Fleming Reimagined: Confronting Institutional Racism and Historical Oppression

Opening September 14

This fall at the Fleming Museum of Art, you will see changes that have taken  place  in  the  past  year  as  Fleming  staff  have  begun  to  reckon  with  the  Fleming’s  institutional  and  collections  history  in  a  process  we  call  The  Fleming  Reimagined.  We  make  our  work  visible  here,  as  we  confront  the  problematic  histories  behind  the  collections and galleries and, with  your  input,  rethink  what  we  collect, how  we  display  it, and the words that accompany it. We look forward to continuing this public reckoning and we invite your participation as we ask questions to help reimagine the Fleming Museum. What values ought to be displayed? What should we collect and exhibit? What stories about artworks do you want to hear? From what perspectives and in whose voices? 

To  participate,  join  us  at  the  Museum  and  experience  our  new  spaces, or fill out our feedback form.

 

STORYTELLING SALON: Voices Creating Change

Romare Bearden, "The Family," 1975

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

LEARNING STUDIO: Creating Conversations with Art

Katia Santibañez and James Siena, Fourhand Choker, 2018

The Learning Studio was born of improvisation, as we adapted an exhibitions gallery into a socially distanced place for classes to meet during the 2020-21 school-year. Now part-gallery, part-classroom, the Learning Studio is a place for the public to take part in intimate conversations about art and material culture from the Museum’s collection. Works on view in this gallery demonstrate how artists have always found a rich vein in that radical openness to documenting experiments and showing work in process.

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.

ABSTRACTS: Opening Space for Imagination

Eric Aho, "Vow," 2010

All these changes have had a ripple effect in the Museum. After long featuring nearly all-white New England artists and especially landscapes, the Marble Court balcony now features Abstracts: Opening Space for Imagination. Just as our Absences project uses gaps on the wall to envision new possibilities, abstract artworks make room for imagination. They allow us to reconsider outdated traditions and start to envision what comes next.

 

Support for this fall 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

Contact Us

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