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BEGIN:VEVENT
SUMMARY:"Relay": Special Art Installation by Leticia R. Bajuyo
DTSTART;VALUE=DATE:20260423
DTEND;VALUE=DATE:20260424
DTSTAMP:20260730T122056Z
UID:8906-1776902400-1811894399@www.daummuseum.org
CATEGORIES:arts
DESCRIPTION:During the week of April 20-23\, visiting artist Leticia R. Ba
 juyo will be installing a large\, floating art piece in the halls of the S
 tauffacher building. Through her large-scale works\, Leticia Bajuyo engage
 s audiences and connects with communities through her site-specific instal
 lations that involve community collections of media and memories. By incor
 porating recognizable materials and forms including CDs\, artificial grass
 \, and insulation styrofoam\, Bajuyo creates spaces and multi-layered expe
 riences that invite audiences to participate in theatrical re-arbitrations
  of value. \nLeticia R. Bajuyo is an interdisciplinary artist whose public
  commissions\, immersive installations\, and delicate visual poems transfo
 rm collected audio media\, cast metal\, and synthetic remnants into carefu
 lly crafted objects that examine how identity\, value\, and desire are con
 structed and reshaped overtime. Her interest in unpacking value perception
 s find their roots in her autobiography growing up bi-racial in a small\, 
 rural town named Metropolis on the border of Illinois and Kentucky. The ti
 me and space of quiet landscapes outside and the multi-national dialogues 
 inside her family’s house influenced the development of her critiques of
  consumer capitalism\, fickle domestic desires\, and internalized pressure
 s of assimilation. She has participated in national and international resi
 dency programs including Muscarelle Museum of Art in Williamsburg\, Virgin
 ia\; Fountainhead Residency in Miami\, Florida\; Sloss Metal Arts in Birmi
 ngham\, Alabama\, and the From Waste to Art Museum in Baku\, Azerbaijan. I
 n addition to her individual artwork\, she seeks community by participatin
 g in artist collectives including Land Report Collective and Project Vorte
 x and serving on the Mid-South Sculpture Alliance (MSA) board of directors
  and the National Conference on Contemporary Cast Iron Art and Practices (
 NCCCIAP) steering committee. Bajuyo received her B.F.A. from the Universit
 y of Notre Dame and M.F.A. from the University of Tennessee. She is an Ass
 ociate Professor of Sculpture at the University of Oklahoma. Prior to Okla
 homa\, she served as an Associate Professor at Texas A&M University–Corp
 us Christi\, Visiting Assistant Professor at Notre Dame\, and Professor of
  Art at Hanover College. In addition\, she has taught summer workshops at 
 Anderson Ranch Arts Center and Arrowmont School of Arts and Crafts\, and c
 hairs the Visual Arts panel for YoungArts in Miami\, Florida. \nStudents a
 nd art enthusiasts are welcome and encouraged to come observe Leticia’s 
 progress while this complicated piece is installed outside of the Goddard 
 Gallery. \nWebsite: www.leticiabajuyo.com \nStudio photo- credit of Jared 
 Ragland. "Loop Gravity Repeated"\, photo credit Blake Studdard. Leticia Ba
 juyo headshot\, credit Joel Luks.Leticia Bajuyo headshot\, credit Joel Luk
 s.  "Amplitude South Bend"\, credit Leticia Bajuyo.\n\nOngoing through Jun
 e 1\, 2027.
LAST-MODIFIED:20260730T122056Z
URL:https://www.daummuseum.org/event/relay-special-art-installation-by-let
 icia-r-bajuyo/
X-SOURCE-NAME:Daum Museum of Contemporary Art
X-SOURCE-URL:https://www.daummuseum.org
END:VEVENT
BEGIN:VEVENT
SUMMARY:Eye of the Beholder
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261221
DTSTAMP:20260730T122056Z
UID:8983-1783382400-1797811199@www.daummuseum.org
CATEGORIES:arts
DESCRIPTION:Seeing is not a neutral act. Our understanding of the visual w
 orld is shaped by our experiences\, cultural conditioning\, and surroundin
 g environment. Meaning does not reside solely within an object\; it arises
  from a participatory\, constructed process. As the author Anaïs Nin remi
 nds us\, “We don’t see things as they are. We see things as we are.”
  \nEye of the Beholder approaches perception from this point of view\, esp
 ecially as it relates to received notions of femininity. In this exhibitio
 n\, artworks that depict readable characteristics of the feminine are plac
 ed in conversation with abstract pieces that only allude to femininity’s
  essential qualities. The materiality of a Donna Sharrett textile\, the pa
 lette of a Helen Frankenthaler print\, and the imagery of a Michael Eastma
 n photograph can each become allegories of femininity. When these works ar
 e placed in dialogue\, the subsequent comparisons invite us to question wh
 ether the very suggestion of the feminine alters how we interpret what we 
 see next. \nIn Eye of the Beholder\, the installation\, itself\, becomes p
 art of this inquiry. In one gallery\, a dense\, salon-style arrangement in
 vites a layered reading through close spatial relationships. In the other 
 room\, a more traditional presentation offers space and visual separation\
 , encouraging each work to stand on its own. Moving between these two envi
 ronments\, viewers may notice how associations carry over\, linger\, or di
 ssolve. We are invited to participate in this process\, to question our ow
 n habits of perception\, and to consider how suggestion and context shape 
 what is seen. \nUltimately\, this exhibition asks us to consider how we co
 me to recognize and imagine femininity\, not only in what is depicted\, bu
 t in what is implied. What appears to be “feminine” may not reside in 
 the object at all\, but in the expectations we bring to it. In the end\, t
 he key to the exhibition is not on the walls\, it is in the eye of the beh
 older. \nQuestions \n\nWhat three words describe femininity to you?\nWhat 
 artwork in the exhibit speaks to femininity the most in your opinion? Why?
 \n\nQuote \n“We don’t see things as they are. We see things as we are.
 ” -Anaïs Nin \nThis exhibition was curated by Marcie Teter\, Dr. Meghan
  McClellan\, and Elena Sofia Raineri. \nAnne Noggle\, "Mary: A Retrospecti
 ve"\, 1987\; Gelatin silver print\; Gift of Ricci Racela & Michael Bonahan
 .Anne Noggle\, "Mary: A Retrospective"\, 1987\; Gelatin silver print\; Gif
 t of Ricci Racela & Michael Bonahan.  Paul Allen\, "Golden Arch Angel"\, 2
 014-15\; Collage on paper mounted on board\; Gift of the estate of Dr. Har
 old F. Daum. Brian Novatny\, "Woman in Floral Dress"\, 1998\; Color Etchin
 g\; Gift of Dr. Harold F. Daum. Linda Connor\, "Hand with Shell"\, 1971\; 
 Gelatin Silver Print\; Gift of Ricci Racela & Michael Bonahan. Andy Collin
 s\, Untitled\, 2006\; Oil on canvas\; Gift of Dr. Harold F. Daum.Andy Coll
 ins\, Untitled\, 2006\; Oil on canvas\; Gift of Dr. Harold F. Daum.  Denni
 s Brokaw\, "Flower\, Water\, and Logs\, Jack Creek\, Oregon"\, 1984\; Dye 
 Transfer print\; Gift of P. John Owen Estate. "Eye of the Beholder" instal
 lation shot."Eye of the Beholder" installation shot.  "Eye of the Beholder
 " installation shot."Eye of the Beholder" installation shot.  "Eye of the 
 Beholder" installation shot."Eye of the Beholder" installation shot.  "Eye
  of the Beholder" installation shot."Eye of the Beholder" installation sho
 t.  "Eye of the Beholder" installation shot."Eye of the Beholder" installa
 tion shot.  "Eye of the Beholder" installation shot."Eye of the Beholder" 
 installation shot.  "Eye of the Beholder" installation shot."Eye of the Be
 holder" installation shot.  "Eye of the Beholder" installation shot."Eye o
 f the Beholder" installation shot.
LAST-MODIFIED:20260730T122056Z
URL:https://www.daummuseum.org/event/eye-of-the-beholder/
X-SOURCE-NAME:Daum Museum of Contemporary Art
X-SOURCE-URL:https://www.daummuseum.org
END:VEVENT
BEGIN:VEVENT
SUMMARY:Under Pressure
DTSTART;VALUE=DATE:20260707
DTEND;VALUE=DATE:20261221
DTSTAMP:20260730T122056Z
UID:8991-1783382400-1797811199@www.daummuseum.org
CATEGORIES:arts
DESCRIPTION:Drawn from the collection of the Daum Museum of Contemporary A
 rt\, Under Pressure considers abstraction as a site of tension between ord
 er and disruption. Rather than offering escape\, abstraction here operates
  as a point of collision\, where systems intended to stabilize and contain
  begin to reveal their own instability. \nAcross the works presented\, a s
 ense of underlying tension becomes visible. Control and vulnerability coex
 ist in a state of friction\, producing a persistent and unresolved unease.
  The exhibition does not seek to resolve these conditions\, but to foregro
 und them. \nFormal structures such as grids and repeated systems are subje
 cted to pressure. They loosen\, fragment\, or give way to gesture. Surface
 s accumulate and thicken\, resisting restraint and asserting material pres
 ence. In this context\, structures associated with clarity\, protection\, 
 or definition appear increasingly fragile and provisional. \nAbstraction e
 merges as a charged field in which instinct and control intersect. Systems
  falter\, and moments of excess or disruption come to the fore. What is re
 vealed is not collapse\, but a sustained state of instability in which ord
 er persists without ever fully securing itself. \nUnder Pressure was curat
 ed by Alex Britton and Garry Holstein. \nJack Tworkov\, "DA on P #4 Q1-73"
 \, 1978\; Acrylic on paper. Jim Shrosbree\, "Tom Tom (Blaze)\, 1999\; Glaz
 ed earthenware with flocking. James Brinsfield\, "Super Freak"\, 1998\; Ac
 rylic and paper on canvas. "Under Pressure" Installation shot."Under Press
 ure" Installation shot.  "Under Pressure" Installation shot."Under Pressur
 e" Installation shot.  "Under Pressure" Installation shot."Under Pressure"
  Installation shot.  "Under Pressure" Installation shot."Under Pressure" I
 nstallation shot.  "Under Pressure" Installation shot."Under Pressure" Ins
 tallation shot.  "Under Pressure" Installation shot."Under Pressure" Insta
 llation shot.
LAST-MODIFIED:20260730T122056Z
URL:https://www.daummuseum.org/event/under-pressure/
X-SOURCE-NAME:Daum Museum of Contemporary Art
X-SOURCE-URL:https://www.daummuseum.org
END:VEVENT
BEGIN:VEVENT
SUMMARY:Contemporary Visions of the West
DTSTART;VALUE=DATE:20260812
DTEND;VALUE=DATE:20261221
DTSTAMP:20260905T060535Z
UID:8869-1786492800-1797811199@www.daummuseum.org
CATEGORIES:arts
DESCRIPTION:The American West occupies a complex place in the cultural ima
 gination\, shaped by frontier narratives\, industry\, migration\, land use
 \, resilience\, and mythmaking. Contemporary Visions of the West brings to
 gether artists from across the United States whose work reclaims and reima
 gines Western identities and landscapes beyond nostalgia and stereotype.\n
 \nThrough a contemporary lens\, the exhibition explores how ideas of the W
 est intersect with questions of place\, labor\, environment\, power\, belo
 nging\, and lived experience. Selected through a national juried process\,
  the works on view invite visitors to consider the evolving realities of t
 he American West and the diverse voices that continue to shape its story.\
 n\nThis exhibition was partly sponsored by Douglas and Connie Kiburz and c
 reated in partnership with the National Cattle Trails Conference.\n\n\nSte
 phanie White\, "There Was a Home"\, 2026\; Mixed media\, Courtesy of the a
 rtist. Denita Benyshek\, "Radiant Being: Sunset and Storm in the Desert"\,
  2026\; Mixed media: Drawing\, painting\, photography\, archival ink print
 making\, soft pastel\, on cotton rag paper\; Courtesy of the artist. Malco
 lm Jackson\, "Florida Cowboy Summer '25"\, 2025\; Digital print\; Courtesy
  of the artist. Debra Keirce\, "HeartFelt"\, 2023\; Oil on panel\; Courtes
 y of the artist. Installation shot of Bob Culver's "Bronco Buster"\, 2025.
  Luis Saenz\, "Corral"\, 2025\; Black and white photo on metal print\, Cou
 rtesy of the artist. Leann Martin\, "The Kid"\, 2025\; acrylic on paper\, 
 courtesy of the artist. Installation shot of "Contemporary Visions of the 
 West" Anthony Huff\, "J. Pollock Memorial Big Weiner Double Dogging"\, fro
 m the "Western Weiner Series"\, 2026\; Acrylic latex\, acrylic paint pens 
 on canvas\; Courtesy of the artist. Sharon Pittman\, "Plaids"\, 2026\; acr
 ylic on canvas\, Courtesy of the artist. Installation shot of "Contemporar
 y Visions of the West" Charlene Adkins\, "Ascent"\, 2026\; Panorama printe
 d with Epson materials and pigmented inks on archival paper\; Courtesy of 
 the artist. Glory Hartsfield\, "Freedom"\, 2026\; Barb wire\, tie wire\, a
 nd steel\; Courtesy of the artist.Glory Hartsfield\, "Freedom"\, 2026\; Ba
 rb wire\, tie wire\, and steel\; Courtesy of the artist.  Marsha Wilson-Jo
 hnson\, "Yukon Water Horse"\, 2023\; Vegetable tanned cowhide leather\, py
 rography with a hand-held wood burner\, white ink\, shoe polish\, blue kno
 tty pine frame\; Courtesy of High Desert Fine Art Gallery. Dan Stapleton\,
  "The Fringe Jacket"\, 2023\; Acrylic on Masonite board\; Courtesy of the 
 artist. Darryl Furtkamp\, "Augery"\, 2024\; Oil and map on panel\; Courtes
 y of the artist. Robert Coomer\, "Memory Tree"\, 2026\; Digital photograph
  printed on hand-distressed industrial aluminum with painted patina\, stai
 ned plywood\, and aged hardware\; Courtesy of the artist. Installation sho
 t of Glory Hartsfield's "Freedom"\, 2026. Installation shot of "Contempora
 ry Visions of the West" Denise DeBusk\, "Sage Hen"\, 2023\; Gouache painti
 ng on sanded cigar box\; Courtesy of the artist.Denise DeBusk\, "Sage Hen"
 \, 2023\; Gouache painting on sanded cigar box\; Courtesy of the artist.  
 Diane Lamboley\, "Desert Bouncer"\, 2023\; Digital Photography on textured
  aluminum\; Courtesy of the artist. Denise DeBusk\, "Cross Grained"\, 2024
 \; Gouache painting on sanded cigar box\; Courtesy of the artist. Oscar Go
 nzalez\, "El Maricón del Norte"\, 2026\; Charcoal and oil on stretched ca
 nvas\; Courtesy of the artist.Oscar Gonzalez\, "El Maricón del Norte"\, 2
 026\; Charcoal and oil on stretched canvas\; Courtesy of the artist.\n Jos
 hua Heimsoth\, "Scrimshaw Skull with Halo"\, 2024\; Cow skull and discarde
 d hay cutter parts\, Courtesy of the artist. Dana Fritz\, "Post-Fire posts
 cript"\, 2024\; Archival pigment prints and adhesive\; Courtesy of the art
 ist. Installation shot of "Contemporary Visions of the West" Bob Culver\, 
 A.K.A. Nebraska Kid\, "Bronco Buster"\, 2025\; 3-D painted sculpture\, mad
 e of MDF\, thermal plastic and poplar wood\, oil on acrylic\; Courtesy of 
 the artist. Installation shot of "Contemporary Visions of the West" Joseph
  Graves\, Jr.\, "The Modern Cowboy"\, 2025\; Acrylic\, map\, and aerosol o
 n canvas\; Courtesy of Joseph Graves Jr. Art.Joseph Graves\, Jr.\, "The Mo
 dern Cowboy"\, 2025\; Acrylic\, map\, and aerosol on canvas\; Courtesy of 
 Joseph Graves Jr. Art.  Douglas Kiburz\, "Spirit of the Plains"\, 2026\; A
 ged redwood slab\, copper\, resin\; Courtesy of the artist. Installation s
 hot of "Contemporary Visions of the West" Installation shot of "Contempora
 ry Visions of the West" Installation shot of Bob Culver's "Bronco Buster"\
 , 2025. John Brand\, "The Rare Crown"\, 2026\; Archival pigment print on m
 useum-grade acrylic\, Courtesy of the artist. Installation shot of "Contem
 porary Visions of the West" Installation shot of Bob Culver's "Bronco Bust
 er"\, 2025. Installation shot of "Contemporary Visions of the West" Heidi 
 Herrman\, "Sinclair"\, 2026\; Mixed media: vintage handkerchief\, photogra
 ph printed on mulberry paper\, encaustic\; Courtesy of the artist.Heidi He
 rrman\, "Sinclair"\, 2026\; Mixed media: vintage handkerchief\, photograph
  printed on mulberry paper\, encaustic\; Courtesy of the artist.  Installa
 tion shot of "Contemporary Visions of the West" Installation shot of "Cont
 emporary Visions of the West" Donald Pollack\, "Big Horn Easement"\, 2024\
 ; Graphite on drafting paper\; Courtesy of Marcia Wood Gallery.Donald Poll
 ack\, "Big Horn Easement"\, 2024\; Graphite on drafting paper\; Courtesy o
 f Marcia Wood Gallery.  Cody Strecker\, "Golden Spirit"\, 2026\; Mixed med
 ia\, Courtesy of artist.Cody Strecker\, "Golden Spirit"\, 2026\; Mixed med
 ia\, Courtesy of artist.  Installation shot of "Contemporary Visions of th
 e West" Installation shot of "Contemporary Visions of the West" Shaun Coll
 ins\, "Wagon at Ghost Ranch"\, 2026\; Digital print in barn wood frame\; C
 ourtesy of Lucid TLC Arts. Devon Mozdierz\, "Windswept Landscape: Currency
  Birds"\, 2023\; Oil and graphite on panel\, Courtesy of the artist. Insta
 llation shot of "Contemporary Visions of the West" Kimberly Turcios\, "Sod
 a Pop"\, 2026\; Acrylic paint on canvas\; Courtesy of the artist. Nikayla 
 Nielson\, "Emergence"\, 2025\; Mixed media: Blank skateboard desk\, donate
 d deer antlers\, air-dry clay\, acrylic paint\, archival adhesives\, varni
 sh\; Courtesy of the artist.Nikayla Nielson\, "Emergence"\, 2025\; Mixed m
 edia: Blank skateboard desk\, donated deer antlers\, air-dry clay\, acryli
 c paint\, archival adhesives\, varnish\; Courtesy of the artist.  Installa
 tion shot of "Contemporary Visions of the West" Carol Carter\, "REACH"\, 2
 023\; Watercolor on archival arches cp paper\; Courtesy of the artist. Ins
 tallation shot of Glory Hartsfield's "Freedom"\, 2026. Installation shot o
 f Dana Fritz's "Post-fire postscript"\, 2024. Karen Jacobi\, "White Washed
 "\, 2025\; Oil on canvas\; Courtesy of the artist.
LAST-MODIFIED:20260905T060535Z
URL:https://www.daummuseum.org/event/contemporary-visions-of-the-west/
X-SOURCE-NAME:Daum Museum of Contemporary Art
X-SOURCE-URL:https://www.daummuseum.org
END:VEVENT
BEGIN:VEVENT
SUMMARY:Cross-Pollination
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270301
DTSTAMP:20260730T122056Z
UID:8870-1789689600-1803859199@www.daummuseum.org
CATEGORIES:arts
DESCRIPTION:Presented at the Daum Museum of Contemporary Art\, Cross-Poll
 ination brings together works from the museum’s permanent collection wi
 th significant loans by invited contemporary artists to explore the interc
 onnected relationships that shape the natural world. Across generations\, 
 media\, and artistic perspectives\, the exhibition considers nature not as
  a static subject\, but as a dynamic network of exchange in which every en
 counter has the potential to transform what follows. \nThe phenomenon of c
 ross-pollination offers both a biological process and a curatorial framewo
 rk. As butterflies\, bees\, birds\, and wind carry pollen between plants\,
  they sustain biodiversity through movement and connection. Likewise\, the
  works assembled in this exhibition generate new meaning through proximity
 . Historical works from the Daum Museum’s collection enter into conversa
 tion with contemporary practices\, creating moments of resonance that exte
 nd beyond chronology and reveal the collection as an evolving body of idea
 s. \nWorking across painting\, photography\, sculpture\, textiles\, and in
 stallation\, the artists engage recurring themes of growth\, migration\, a
 daptation\, fragility\, and resilience. Plants and pollinators appear thro
 ughout the exhibition as enduring symbols of interdependence\, reminding u
 s that life flourishes through relationships rather than isolation. These 
 ecological systems become a lens through which to consider artistic influe
 nce\, cultural memory\, and the continual exchange between past and presen
 t. \nCross-Pollination invites visitors to experience the museum as an eco
 system where works of art\, like living organisms\, exist within a web of 
 connections that expands with every new encounter. The temporary presence 
 of invited artists does not stand apart from the permanent collection\, bu
 t activates it\, allowing ideas to circulate across time and media. Togeth
 er\, these works reflect the vitality of nature itself\, demonstrating tha
 t renewal emerges through diversity\, dialogue\, and the continual movemen
 t of ideas.
LAST-MODIFIED:20260730T122056Z
URL:https://www.daummuseum.org/event/cross-pollination/
X-SOURCE-NAME:Daum Museum of Contemporary Art
X-SOURCE-URL:https://www.daummuseum.org
END:VEVENT
BEGIN:VEVENT
SUMMARY:Bede Clarke: King's Highway
DTSTART;VALUE=DATE:20260918
DTEND;VALUE=DATE:20270301
DTSTAMP:20260730T122056Z
UID:9011-1789689600-1803859199@www.daummuseum.org
CATEGORIES:arts
DESCRIPTION:The Daum Museum of Contemporary Art presents Bede Clarke: King
 ’s Highway\, on view September 18\, 2026\, through February 28\, 2027. B
 ringing together ceramics and works on paper\, the exhibition examines Cla
 rke’s enduring exploration of the vessel\, drawing\, and the expressive 
 potential of the handmade mark. \nFor more than four decades\, Clarke has 
 investigated the relationship between form\, surface\, and touch. While th
 e vessel remains central to his practice\, his work extends beyond traditi
 onal ceramics through an ongoing dialogue with drawing\, color\, and gestu
 re. The resulting works record both the physical act of making and the qui
 et rhythms that shape the creative process. \nClarke describes his practic
 e as one guided by touch and by an intuitive response to both material and
  process: “I think I have always cast a pretty wide net in terms of my e
 xploration of clay. Pots and the vessel have held the center but there has
  been a strong overlay of interest in drawing\, color and leaving a trace 
 of the hand. I navigate both the clay and drawing with an emphasis on ‘t
 ouch’ and a felt response to the materials and to my own inner rhythms a
 nd sensibilities. I am guided by a dialogue with the work and find myself 
 in agreement when it speaks in a voice that has commitment and conviction\
 , but also the allure of mystery and enigma. I am always most pleased when
  the work strikes a balance between wildness and restraint. Through all th
 is work I am most interested in distinguishing the record\, the moment of 
 the hand touching clay\, and the actual quality of feeling surrounding the
  work.” \nThe exhibition highlights Clarke’s sustained interest in bal
 ancing spontaneity with restraint\, allowing each object to embody both th
 e evidence of its making and a sense of quiet contemplation. Through layer
 ed surfaces\, expressive line\, and carefully considered form\, King’s H
 ighway invites viewers to consider clay as both a material and a record of
  human experience. \nBede Clarke is Professor Emeritus at the University o
 f Missouri-Columbia\, where he taught ceramics from 1992 to 2021. He recei
 ved an MFA from the University of Iowa and a BFA from Eckerd College. His 
 work is represented in museum collections throughout the United States and
  internationally\, including the Daum Museum of Contemporary Art\, the Tai
 pei County Yingge Ceramics Museum\, the Icheon World Ceramic Center\, the 
 South Bend Museum of Art\, the Martin Museum of Art\, and the Nora Eccles 
 Harrison Museum of Art. Clarke lives and works in Columbia\, Missouri.
LAST-MODIFIED:20260730T122056Z
URL:https://www.daummuseum.org/event/bede-clarke-kings-highway/
X-SOURCE-NAME:Daum Museum of Contemporary Art
X-SOURCE-URL:https://www.daummuseum.org
END:VEVENT
END:VCALENDAR