Trout Gallery

Voices features material by the leading exponents of the dynamism and originality of contemporary ceramic art in Sweden. Their work represents a renewal occurring in this medium during the past ten years that, not unlike other current craft movements, redefines ceramics as an art form used for freedom of expression, no longer as objects designed primarily for function. The exhibition is curated by Inger Molin, a major figure in the transformation of Swedish ceramics. Her selection includes works by artists from different generations and each with a vastly different style and point of view, creating an exhibition that reflects the diversity of Swedish ceramics created today. It features works by Frida Fjellman, Renata Francescon, Eva Hild, Pontus Lindvall, Mårten Medbo, AnnaSofia Mååg, Gustaf Nordenskiöld, Kjell Rylander, Per B Sundberg, and Kennet Williamsson.

Voices: Contemporary Ceramic Art from Sweden was developed by the Swedish Institute and organized for tour by INTERNATIONAL ARTS & ARTISTS, Washington, DC.

In 1951, Mrs. Josephine Linn made a gift of her collection of "contemporary" prints to what was then "The Dickinson College Art Gallery" as a memorial to her late husband, the Honorable William Bomberger Linn, an Associate Justice of the Pennsylvania Supreme Court. The collection features a remarkable selection of works by American printmakers who were active during the late nineteenth and early twentieth century. Many of the prints are well known to visitors of The Trout Gallery from their inclusion in a variety of thematic exhibitions including Inked Impressions: Ellen Day Hale and the Painter-Etcher Movement (2007), 20th Century American Women Artists (1999), Trials and Triumphs: American Prints from the 1930s and 1940s (1991), and An American View: From the Country to the City (1988). Indeed, several generations of Dickinson art and art history graduates have worked with this important artistic resource. However, it is only when one surveys the entire gift of nearly 150 prints in the collection that one gains a fuller appreciation for Mr. and Mrs. Linn’s astute taste for American—notably women—printmakers. An Enduring Impression provides an introduction to the Linn Print Collection and pays homage to the foresight and generosity of Mr. and Mrs. Linn.

The period between the abdication of Kaiser Wilhelm II in November 1918 and Adolf

Hitler’s seizure of power in January 1933 was one of great creative ferment in Germany. Expressionism, which had dominated the German avant-garde before World War I, survived into the early 1920s, merging with various newer trends. The Dada movement, founded in 1916 by a group of expatriate artists disgusted with the war effort, brought its free form iconoclasm to bear on the postwar German society.  Dire social and economic circumstances seemed to demand a more pragmatic and realistic aesthetic, and by 1925 the Neue Sachlichkeit (New Objectivity) was widely hailed as the principal mode of the decade. However, German artists in the 1920s were united less by a single style than by their overriding concern with humanitarian themes. Today, when contemporary artists are again turning to overtly political subjects, a look back at Weimar Germany offers a useful object lesson about the capabilities and limitations of socially motivated art. This exhibition features lithographs and etchings by a number of the leading artists in post-World War I

Germany including Otto Dix, George Grosz, Lea Grundig, John Heartfield, and Käthe Kollwitz, as well as a number of political posters made during the years between the wars.

Organized by Galerie St. Etienne, New York.

This exhibition considers Symbolist and Surrealist prints from the museum’s collections of works on paper. It is curated by Dickinson College senior art history majors: Leah Barreras,Caitlin Barrett, Anna Elliott, Caitlin Faw, Louise Feder, Alex Geiger, Meg MacAvoy, Courtney Masters, Blair Thompson, and Amanda van Voorhees, under the direction of Melinda Schlitt.