{"id":180,"date":"2021-09-07T09:46:00","date_gmt":"2021-09-07T13:46:00","guid":{"rendered":"https:\/\/site.uvm.edu\/flemingmuseumofart\/?p=180"},"modified":"2024-12-12T21:31:28","modified_gmt":"2024-12-13T02:31:28","slug":"introducing-the-learning-studio","status":"publish","type":"post","link":"https:\/\/site.uvm.edu\/flemingmuseumofart\/introducing-the-learning-studio\/","title":{"rendered":"Introducing the Learning Studio"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\">September 14 &#8211; December 10, 2021<\/h2>\n\n\n\n<p>This fall, the Fleming Museum is \u201cshowing our work\u201d&nbsp;by&nbsp;exhibiting itself in a state of transformation and change, with listening to visitors at the center of that work. It is messy and vulnerable to work in public. Learning how to improvise and adapt\u2014haven\u2019t we all done so much of that these past 18 months?<\/p>\n\n\n\n<p>Yet artists have always found a rich vein in that radical openness to documenting experiments and showing work in process. These experiments lead to collaborations. They lead to reflection and storytelling about the ups and downs of the creative process. They lead to change. The Learning Studio is a space for creating conversations with art and artists who inspire us to embrace this opportunity for working and learning in public. The Fleming staff have begun recording our own inspirations to think about change with these artworks; we invite visitors to add to these conversations.<\/p>\n\n\n\n<p>The<em>&nbsp;Learning Studio<\/em>&nbsp;is born of improvisation, as we adapted an exhibitions gallery into a socially-distanced place for classes to meet during the 2020-21 school year. That improvisation led to a realization about how much we wanted to adapt such a space for people to gather and look at art together, in classes, in intimate conversations, in creative programs. You will see the large learning space change every day, as different groups of people gather to talk about art and material culture from the Museum\u2019s collection. Any conversation could spark more changes as we learn from our audiences about what the Museum can become.<\/p>\n\n\n\n<p><em>Support for this installation is provided by the Kalkin Family Exhibitions Fund, the Walter Cerf Exhibitions Fund, and the Vermont Arts Council.<\/em><\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Elizabeth Murray&#8217;s &#8220;Shoe String:&#8221; A Recent Fleming Museum Acquisition<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-embed-handler wp-block-embed-embed-handler wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Elizabeth Murray&#039;s &quot;Shoe String&quot;\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/VqlFh081vYY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>Fleming Museum of Art curator Andrea Rosen and University of Vermont associate professor of painting Steve Budington discuss American artist Elizabeth Murray\u2019s 1993 three-dimensional lithograph,&nbsp;<em>Shoe String<\/em>. Purchased by the Museum in 2019, Murray\u2019s print is being displayed for the first time in the Museum as part of&nbsp;<em>The Fleming Reimagined&nbsp;<\/em>series of installations.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Shahzia Sikander&#8217;s &#8220;Naga,&#8221; 2007<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-84.jpeg\" alt=\"Naga by Shahzia Sikander \" class=\"wp-image-182\" srcset=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-84.jpeg 300w, https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-84-150x150.jpeg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<p>Shahzia Sikander (American, b. 1969 Pakistan),&nbsp;<em>Naga<\/em>, 2007 (detail). Photogravure and gold leaf. 29 \u00be x 22 7\/8 inches. Museum Purchase, 2020.9<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Manuel Ocampo&#8217;s &#8220;The Compensatory Motif in the Libidinal Economy of a Painter&#8217;s Bad Inconscience,&#8221; 2001<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-86.jpeg\" alt=\"Manuel Ocampo's &quot;The Compensatory Motif in the Libidinal Economy of a Painter's Bad Inconscience,&quot; 2001\" class=\"wp-image-184\" srcset=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-86.jpeg 300w, https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-86-150x150.jpeg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<p>Manuel Ocampo (Filipino, b. 1965),&nbsp;<em>The Compensatory Motif in the Libidinal Economy of a Painter&#8217;s Bad Inconscience<\/em>, 2001 (detail). Lithograph with chine coll\u00e9. 30 \u00d7 22 inches<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Larry Rivers&#8217; &#8220;Holly Woodlawn,&#8221; 1971<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-85.jpeg\" alt=\"Larry Rivers' &quot;Holly Woodlawn,&quot; 1971\" class=\"wp-image-183\" srcset=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-85.jpeg 300w, https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-85-150x150.jpeg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<p>Larry Rivers (American 1923-2002),&nbsp;<em>Holly Woodlawn<\/em>, 1971 (detail) Graphite on paper. 6 3\u20444 x 8 1\u20444 inches. Bequest of J. Brooks Buxton. \u00a9 2021 Estate of Larry Rivers \/ Licensed by VAGA at Artists Rights Society (ARS), NY<\/p>\n\n\n\n<h2 class=\"wp-block-heading\">Katia Santiba\u00f1ez and James Siena&#8217;s &#8220;Fourhand Choker,&#8221; 2018<\/h2>\n\n\n\n<figure class=\"wp-block-image\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-87.jpeg\" alt=\"Katia Santiba\u00f1ez and James Siena's &quot;Fourhand Choker,&quot; 2018\" class=\"wp-image-185\" srcset=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-87.jpeg 300w, https:\/\/site.uvm.edu\/flemingmuseumofart\/files\/2024\/12\/image-87-150x150.jpeg 150w\" sizes=\"auto, (max-width: 300px) 100vw, 300px\" \/><\/figure>\n\n\n\n<p>Katia Santiba\u00f1ez (American, b. 1964 France) and James Siena (American, b. 1957),&nbsp;<em>Fourhand Choker<\/em>, 2018 (detail). Reduction woodcut in 7 colors. 16 x 12 inches, Edition of 22. Museum purchase, Way Fund, 2020.8<br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>September 14 &#8211; December 10, 2021 This fall, the Fleming Museum is \u201cshowing our work\u201d&nbsp;by&nbsp;exhibiting itself in a state of transformation and change, with listening to visitors at the center of that work. It is messy and vulnerable to work in public. Learning how to improvise and adapt\u2014haven\u2019t we all done so much of that &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/site.uvm.edu\/flemingmuseumofart\/introducing-the-learning-studio\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Introducing the Learning Studio&#8221;<\/span><\/a><\/p>\n","protected":false},"author":10094,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[],"class_list":["post-180","post","type-post","status-publish","format-standard","hentry","category-other","entry"],"featured_image_src":null,"featured_image_src_square":null,"author_info":{"display_name":"Staff","author_link":"https:\/\/site.uvm.edu\/flemingmuseumofart\/author\/rlmoreau\/"},"_links":{"self":[{"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/posts\/180","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/users\/10094"}],"replies":[{"embeddable":true,"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/comments?post=180"}],"version-history":[{"count":1,"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/posts\/180\/revisions"}],"predecessor-version":[{"id":186,"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/posts\/180\/revisions\/186"}],"wp:attachment":[{"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/media?parent=180"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/categories?post=180"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/site.uvm.edu\/flemingmuseumofart\/wp-json\/wp\/v2\/tags?post=180"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}