Dan Halter

September 12-November 12, 2017, "After the Thrill is Gone: Fashion, Politics, and Culture in Contemporary South African Art." Above: Dan Halter (b. 1977, Harare, Zimbabwe), "Kure Kwegva Ndokusina Muksubvu
(loosely translated from Shona: It is far from the jackal where there is not mukubvu fruit tree)," 2014; found plastic-weave bag, custom made tartan fabric, courtesy of the artist and WHATIFTHEWORLD, Cape Town. "After the Thrill is Gone" was organized by the James W. & Lois I. Richmond Center for Visual Arts, Western Michigan University. Curated by Dr. Andrew Hennlich.



Spring 2018

Robyn O'Neil: We, The Masses

January 23-March 8, 2018
Sussel Gallery

Gallery Talk

Thursday, February 8, 2018
7:00-8:00 p.m.
Robyn O'Neil
CWAM will open at 6:30 p.m. prior to O'Neil's talk.

We, The Masses, 2011, is a short animated film based on the artwork of Robyn O'Neil. The film begins in a barren snowy landscape where, after an unknown cataclysmic event, a man falls to the ground. Searching, he discovers other men whose destructive impulses are at odds with his search for transcendence. He joins them, hoping they will lead him to his destination. Instead, what he encounters is an incomprehensible journey through the machinations of social trauma.

Produced in collaboration with Eoghan Kidney, the award-winning We, The Masses was conceived at Werner Herzog's Rogue Film School and funded by the Frameworks scheme with the support of the Irish Film Board, RTE and The Arts Council of Ireland.

Courtesy of the artist and Susan Inglett Gallery, New York.

About the Artist

Robyn O’Neil (b. 1977, Omaha, Nebraska) lives and works in Los Angeles, California. She has been had major solo exhibitions at the Des Moines Art Center and at the Contemporary Arts Museum, Houston, Texas. Her work was included in the Whitney Museum of American Art's Whitney Biennial (2004), Dargerism at The American Folk Art Museum, New York (2008), and Multiverse: Stories of This World and Beyond at the Kemper Museum of Contemporary Art, Kansas City (2017). O’Neil is the recipient of numerous grants and awards, including a Joan Mitchell Foundation Grant in 2008 and the Hunting Prize in 2009. She also hosts one of the highest rated poetry & literature podcasts “ME READING STUFF.”

Saints, Relics, and Images: The Art of Medieval Devotion

Museum Lab (hours to be posted)
January 23-April 16, 2018

April 17-May 13, 2018

Burton D. Morgan Gallery

Throughout the Middle Ages, saints served as exemplars of faith. From their position in the Court of Heaven, they interacted with the corporal world, their power made manifest in their bodily remains and associated possessions tucked into parish altars and revealed in distant pilgrimage destinations. Sumptuous reliquaries touted the power of saintly relics. Medieval Christians believed that achieving spiritual illumination was furthered through the commissioning and use of artistic material splendor. As such, luminous glass, precious metals, and ornate surfaces transported worshipper in their devotions enabling interaction with the holy dead.

The student-curated exhibition Saints, Relics, and Images is part of Associate Professor of Art History Kara Morrow’s Medieval Art seminar. Students enrolled in the seminar will spend the first half of the semester in the museum lab set up in the Burton D. Morgan Gallery researching objects on loan and selected from the CWAM’s collection, with the exhibition taking place at the end of the semester.

2018 Studio Art Senior Independent Study Group Exhibition

April 27-May 13, 2018
Sussel Gallery

  • Kari Everson ‘18
  • Jacob Nowell ‘18
  • Ashley Plassard ‘18
  • Jessy Pojman ‘18
  • Vy Vu ‘18
  • Arielle Welch ‘18

Fall 2018

The Ocean After Nature

September 11-November 18, 2018
Sussel Gallery and the Burton D. Morgan Gallery

“Our premise is that the sea remains the crucial space of globalization. Nowhere else is the disorientation, violence, and alienation of contemporary capitalism more manifest, but this truth is not self-evident, and must be approached as a puzzle, or mystery, a problem to be solved.”
— Allan Sekula and Noël Burch, 2010

For centuries, the ocean has prompted awe, figuring as a vast unknown space loaded with notions of the sublime and the exotic. In the past fifteen years, however, global technological and economic shifts have triggered new concerns and understandings of the ocean. As we consider the future of our planet, today’s oceans reveal more about the consequences of human actions than ever before. The ocean and humanity, no longer thought of as separate, exist in a relationship of mutual and potentially destructive influence.

The Ocean After Nature considers the ocean as a site reflecting the ecological, cultural, political, and economic realities of a globalized world through the work of twenty artists and collectives. These internationally established and emerging artists explore new ways of representing the seascape as a means to identify and critique the various interrelated and chaotic systems of power, such as land-sea divides, the circulation of people and goods, and the vulnerabilities of our ecosystems. Featuring work in a wide variety of media—including photography, video, sculpture, music, and design—the exhibition proposes that seascapes do not only reflect power but can be instruments of power themselves.


Ursula Biemann, UNITED BROTHERS, Noël Burch, CAMP, Yonatan Cohen, Mati Diop, Drexciya, Peter Fend, Manuel Gnam, Renée Green, Peter Hutton, Hyung S. Kim, An-My Lê, Ulrike Ottinger, Manny G. Montelibano III, Deimantas Narkevičius, The Otolith Group, Maria D. Rapicavoli, Carissa Rodriguez, Rafi Segal, Allan Sekula, Supersudaca

A publication accompanies the exhibition.

The Ocean After Nature is an exhibition curated by Alaina Claire Feldman and organized by Independent Curators International (ICI), New York. The exhibition is made possible with the generous support from ICI's International Forum and Board of Trustees.