Artist Aaron Stephan discusses his inspiration and thoughts on his sculpture, "Downpour," which resides outside Southern New Hampshire University's new Learning Commons.
The McIninch Art Gallery presents diverse exhibitions devoted to the art of the region and beyond. It is equipped to museum standards of humidity, temperature and lighting.
Made possible by a generous gift from The McIninch Foundation in April 2001, the Gallery is a sign of the university's growing commitment to the liberal arts and a resource to benefit the entire institution as well as the greater community of which it is a part. Its grand opening exhibition in February 2002 began a cycle of six to seven shows a year in a wide range of genres, styles and media. Shows may coordinate with a variety of demonstration, lecture, concert, classroom and other events.
The Gallery is building a permanent collection of art supporting the university's curricula and providing a source of enjoyment, enlightenment and beauty to all who visit. If you are interested in becoming a Friend of the McIninch Art Gallery and supporting its collection and other projects, please contact the director.
First floor of Robert Frost Hall.
Free and the public is welcome.
Monday - Saturday 10 a.m. to 3 p.m.
Thursday - 5 p.m. to 8 p.m.
Closed Sundays, during university vacations, between shows and during the summer.
Curated by David Humphreys
September 19 through October 26, 2019 | Opening Reception, September 19 from 5 to 7pm
As a Japanese phrase, mono no aware is difficult to conceptualize in English. While it can be defined as “the pathos of things” or “an empathy toward things,” the best way to think of it is as an emotion, not a concept. Mono no aware is the longing found in these moments, the sadness of being able to experience something only once and never again; it is the appreciation that these unique moments have transpired, but still exist in your memory. The narrative of Mono No Aware seeks to explore this concept through photography and video by capturing the fleeting moments between night and day, recording and documenting these ephemera as a testament to their existence.
Image: David Humphreys, Nakamise Detail, 2019, courtesy of the artist.
Curated by Aishwarya Gejjagaraguppe
September 19 through October 26, 2019 | Opening Reception, September 19, 2019 from 5 to 7pm
Image: Arthur Kaufmann, Detail, Hans Kaufmann, McIninch Art Collection.
October 31 through December 21, 2019 | Opening reception, Thursday, November 7, from 5 to 7pm
“Color is energy made visible.” - John Russell
Variations on ColorFields reinterprets the central ideas of non-objective art – particularly the color field movement and post-painterly abstraction – in luminous, three-dimensional form and explores the perception and tension between light and color. Like rhythm and tempo in music, the dance between light and color can induce vibration, pulse, and movement. The light sculptures in this series explore energy in color: the objective is to not focus on the object alone, but to produce sensations of “color movements” in the eye of the beholder, vibrations that allow the observer to experience the conditions of perception itself and to experience color as a language of rhythm.
Image: Floor Van de Velde, Orange Divide, Detail, photo by Floor Van de Velde, courtesy of the artist.
January 23 through February 29 2020 | Opening Reception, January 23, from 5 to 7pm
In this exhibition, artist Matt Brackett combines paintings of ice-locked landscapes and hand lettered quotations of leaders, philosophers and activists from America’s past in order to comment on the menace posed by the current presidential administration. In addition to words of the original framers of the government, Brackett draws upon a more diverse field of notable women and people of color who helped re-frame the country in progressive directions. Viewers are invited to reflect upon the responsibility and trust given to our elected representatives, and also the power of the collective moral will wielded by the citizens who elected them. While perhaps barely discernible through the storm, we can hope the words of these leaders will point the way.
Image: Matt Brackett, Detail of Bitter Chill (It may be that some little root of the sacred tree still lives. Nourish it then, that it may leaf and bloom and fill with singing birds. - Black Elk, 1932), 2017, oil on linen on panel, hand-lettered ink on frame, 16 3/8”h x 21 5/8”w, Courtesy of the artist.
Curated by Aishwarya Gejjagaraguppe
January 23 through April 4, 2020 | Opening Reception, January 23, from 5 to 7pm
Image: Enrique Chagoya, The Pastoral or Arcadian State: Illegal Alien’s Guide to Greater America, Detail , 2006, Color lithograph, Ed. 30, 23 3/4” x 39”, McIninch Art Collection.
March 5 through April 4, 2020 | Opening Reception, Thursday, March 5, 2020
In August of 2011, the contemporary painter Nicole Eisenman locked her paints up, as she tells it, for a period of time and explored the nature of printmaking, specifically, monoprint, woodcut, etching and lithography. She mined the collection of the Metropolitan Museum and reinterpreted some of the more famous Modernist images into a contemporary tableaux. Eisenman invokes wit and sentiment of the human condition as a way to dissolve prejudices of individuals who identify in any number of ways. Her figures are part of welcoming collective community. Eisenman’s deft knowledge of historic genres and symbols allows her to weave a powerful thread throughout the various mediums she works with. Here she has taken all of her skill as a painter and imbued prints with the masterful strokes of a draftsman emphasizing the integral values of line, form and shape.
Image: Nicole Eisenman, Man Holding his Shadow, Detail, 2011, 2-color lithograph, Edition: 25, 22-1/4 x 18”, Courtesy of the artist.
April 9 through May 9 2020 | Opening Reception, Thursday, April 12, 2020
This exhibition represents a selection of the best work in the game design and film programs and examines the production skills employed to create the final product. Sketches, storyboards, programming scripts and 3-D modeling are just some of the few elements of the production process before the viewer experiencing the final interactive experience of the game design. The presented student films showcase a variety of filmmaking styles, including narrative fiction, documentary, and experimental. These films were created as part of SNHU’s on campus filmmaking courses.
Image: Max Caron, Digital character design, Detail, 2018, Courtesy of the artist.
October 4 through October 27, 2018
Opening Reception and artist talk, Thursday, October 11, 5 to 7pm
"Save something from the time you will never be again" Annie Ernaux
The paradox of time - that we perceive it as both boundless and finite - is a recurring theme in Maggie Stark's multimedia work. In Station Stops, an installation of projections and digital screens, Stark uses interior and exterior video footage of Boston's Mattapan Trolley and Berlin's Ringbahn train as source material for her current meditation on the nature of time.
Image Credit: Maggie Stark, Ghost Train 2018 (video detail - Mattapan Trolley).
October 9, November 13, March 26, and April 16
All tours will run from 3:30 pm to 4:30 pm, departing from the gallery.
Join us for engaging sculpture tours. The tours are subject to weather and will not be rescheduled.
Curated by Joanna Fink, Director, Alpha Gallery, Boston
November 1 through December 15, 2018
Opening Reception: Thursday, November 1, 5 to 7pm
(Please note: The gallery will be closed Nov 10 and from Nov 22 through Nov. 25)
Modernism casts a wide swath through Western art history from the late 19th through the early 20th century and the influence of modernist developments lingers in the work of many artists in our current time. This exhibition juxtaposes the art of early practitioners (such as Pablo Picasso, Max Beckmann and Arthur Dove) with contemporary artists who continue to mine modernist concepts.
Image Credit: Suzanne Hodes, Broadway Boogie-Woogie with Cabbages (Detail), 2009, acrylic, collage & oil on paper, 22 x 30 inches. Courtesy of the artist.
Curated by Matthew Weldon Showman | Director, Johnathan Ferrara Gallery, New Orleans, LA
November 1 through December 15, 2018
Opening Reception: Thursday, November 1, 2018, 5 to 7pm
Nikki Rosato "Voyager" presents a selection of the artist's characteristic, figurative work made of paper road maps. Having developed this unique technique in 2009, the artist continues to explore not only the visual parallels between maps and human anatomy, but also, the conceptual symbolism such as the ways in which people are defined by a sense of place. This exhibition serves as a mid-career retrospective of the artist's oeuvre; the first institutional exhibition to examine her work in a historical and chronological fashion, giving the viewer a full narrative of Rosato's artistic career.
Image Credit: Nikki Rosato, Maggie, St. Mary's County, MD (Detail), Hand-cut Road Map. Courtesy of the artist and Johnathan Ferrara Gallery, New Orleans, LA.
January 24 through February 23, 2019
Opening Reception: Thursday, January 24, 5 to 7pm
This exhibition examines the intersection of painting and drawing through the practices of four essential artists. Each artists seemed to have been motivated by a personal vision that was guided by a variety of spiritual and intellectual philosophies. These principles were executed in either black-and-white and color photographs of meta views of landscapes and abstract subject matter. Throughout the selection of work there is a consistency of the elimination of pictorial space and a concentration of objects within the picture plane. Simultaneously the work is created with both technical mastery and a strong visual sense of light and shadow.
Image Credit: Emily Mason, Sea Life (Detail), 1994, Oil on Claybord, 20 x 16 inches. Courtesy of the artist.
February 28 through March 30, 2019
Opening Reception, Friday, March 1, 5 to 7pm
(Please Note: The gallery will be closed for Spring break March 9 to March 17.)
The Night Hunter exhibition summons a disquieting dreamscape drawn from allegory, myth, and archetype to create an evocation of the uncanny. The work on display includes a sixteen hour film constructed from over 4000 handmade collages starring Lillian Gish, a large scale sculptural installation, Night Hunter House, a smaller scale cottage, Night Hunter Cottage, along with shadow boxes and preparatory collages.
Image Credit: Stacey Steers: Lillian in hand cropped -Detail view, Stacey Steers's conflicted, 2013. Courtesy of the artist.
Didier weaves together a wide range of art-making techniques to push the limits of his materials. His undulating eye pattern carved into the support develops into mesmerizing figurative forms of raw wood. He further layers bold etchings, handmade paper and poured paint to create a richly textured painting surface that captures the complex history and identity of his native Haiti.
Image Credit: Didier William, Limba pral manje nou tankou yon moso pen sèk (Detail), 2018, collage, acrylic, wood carving on panel, 60 x 48 inches, ©DIDIER WILLIAM. Courtesy of Anna Zorina Gallery, New York City.
Curated by: Maura Mullen, Emma Sheehan, and Justine Brown, Graphic Design Majors, Class of 2019
April 4 through May 4, 2019
Opening Reception, Thursday, April 4, 5 to 7pm
This show aims to use design and media arts to communicate and explore current issues caused by consumer culture, specifically ones that afflict our environment. By looking at the elements of airs, water, and earth, this show will combine research and the arts to provide a cohesive examination of multiple environmental issues spread throughout different biomes.
Image Credit: Justine Brown, Australia Poster (Detail) Graphic Design Major, Class of 2019, digital print.
September 21 through October 28, 2017
Artist talk followed by Opening Reception: Thursday, September 21, 5:00 to 7:00pm
Kirsten Reynolds's large-scale architectural installations and sculpture create situations where language, architecture and the body are experienced as transitional and emergent. For her new site-specific installation, "A Functional Incident," architectural structures, poised in a state of construction or collapse, transform the gallery into an absurd theatrical tableau that the viewer can enter. Evidence of process is integral to her architectural forms-a playful allusion to Post-Minimalism. However, the calculated messiness of the protruding pegs, exposed beams and fragmented decorative facades, suggests the building/unbuilding process is a comedic performance. Painted faux finishes and pattern become illusory tactics that further complicate the installation's physical presence by transforming materials and process into playful exaggerations of the real. Her work presents a cartoonish, parallel world to engage the viewer as both observer and player in an irresolvable narrative.
Image Credit: Kirsten Reynolds, Detail, Scale model for "A Functional Incident," 2017, wood, paint. Dimensions variable; Courtesy of the artist
October 10, November 7, March 27, and April 24
All tours will run from 3:30 pm to 4:30 pm, departing from the gallery
Subject to weather and will not be rescheduled.
November 2 through December 21, 2017
Artist Talk followed by Opening Reception: Thursday, November 2, 5:00 to 7:00pm
(Please note: The gallery will be closed Nov 10 and from Nov 22 through Nov. 25)
Enrique Chagoya and Raul Gonzalez III are artists whose work addresses cultural issues related to racism, politics, religion and economic disparities. Cultural references are appropriated from art history, literature and religious traditions. They employ a sense of humor about controversial subjects and are self-effacing in their representation of their own culture and simultaneously imbue their work with imagery that evokes a very strong pride in their heritage. Chagoya's prints elicit a response to how and why we deal with change in cultural mores. His sense of humor makes such subjects as religion and the economy more palpable allowing for a constructive dialogue to ensue. Gonzalez illustrates characters in various states of unrest. The characters are often isolated in their own pastiche with specific iconic images that can serve as clues to their human condition.
Image Credit: Left: Enrique Chagoya, The Pastoral or Arcadian State: Illegal Alien's Guide to Greater America", 2006, Color lithograph, Ed. 30, 23 3/4" x 39"; Right: Raul Gonzales III, El Chicken del Norte, 2016, mixed media on paper; McIninch Art Collection
January 25 through February 24th, 2018
Panel discussion followed by Opening Reception: Thursday, January 25, 2018, 5:00 to 7:00pm
We can make many associations with the word THINGS; things to collect; things to get rid of, things we need; things we desire; things that are necessary; and things that comfort. The work of these five artists is an homage to certain things and reveals some curious relationships people have with their possessions. Belton blends humour with the sobering reminder of waste. Bosman's simplistic rendering of a cell phone is loaded with associations as he illustrates the object in use. Palocci isolates portions of everyday objects such as door knobs, window blinds, or air vents and illuminates the beauty of their simplistic designs. Paul's artist book reveals deftly drawn images, one for every day in a year in her life. And Bergtrom's beautiful images of the basic brown paper bag require close observation in order to appreciate the story of their maker.
Image Credit: Anthony Palocci Jr., Field Recording, 2016, Gouache on paper, 14" x 11"; Courtesy of Season Gallery, Seattle, WA
March 1 through March 31, 2018
Artist talk and Opening Reception: Thursday, March 1, 5:00 to 7:00pm
(Please Note: The gallery will be closed for Spring break March 10 to March 17)
Artist designers Harry Umen and Laura McCarthy have been collaborating in the past few years combining their visions to create unique apparel designs featured on regional and national runways. They share an interest in gestural surfaces generated by the manipulation and composing of natural and synthetic materials. Interplay of such surfaces with underlying dimensional forms is the focus of their collaborative work in which the sensibilities of abstract photography, textile and fiber art combine to generate a lyrical abstraction to awaken the viewer's senses.
Image Credit: Harry Umen, Detail, Window Circus, 2016
Curated by SNHU graphic design major, Mary Shakshober
April 5 through May 5, 2018
Artist talk and Opening Reception: Thursday, April 5, 5:00 to 7:00pm
This exhibit explores the unique intersection between mathematics and art called fractals. Fractals, mathematically, are repeated plottings of various different kinds of functions based on a set of pre-defined regulations decided on by the artist. These series of plottings are colorized and manipulated into visual masterpieces that manage to bridge these two traditionally separated topics of mathematics and art. The exhibit is composed of primarily original 2D works of fractal and generative art. Supplementing these pieces are the representation of other fractal art pieces used to inspire the original artwork, as well as some examples of fractal and generative art applied to the sculpture realm by way of 3D printing.
Image Credit: Dan Gries; March 26, 2017; https://twitter.com/rectangleworld
April 5 through May 5, 2018
Opening Reception: TBA
This capstone exhibit features the best work from the SNHU graphic design and game design departments. Included in this exhibition are examples of work executed for an array of projects through the academic year which include but are not limited to: logo design, magazine layout, illustrations, web design, package design, character design, environment design, and animation.
September 8th through October 30th, 2016
Opening Reception and Artist Talk: Thursday, September 8th; 5:00 to 7:00pm
Wild & Precious brings together images from a series of road trips traveled with my daughter Clover to explore the natural world. To encourage a connection between my child and nature, I use these adventures to give her an education that I consider essential-one that develops appreciation, respect, conversation, and self-confidence. While on the road, we study and document the routes we drive, the landscapes we discover, and all the creatures we encounter, even the roadside motels where we sleep. Wild & Precious reveals the fragile, complicated relationship that humans share with nature. I want my children to genuinely understand how magical the world we inhabit is and how we, as humans, are an integral part of the system. I want them to feel a deep connection to every aspect of their surroundings. - Jesse Burke.
Image Credits: Jesse Burke, As Long As The Grass Shall Grow, 2013, Archival Inkjet Print, ©Jesse Burke courtesy of ClampArt
3rd through December 17th, 2016
Opening Reception and Artist Talk: Thursday, November 3rd; 5:00 to 7:00pm
Joseph Wardwell has been inspired by two seemingly opposed sources; the Sublime landscapes of the Hudson River Valley School which are imbued with a sense of national pride and Punk Rock lyrics that reflect the voices of dissent. Text is meticulously layered over the landscape. The language is subtle, camouflaged with abstract paint strokes and then applied over thoughtful painterly sunsets or hillsides. Wardwell's work is prescient at this time when our country is embarking on a new era of politics and a concern about national identity.
Image Credits: Joseph Wardwell, Soon I Will Be President, 2016, 30" x 22", oil on paper
January 19th through February 15th, 2017
Opening Reception: Thursday, January 19th; 5:00 to 7:00pm
This exhibition highlights recent acquisitions of photography, paintings and works on paper that have been purchased for or donated to the McIninch Art Gallery Collection. These works of art are acquired for the purpose of building a collection that students and faculty can use as primary source material for research and curatorial studies. The mission of the McIninch Art Collection is to provide meaningful encounters with works of art through the acquisition, preservation and interpretation of the collection to the university community - students, faculty, staff, alumni - and the community at large. The collection provides aesthetic and educational experiences for developing a deeper understanding of human cultures, values and traditions for all visitors.
Image Credits: Tanya Marcuse, Fallen #484, 2013, Pigment print Image: 18x23 inches, Sheet: 22x27 inches, Edition 1/7. © Tanya Marcuse, Courtesy Julie Saul Gallery, NY
February 23rd through April 2nd, 2017
Opening Reception and Artist Talk: Thursday, February 23rd; 5:00 to 7:00pm
Working intuitively and embracing the unexpected are the core of Weisberg's practice, using a variety of materials: torn, black inked rice paper, tape, wire dipped in pulp then coated in sand. The forms are twisted and layered into a highly textured whirlpool of pulsating energy. The fluidity of line, density of layering and a material presence emphasize the visceral nature of the surface and contour. They result in works that contain the expanding vitality of an explosive mass of energy struggling to hold the center still when the forces of nature prove too great. Weisberg's work is rooted in drawing, including the 3-D work. Her dimensional work, which is made predominantly with paper-based materials, is similarly constructed to the structure of a drawing.
Image Credits: Debra Weisberg, (un)SEE(n) Scape, 2016, wire, paper pulp, sand, polymer resin. 17' x 9' x 23'
April 6th through May 6th, 2017
Opening Reception: Thursday April 6th; 5:00 to 7:00pm
This capstone exhibit features the best work from the SNHU graphic design and game design departments. Included in this exhibition are examples of work executed for an array of projects through the academic year which include but are not limited to: logo design, magazine layouts, illustrations, web design, package design, character design, environment design, and animation.
Image Credits: 11th Annual Graphic Design Exhibition, Nathan Laurin, Quad Rotor Airship, 2016, digital
Curated by Professor Deborah Varat
September 10th to October 10th, 2015
Opening Reception: Thursday, September 10th; 5:00 to 7:00pm
There has been a dramatic coming together in recent years of the disciplines of high art and food. Contemporary artists have used food as a medium, food photography is a growing and lucrative profession, exhibitions have been held in major museums on the theme of food. This exhibit will focus on a particular theme running through contemporary food-related art, namely the strange and alien nature of food when taken out of its natural context.
Image Credits: Tara Sellios, Luxuria Untitled No. 1, 2014, 30x24 inches, Digital C-print. Courtesy of Gallery Kayafas
September 17th, 2015; 3:00 to 5:00pm; tour begins at the gallery
Image Credits: Dale Rogers, American Dog, 2004, 8' H x 10' L x 6" D, Cor-Ten Steel, Courtesy of Dale Rogers Studio
Curated by Arlette Kayafas, Director, Gallery Kayafas
October 15th to November 14th, 2015
Artist Talk and Opening Reception: Thursday, October 15th; 5:00 to 7:00pm
This exhibit features the work of four artists who live and work in the Boston area. Their work is based on personal histories and explores the complexities of identity - the parts we share publicly and those that are layered within.
Artists include: Ria Brodell, Caleb Cole, Azita Moradkhani, Zoe Perry-Wood.
Image Credits: Caleb Cole, Lest You Forget (Detail), 2014. Courtesy of Gallery Kayafas
Curated by Professor Colin Root
November 19th to December 19th, 2015 (Closed for Thanksgiving Nov. 23rd-28th)
Panel Discussion and Reception: November, 19th; 5:00 to 7:00pm
Ranging from the colonial era to the present, this exhibit reflects the ever-changing styles of architecture in New England. Including prints, photographs, paintings, drawings, and physical objects, "Architecture in New England seeks to immerse visitors in the types of buildings that surround them every day. Artists includes: Ben Aronson, Reed Kay, Richard Raiselis, Peter Vanderwarker; as well as a selection of historic prints and drawings from the Boston Public Library and Historic New England.
Image Credits: Richard Raiselis, Liberty Square, 2004, oil on linen, 14 x 10 inches, courtesy of the artist and Gallery NAGA
January 14th to February 20th, 2016
Reception: Thursday, January 21st; 5:00 to 7:00pm (Snow Date, TBD)
This exhibition captures the iconic work of this highly renowned New Hampshire sculptor, marking the fifth anniversary of the SNHU Sculpture Park and 15th anniversary of the McIninch Art Gallery.
Image Credits: Gary Haven Smith, Way Home, 2012, 70x41x22 inches, granite,
Courtesy of the Artist
Curated by Professor Vanessa Rocco
February 25th to April 2nd, 2016 (Mid-term Holiday March 14th-18th, 2016)
Artist Panel and Reception: Thursday, February 25th; 5:00 to 7:00pm
In monumental and gorgeously realized photographs, Laura Letinsky and Tanya Marcuse penetrate the very crux of the meaning of desire: to long for, to crave, to miss. They thus place themselves in an historical trajectory of the still life genre, as well as extend the genre's parameters.
Image Credits: Tanya Marcuse, Fallen #484, 2013, Pigment print Image: 18x23 inches, Sheet: 22x27 inches, Edition 1/7. © Tanya Marcuse, Courtesy Julie Saul Gallery, NY Laura Letinsky, Untitled 64, from Hardly More than Ever, 2002, c-print, 17.5 x 26", edition of 9, © Laura Letinsky, courtesy of Carroll and Sons.
April 6th, 2016; 3:00 to 5:00pm; tour begins at the gallery
Image Credits: Aaron T Stephan, Downpour, 2014, granite, aluminum, powder coat paint, dimensions variable, © Aaron T Stephan
April 7th to May 7th, 2016
Reception: Thursday April 7th; 5:00 to 7:00pm
This marks an exciting celebration of the 10th annual exhibition of the Graphic Design program at SNHU. Faculty, alumni and current students work will be highlighted. Included in this exhibit are examples of magazine layouts, logos, photography, illustrations, posters, brochures, package design and website designs. In addition, the faculty will be featuring some of the best short animation, videos and game designs produced by their students this year.
Image Credits: Renee Boudreau '16, Sugar Scull, 2015, Digital Print, 30 x 40 inches.