Description: This exhibition is composed of fifty-four alumni who received arts degrees from either a BA in Fine Arts, BFA In Studio Arts, BFA in Communication Arts and Design, BFA in Interior Architecture, MA in Studio Arts or MAT at the University of Louisville since 2000. They are currently working as artists, arts educators, designers, illustrators, curators, gallery directors and arts activists. They also may be running their own business and/or continuing their education (two are currently in PhD programs). Of the alumni in “Making it: Now”, twenty-seven have gone on to earn higher degrees at other institutions including Tyler School of Art, Yale University, Cranbrook Academy of Art, Virginia Commonwealth University, New York Academy of Art, Carnegie Mellon University, New York University, Rhode Island School of Art, University of Pennsylvania, Pratt, University of Cincinnati and University of Wisconsin-Madison. Some have stayed in Louisville or this region while others have moved to New York, Brooklyn, Philadelphia, San Francisco and all points between.
Description: An original and overdue exploration of the representation of masculinity in British academic art in the late nineteenth and early twentieth centuries, Painted Men in Britain, 1868–1918 analyzes transgressions of gender and sexuality as represented in paintings by Leighton, Sargent, Tuke, and their contemporaries in the Royal Academy. This volume treats paintings as eloquent objects, no narratives of which are too elusive to be traced, and challenges conventional binaries of masculine versus feminine or heterosexual versus homosexual. Consulting not only the paintings themselves but also newspapers, journals, criticism, novels, and poetry of the day, Painted Men argues against the misconception of British academic art as merely reactionary and even blind to the dynamism of its own time. Instead, this art is shown to engage with broader social attitudes and contemporary sexual debates. As the book reveals the complexities of specific paintings, it illuminates different and competing attitudes toward masculinity and modernity in British art of the period.