Armin Hansen: The Artful Voyage

January 25 – May 31, 2015

Armin Hansen, renowned for his paintings of fisher folk and the sea, sought to capture the raw power and vitality of the Pacific Ocean and those who sailed it. While his style is often described as impressionist, Hansen rejected Impressionism's gentility by exercising a bolder palette and more rugged strokes that focus on humanity's relationship with nature. This survey, the largest and most comprehensive ever assembled, includes close to 100 works, including paintings on view to the public for the first time, as well as rare examples of his hand-carved furniture and boat models. After pursuing formal training in painting in San Francisco and Europe, Hansen spent four years in Niewpoort, Belgium, where he painted marines, village views, and fishing scenes, all the while working as a crew-member on North Sea trawlers. This personal experience sparked his lifelong fascination with the sea and its people. Hansen first visited Monterey in 1913 and soon started painting the area's growing fishing community and fleet. In the West, he became the first to realize the potential beauty of commercial fishing, and he chose the theme in large part because he knew it well from firsthand experience. His vibrant, blustery scenes of the sea communicate broadly the impact of hardship and physical labor and the importance of bravery.

Armin Hansen: The Artful Voyage is organized by the Pasadena Museum of California Art and curated by Scott A. Shields, Associate Director and Chief Curator at the Crocker Art Museum in Sacramento. It will travel to the Crocker Art Museum from June 28–October 11, 2015 and then to the Monterey Museum of Art from October 29, 2015 to March 7, 2016.

Funding for the exhibition has been provided by Presenting Sponsors Christine and Reed Halladay, Saundra and Lee Minshull, and Donna and Mark Salzberg. Underwriting Support provided by Simon Chiu, Kelvin Davis, Jeff Dutra, and Barbara Alexander and Thomas Stiles, II. Additional support provided by Bagley Family Trust, Yvonne Boseker, John and Patty Dilks, Whitney Ganz, Karyl Hansen and David Earl Larson, Jim Parks, Gerard Vuilleumier, Bonhams Auctioneers, George Stern Fine Arts, Heritage Auctions, Historical Collections Council of California Art, John Moran Auctioneers, Josh Hardy Galleries, and Paula and Terry Trotter, Trotter Galleries. Media sponsor: American Fine Art Magazine.

Armin Hansen, Men of the Sea, 1920. Oil on canvas, 51 3/8 x 57 inches. Monterey Museum of Art, Gift of Jane and Justin Dart.

JIM MORPHESIS: Wounds of Existence

January 25 – May 31, 2015

Since the 1980s, Jim Morphesis has been one of the most influential members of the expressionist art movement in Los Angeles. Taking its title from what Friedrich Nietzsche called "The Eternal Wounds of Existence," JIM MORPHESIS: Wounds of Existence examines an impressive oeuvre that has captured the profound predicaments of human life. Morphesis most often works serially, on imagery and themes as varied as the Passion of the Christ (influenced by his Greek Orthodox upbringing), nude torsos (inspired by Rembrandt and Soutine) and universal symbols of mortality, including skulls and roses. His paintings of the Passion are grounded in art history, sharing aspects with Diego Velázquez's Christ on the Cross and Giovanni Bellini's Pieta, but are made undeniably modern by his sensuous, textured surfaces. For the past four decades, his paintings have communicated a deep, universal concern with the dehumanization of society throughout history.

The exhibition is organized by the Pasadena Museum of California Art and is curated by Peter Selz, Ph.D., and accompanied by a brochure.

For their assistance with this project, the artist and curator thank Jay Belloli, Howard N. Fox, Brent Giddens, Doris Peckner, Roxene Rockwell, and David S. Rubin. This exhibition is made possible in part by the Pasadena Arts and Culture Commission and the City of Pasadena Cultural Affairs Division.

Jim Morphesis, Destiny, 1982. Oil, magna, alkyd resin, and wood on wood panel, 68 x 64 inches. Collection of Laifun Chung and Ted Kotcheff.

Lars Jan: HOLOSCENES / Quaternary Suite

January 25 – May 31, 2015

Lars Jan's practice has long grappled with the biggest challenges in modern living: the changes technology produces in human relationships, the complications of religious practice and gender roles, and the violent rise in suicide bombings. In his first solo exhibition, HOLOSCENES / Quaternary Suite, Jan explores the physical effects of natural disaster and the human capacity for adaptation through video and photography. The installation includes video projections of a triptych of massive aquariums inhabited by performers acting out routine behaviors. These tanks are then filled with water while the performers attempt to continue their tasks. The videos and accompanying light installation provoke visceral reactions that communicate Jan's environmental concern—the implications of climate change on our interactions with water—in an inventive way. Bridging the gap between climate consciousness and art, Jan capitalizes on art's power to change public consciousness.

Lars Jan: HOLOSCENES / Quaternary Suite is organized by the Pasadena Museum of California Art. This exhibition is supported by the Board of Directors of the Pasadena Museum of California Art.

Lars Jan, ABAYA 1, 2014. Chromogenic print, acrylic, LEDs, 36 inches diameter. Courtesy of the Artist.

Someday is Now: The Art of Corita Kent

June 14 – November 1, 2015

Someday is Now: The Art of Corita Kent is the first full-scale exhibition to survey the entire career of pioneering artist and designer Corita Kent (1918-1986). For over three decades, Corita experimented in printmaking, producing a groundbreaking body of work that combines faith, activism, and teaching with messages of acceptance and hope. A Sister of the Immaculate Heart of Mary, Corita taught at the Art Department at Immaculate Heart College in Los Angeles from 1947 through 1968. At IHC, she developed her vibrant, Pop-inspired prints from the 1960s, mining a variety of secular and religious sources and using the populist printmaking medium to pose philosophical questions about racism, war, poverty, and religion. Her work was widely recognized for its revolutionary impact and remains an iconic symbol of that period in American history. As a teacher, Corita inspired her students to discover new ways of experiencing the world by seeking out revelation in everyday events. Bringing together artwork from Corita's entire career, this exhibition reveals the impassioned energy of this artist, educator, and activist.

Someday is Now: The Art of Corita Kent is organized by Ian Berry, Dayton Director of the Tang Museum, and Michael Duncan, independent curator and art critic, in collaboration with the Corita Art Center, Los Angeles. The exhibition is made possible with the generous support of the Andy Warhol Foundation for the Visual Arts and the Friends of the Tang.

Corita Kent, the sure one, 1966. Silkscreen print on Pellon, 29 3/4 x 36 inches. Collection: Corita Art Center, Immaculate Heart Community, Los Angeles, CA. Photograph by Arthur Evans, courtesy of the Tang Museum at Skidmore College.