Rockwell Kent (American, 1882-1971), Starlight, 1930. Wood engraving on maple. Collection of Ralf C. Nemec
Rafad Amjed, The Journey to Peace, 2022 (detail). Acrylic on canvas. Courtesy of the artist.
Shanta Lee Gander, CROW GODDESS, 2020. Archival pigment print, 26 3/4 x 40 in. (68 x 101.6 cm). Courtesy of the artist.
Franklin R. Street (1815/16-before 1894), Portrait of Hiram Charles Montier; Portrait of Elizabeth Brown Montier, 1841. Oil on canvas. Collection of the Estate of Mr. and Mrs. William Pickens III
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.
Rockwell Kent (American, 1882-1971), Forest Pool, 1927. Wood engraving on maple. Collection of Ralf C. Nemec
Sherridan Rose, Neighbors, 2022. Watercolor. Courtesy of the artist
Shanta Lee Gander, ORIGINAL BERSERK, 2020. Archival pigment print, 26 3/4 x 40 in. (68 x 101.6 cm). Courtesy of the artist.
Fall 2022 Exhibitions
Opening September 13
This fall we are excited to present three special exhibitions, as well as the loan of an extremely rare pair of portraits:
ROCKWELL KENT: Prints from the Ralf C. Nemec Collection
Rockwell Kent (1882-1971) was an author, illustrator, painter, and printmaker whose iconic graphic style decorated posters, magazine covers, advertisements, fine art publishing ventures, deluxe illustrated books, and personal bookplates. This exhibition features 49 prints drawn from the collection of Ralf C. Nemec, the largest assemblage of Rockwell Kent prints in the world.
CALL AND RESPONSE: Personal Reflections on the Fleming Collection
In a unique debut collaboration between the Howard Center Arts Collective and the Fleming Museum, Arts Collective artists have created work inspired by a piece from the museum collections. Each of the 16 exhibiting members used the museum’s online collections database to identify artwork of personal interest, from which they drew upon to create something new.
DARK GODDESS: An Exploration of the Sacred Feminine
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?
THE MONTIER PORTRAITS: Rare Early Portraits Of African-American Couple
The Fleming Museum is pleased to announce the loan of an extremely rare pair of portraits of African-American sitters whose heritage can be traced back to the Philadelphia’s first mayor, Humphrey Morrey (b. c. 1650, England; d. 1716, Philadelphia), appointed to his office by William Penn in 1691.
Painted in 1841, the portraits depict Hiram Charles Montier (1818–1905), who was a bootmaker in Philadelphia, and his wife Elizabeth Brown Montier (1820–ca. 1858). The portraits are on loan to the Museum by their descendants, the family of the late William Pickens III, who was a graduate of UVM and a supporter of the Fleming Museum.
Pickens came to the University of Vermont in 1954. His grandfather was one of the founders of the NAACP and his entire family was highly engaged in American politics and racial justice activism. At UVM, Pickens continued that tradition by becoming involved in campus causes, protesting the “Kake Walk,” and serving, from 1957 until 1958, as the first African-American president of the Student Association (now the Student Government Association).
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.
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.