If you have had the fortune to visit the Rose Art Museum previously, whether to see the stunning surrealist imagination of Leonora Carrington, or the examination of ethnicity, romance and gender that Salman Toor has evoked, or even to relax and see the permanent collection of Lichtensteins and other modern oddities, you may have heard about the museum’s fall celebration last week. An opportunity to engage with all the current exhibitions, meet and mingle with artistic personalities and professionals and explore an interesting part of campus, this year’s celebration was a beautiful coming together of people of all backgrounds. As a writer for the Arts and Culture section, I couldn’t miss the opportunity to snack on some amazing hors d’oeuvres while viewing the collection and new exhibitions at the museum. “Danielle Mckinney: Tell Me More” and “Fred Wilson: Reflections” were the two special temporary exhibitions on view during the celebration and are still open to the public. This article will cover four works that are beautiful representations of the Rose’s work this season.

The first work that will be discussed is a part of their collection, Jamal Cyrus’ 2019 found-garment piece “Djeli Brown.” A beautiful fabric work, “Djeli Brown” is somewhat imposing as it stands in front of you, curiously hung up like a disoriented coat. Cyrus modifies the work with a pattern of linear triangles that streak, curve and traverse the fibers of the coat, recalling footprints of people across sand. The ochre hue reminds one of the earth, the soil and thus we are brought into a space of naturalism. Such naturalism complements greatly the sensation of an expanse, extending outwards from the edges of the fibers. I highly recommend viewing this work at the Rose soon. 

“The Beginning of the End” is a piece by Fred Wilson, made in 2009 from blown glass. Shown in the “Reflections” exhibit, Wilson’s exploration of materiality in glass is best highlighted in this piece. Drops of black blown glass suspended on a wall, with large discs of glass seated at the base, all reflect and shine under the lights of the gallery space. This composition gives the impression of ink, thick and coagulant, as it slowly drips down a flat surface before falling and pooling. Everything is static, nothing moves, nothing falls and the pools of black reflections on the ground sit, not as if they just landed, but settled and stationary. As a result, the only dynamic movement is one that occurs in our brains, where we are seeing droplets of water fall, tomb over themselves to fall off the wall. Our mind conjures these ideas to make sense of a work so wonderfully rendered that we could imagine the glass staining our fingers upon touching them. Wilson’s exhibition plays with these ideas of materiality and composition, while also asking us to consider questions of race and political identity posed through his works. While inherently connected to the world, the interaction we have with these pieces is one of wonder, excitement and curiosity. Each work beckons us in with images of ourselves rendered, reflected and refracted in cool black glass. 

While the previous two works are owned by the Rose, “Memoir,” the Danielle Mckinney work for the current exhibition, is on loan to the museum. Therefore, this may be your only chance to see said painting before it returns to a private collection. “Memoir” is a beautiful oil painting, rendered on linen in 2024. A reposing female figure relaxes herself in the bed that encompasses 80% of the canvas. The light green linens flood and wash the canvas with a cool hue that contrasts the figure’s warm dark skin. Her hair falls beautifully, with Mckinney’s painterly strokes adding dimension to the form. Before her is a tea pot resting on what appears to be a bound book. Behind her, a muted earth-brown wall recedes into obscurity. The figure is not represented sensually, rather she is covered in thick brushstrokes of white, yellow and green. Her face half-covered by her left hand, she rests her eyes shut, unknowing of our presence. We self-present in an intimate tranquil moment of repose, not a lover or a friend, but an observer of the scene stretched out in front of us. The composition may lack movement and dynamic sense, but the stillness of the work reminds us of a propensity towards the necessity of rest. The figure’s sleep is not interrupted, she is not awoken, rather she remains still, quiet and composed.

I highly recommend you all visit the Rose this exhibition season. These works are intimate looks at the beauty of artistic tradition as always, but I found the current selection to be incredibly enticing. The Rose is open freely to all, so do not hesitate to visit the museum again, even if you’ve been before.