Doug Adams Gallery at the Badè Museum is located at the Pacific School of Religion.
1798 Scenic Avenue, main level of the Holbrook Building.
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HOURS: T, TH, F 10:00 a.m. 3:00 p.m.
Admission to the Badè Museum is free for all ages. Donations may be received at the front door. We thank you for your continued support!
The Doug Adams Gallery at the Badè Museum
SEPTEMBER 4 - DECEMBER 14
Sunday Spirit: Religious Images by African American Artists from the Jean and Robert E. Steele Collection
OPENING RECEPTION: Thursday, September 6, 2012, 5:00 p.m.-7:00 p.m. in the Doug Adams Gallery.
This exhibition is a visual chorus of African American spiritual tradition. Situated at the nexus of religion and creativity, Sunday Spirit provides an intimate look at significant moments in African American family and community life. Etchings, lithographs, and other works on paper feature noted artists including David Driskell and Faith Ringgold. Images represent music, myth, remembrance and other facets of African American culture.
This November, GTU Distinguished Faculty Lecturer James Noel will reference several works from this exhibition in his talk, which will take place at the PSR chapel with a reception following in the Doug Adams Gallery.
APRIL 3 - AUGUST 24
Mining the Collection: Dimensions of Dark featuring the work of Cathy Richardson
Catherine Richardson grew up near the Moors and Dales of Yorkshire England and attended Art College in London for her BFA. The natural world has always provided poetic intrigue for her, and she has used painting, sculptural installations and drawings as a platform to explore various ways of expressing the phenomenology of place.
After graduating with an MFA from John F Kennedys Arts and Consciousness program, Catherine was awarded the Sonoma County Emerging Artist Award and twice nominated for the prestigious Eureka Fellowship. She shows in galleries in the Bay Area and is represented by Hammerfiriar Gallery in Healdsburg California.
Since the opening of the Doug Adams Gallery in 2009, we have been reflecting on our relationship with the Badè Museum, and on the connecting currents that unite our respective missions. Both sides of the room deal with human agency, the creation of material objects, and larger questions of humanity. Together, they represent modern and ancient societies, the disciplines of art and archaeology, and visual and material culture.
When I entered into the Badè Museums archives, absorbing ancient fragments of relics, my thoughts spiraled through visions of time. The small, clay (olive) oil lamps primarily captivated my attention amidst the multitude of shards of a 2000-year-old archeological collection. I envisioned each person cradling their personally decorated lamp to light their way in deep darkness. Fueled by olive oil, the flame was tiny and free to conjure a multitude of shadows. I compare the phenomena with how we regard our artificial light today.
So much of life then was balanced between time lived in light and dark, even the interior of their dwellings remained low-lit during daytime. Lamplight, regarded as sacred and magical, was used during ritual at death as it was believed to restore life. Lamps, used only once, were discovered enclosed in the foundation walls of stone houses, maybe as a benevolence-bearing token.
What secrets did the tribe dwellers of Tell en-Nasbeh know, of darkness and the skies that loomed over their lives? How did this influence their spiritual beliefs and rituals? What might have constituted a dialogue with the divine? Through biblical texts we find words for Moon-God (Yarikh) and Sun-Goddess (Shapash). These existence of these deities shows a direct reverence for celestial worship.
I explore through art and imagination what may have been lost to our senses living with continual light in our lives. Modern man no longer dwells under the formless dark space of night skies. How may this have fragmented our connection to supernatural elements of the Universe? Have we developed our sense of sight at the expense of losing "sight" of our deeper relation to the galaxies? The artist Alighiero Boetti created a sculpture titled "Annual Lamp" in 1966, which only illuminates once a year, contrasting our overuse of artificial light. Have we forgotten the mysterious power of the night sky as we sleep, escaping into our dreams while we assign our cities to white-light the heavens?
Im interested in my connection to almightiness, recognition of a higher power through a resonance with our natural world. Being able to sit out under a very black, star-laden sky is a fascinating reminder of our comparative insignificance. As we unearth evidence of ancient dwellers, we cast a light into the past. This light does not reveal the past yet it ignites our imagination and sparks our inquisitive minds. We cannot "see" what is buried in the layers of earth beneath us, yet perhaps we can sense the story of place if we sit in the silence of infinity.
JANUARY 24- MARCH 23, 2012
The Migrant Project: Contemporary California Farm Workers
OPENING RECEPTION: February 2, 2012, 5:00 - 7:00 p.m., Doug Adams Gallery.
California migrant farm workers, a segment of society numbering over one million strong, supply the United States with more than half the produce we eat each day.
"The Migrant Project: Contemporary California Farm Workers," an art, humanities and educational exhibition, uses a photojournalistic lens to look closely at their lives and through them, ask questions about the human cost of feeding America. Through forty images and bi-lingual text, this multi-layered portrait details the lives and struggles of the rarely seen faces of this invisible and consistently neglected population.
It was shot throughout the state, from the border at Calexico to the capital, Sacramento, and depicts everything from family life, the issues of women and children, to the search for housing, immigration, health care and the scraping together of culture and community. By providing these and other details, photographer Rick Nahmias aims to foster empathy with today's migrants as well as by providing a humanistic perspective through which to understand their lives and contributions.
Additional information about thistraveling exhibit is available at www.themigrantproject.com
SEPTEMBER 8 DECEMBER 16, 2011
Gendered Images: Feminine Divine
OPENING RECEPTION: September 8, 2011, 5:00 - 7:00 p.m., Doug Adams Gallery.
Gendered Images: The Feminine Divine offers female depictions of deities that transcend time and geography. Female iconography is often ignored or omitted in male dominated theological constructs. Through this exhibition, the Feminine Divine reemerges, speaking through visual imagery and raising our collective consciousness of of gendered symbolism. Some of these images are abstract, some more representational. Many artists, such as Laura Lengyel and Seana Reilly. expressly treat the human form; others, like Carol Levy, are more ethereal in their reflection. Together, they center on allegory, exploring the interplay between religion, feminism, aesthetics, popular culture and devotion. This collection of images highlights the goddess figure and the power of women as faithful practitioners, while underscoring the creative, non-violent and nurturing qualities of women through the ages.
Carin Jacobs, Director, Doug Adams Gallery/Center for the Arts, Religion and Education, Graduate Theological Union,
Anna Novakov, Professor of Art History, Saint Marys College of California
Michael Caci, Anne Timpano, Laura Lengyel, Zorah Kalinkowitz, Mary Curtis Ratcliff, Seana Reilly, Nancy Victoria Davis, Kristin Satzman, Carol Levy, Janet Mckenzie, Shelley Kommer
JUNE 16 AUGUST 26, 2011
Portraits on the Margin: California's Alternative Religious Communities
Portraits on the Margin profiles alternative religious communities at work in California. What is it about our state, on the literal edge of the country, that has allowed these communities to flourish, both historically and in the present moment? The pronounced sense of place found in the Golden State has positioned California as a Petri dish for new religious movements. From Gertrude Steins classic Oakland claim: There is no there there to environmental essayist Edward Abbeys classic quote: There is science, logic, reason; there is thought verified by experience. And then there is California, our state has long been the site of monikers, myths and magic. This exhibition juxtaposes two sets of portraits: Michael Rauners album from Witch Camp, This anachronistic and otherwise hidden American spiritual subculture at the edge of the western world; and Mark Thompsons Fellow Travelers: Liberation Portraits. While aesthetically quite differentone a static, black and white narrative of gay mens liberation, the other a colorful portfolio of female dominant neo-paganismboth raise salient questions about identity, faith and religious freedom.
MARCH 31 MAY 20 , 2011
Mining the Collection: The Meaning of the Bone Room
featuring Artist-In-Residence Julia Nelson-Gal
Each year, a single artist is invited by the Doug Adams Gallery to create a body of work inspired by the Badè archaeology collection. The artist-in-residence gains access to the entire Badè collection, spends time with staff archaeologists and curators, and conducts research that will drive their final exhibition. This series helps to foster cross-disciplinary dialogue and brings to life significant artifacts from biblical times, placing them in a new contemporary context.
Since the opening of the Doug Adams Gallery, we have been reflecting on our relationship with the Badè Museum, and on the connecting currents that unite our respective missions. Both sides of the room deal with human agency, the creation of material objects, and larger questions of humanity. Together, they represent modern and ancient societies, the disciplines of art and archaeology, and visual and material culture. -Carin Jacobs, Curator/Director of CARE
"The Meaning of the Bone Room recognizes what is left behind when the soft flesh of life is gone. It celebrates the artifacts in the Badè Museums collection,
in both their importance to our understanding of earlier cultures, and their
inspiration to me as a visual artist. It is these objects, and the ones we will
some day leave behind, that are the bones of our society." -Julia Nelson-Gal, Artist-in-Residence
DOWNLOAD ARTIST'S STATEMENT > (doc)
January 27 March 11, 2011
Hobos to Street People: Artists Responses to Homelessness from the New Deal to the Present
Hobos to Street People: Artists Responses to Homelessness from the New Deal to the Present, is a traveling exhibition organized by the California Exhibition Resources Alliance, and curated by Art Hazelwood. This timely exhibit features the works of artists working over the last 75 years to document the tragedy of homelessness. Featured are works by New Deal era artists such as Dorothea Lange, along with current day artists such as Christine Hanlon, among many others. Through painting, printmaking, photography, and mixed media, Depression-era and contemporary artists offer glimpses of life on the street and show many similarities between the eras.
September 16 - December 17, 2010
Picturing the Word: The Visuality of Text
This exhibition brings together five artists who investigate the relationship between text and image in various faith traditions. These artists reference diverse letter forms and types of script, reflecting the ways in which letters and symbols can signify a particular culture, and, in some instances, facilitate the blending of otherwise disparate cultures. These works underscore the figurative role of text and can be read as both humanistic and aesthetic narratives.
Framed by dynamic color palettes, abstraction, and, in one case, the covers of a book, these cultural messages are encoded and decoded, allowing the viewer to decipher or make meaning through their own spiritual lens.
PANEL DISCUSSION: October 21, 6:00-8:00 P.M.
Picturing the Word artists Igaël Gurin-Malous and Sharon Siskin join Pacific School of Religion professor Rossitza Schroeder to explore the visual role that text can play in the representation of cultural and spiritual identity, and the role of text as a visual medium in a variety of faith traditions and historical constructs.
June 17 - August 27, 2010
Echoes and Fragments - Renee Powell, Center for Jewish Studies, GTU, MA thesis project; and Carolyn Manosevitz, artist and educator
Renee Powells ceramic scrolls are hand crafted and fired in a Japanese wood-burning kiln for several days. The broken, burned surfaces with heavy buildup of wood ash serve as a visual reminder of the literal devastation imposed on every aspect of Jewish life during the Holocaust. The small but bright flame emanating from the memorial candle in front of the broken scroll is a symbol of remembrance, hope and healing for future generations.
Powell will graduate from the GTU in May with a Master's in Jewish studies. She holds an undergraduate degree in Fine Arts from UC Berkeley. She discovered her passion for clay and the potter's wheel while growing up in New Jersey. In recent years, as her interests in Jewish studies developed her ceramic forms expanded beyond wheel- thrown forms to include hand-sculpted Jewish symbols such as the sacred scrolls. She has exhibited in New York and has participated in the annual "Celebration of Craftswomen" show in San Francisco. Recently she participated in an exhibit held at the Hiersoux gallery in Berkeley.
Carolyn Manosevitz was born and raised in Winnipeg, Canada. She received a BA cum laude from the University of Minnesota and MFA from the University of Texas. Manosevitz has been involved in the arts for over 25 years as a visual artist and educator. The current focus of Manosevitz’s art is what she describes as the ‘aftermath’ of the Shoah. Absence and memory as they pertain to the destroyed Jewish communities of Europe are recurring themes in her paintings.
PANEL DISCUSSION: JULY 22, 2010, 6:00-8:00 P.M.
In honor of the week of Tisha B'Av, the Doug Adams Gallery presents a panel discussion on art and healing July 22, 2010. Speakers include Rene'e Powell; Naomi Seidman, Director, Center for Jewish Studies, GTU; and Rabbi Elliot Kukla, Bay Area Jewish Healing Center. Tisha B'Av is a fast day that commemorates the destruction of the First and Second Temples. It has also became a day of general mourning for other major disasters that have befallen the Jewish people, from the Edict of Expulsion from England in 1290 to the mass deportation of Jews from the Warsaw Ghetto.
An Archaeology of the Senses by Pamela Blotner
How do we comprehend a lost civilization? And how can we use art to capture its essence? While archaeological science and historical scholarship help us reconstruct the purpose of artifacts, it is perhaps the artistic imagination—aided by the senses, the most basic building blocks of human understanding—that divines their meaning.
As Artist-in-Residence at the Badè Museum, these questions have been at the core of my work “mining” its central holdings, relics excavated from the Iron Age site of Tell en-Nasbeh. Examining this collection, I was struck by the numerous objects I found that were associated with the sensory aspects and experiences of everyday life. In one cabinet, a variety of clay oil lamps helped me envision what the town’s residents saw as they illuminated their surroundings at night, while incense burners and tiny jugs in another let me imagine what they smelled as they lit aromatics or spread fragrant oils on their skin. I discovered drawers filled with mortars and pestles used to grind local spices, bowls for food and jugs for wine. Exploring further, I found tiny rattles to shake and smooth worry beads to run through my hands, imagining the sounds, ceremonies, rituals, and shared beliefs that had unified and sustained this ancient civilization.In this exhibition, I hope to recreate something of the sights, sounds, smells, and tactile impressions encapsulated in Tell en-Nasbeh’s artifacts and encourage viewers to use their own senses to bring these everyday objects to life.
An Archaeology of the Senses invites viewers to use their own senses to bring these everyday objects to life.
January 28 - March 19, 2010
Muse/Reuse: Visual Reflections on Sustainability
Muse/Reuse: Visual Reflections on Sustainability weaves together a number of connecting currents that drive our concerns for beauty and nature. Wetlands and forests serve as touchstones for ethical inquiry, and as markers and measures of resource (mis)management.
If sustainability represents endurance over time, these artists muse over aspects of our natural world that struggle to endure, often against human intervention, and reveal the beauty that can be found in what remains, as indicated in Ventana Amico’s aptly titled “Remains to be seen.” These works explore humans’ relationship to nature, and our collective responsibility to support this delicate balance.
Aesthetics is concerned with the ways humans experience the world through their senses. Catherine Richardson’s Held Notes brings together sound and vision in a composition of sensory acuity. Mariangeles Soto-Diaz adds the essence of taste in her study of family food consumption. Environmental aesthetics extends beyond the art sphere to include aesthetic appreciation of both naturally occurring and built environments.
Many of these works center on bark imagery and waterways, which, when represented in diverse media, create a united voice of advocacy and environmental awareness. Questions of adaptation and change are considered on a local, national and global scale. Steven Holloway maps our own local creek systems, Ted Foley charts the recovery process of lakes and logs in Michigan, and Elizabeth Kenneday depicts reforestation efforts in Iceland. Reflecting the tensions between native and non-native, permanent and ephemeral, Muse/Reuse asks each of us to consider the moral, social, cultural and theological implications of our natural world, and our critical role in the stewardship of our planet.
September 10 - December 18, 2009
Mapping Sacred Ground
Opening Reception: September 10, 5:00-7:00 pm.
This invitational show features the work of Bay Area artists Lawrence Labianca, James Linnehan, Janice Nakashima, Laurie Polster, Mie Preckler, Michael Rauner, and Shane Weare. The exhibition examines notions of territory, boundary, and mapping of sacred space, and includes photographs, drawings, etchings, and sculpture. An associated panel discussion will explore ancient archaeological sites, spontaneous roadside memorials, and Californias sacred spaces, both constructed and organic.
Mapping Sacred Ground will open Thursday, September 10, with a reception from 5:00 - 7:00 p.m. In addition to the Thursday night opening, the gallery will participate in the Second Fridays North Berkeley gallery walk on the following night, September 11, when it will remain open until 7:00 p.m.
October 15, 5:00 7:00 p.m.
Gallery Talk: Mapping Sacred Ground
Doug Adams Gallery at the Badè Museum
Pacific School of Religion
1798 Scenic Avenue, Berkeley
Badè Director Aaron Brody, museum registrar Karen Krosloswitz and author Erik Davis discuss mapping as reflected in ancient archaeological sites, spontaneous roadside memorials, and psycogeographies of Californias sacred spaces, both constructed and organic.
Dr. Aaron Brody is the Robert and Kathryn Riddell Associate Professor of Bible and Archaeology and the Director of the Badè Museum at PSR. Brody holds a Ph.D. and M.A. from Harvard University, and a B.A. from the University of California at Berkeley. He taught at the University of Georgia, Boston University, and the Massachusetts Institute of Technology before coming to PSR and the GTU in 2002. Brody's field work has been conducted primarily at Bronze and Iron Age sites on the Mediterranean coast of Israel, and he has participated in projects in the Negev and Akko Plain and with the Ohlone-Muwekma at sites in northern California. His primary research interests include archaeological interpretations of the society and economy of ancient Canaan, Phoenicia, and Israel, archaeology and the study of religions, and deep water archaeology. Recently his research and publications have been focused on household archaeology, metallurgy, and interregional trade at Tell en-Nasbeh, the ancient site that forms the principal holdings of the Badè Museum.
Karen Kroslowitz is the author of Spontaneous Memorials: Forums for Dialog and Discourse, which appeared in Museums & Social Issues: A Journal of Reflective Discourse. Karen holds a Master of Arts in Museum Studies from John F. Kennedy University, where her graduate thesis, Socially Responsible Collecting from Spontaneous Memorials, earned her the Gail Anderson Award. Presently, Karen is the Registrar for the Computer History Museum and also worked in collections management and exhibit development at the Bishop Museum in Honolulu, the Wing Luke Asian Museum in Seattle and the National Steinbeck Center in Salinas.
Eric Davis is a San Francisco-based writer and culture critic. He is the author of TechGnosis: Myth, Magic and Mysticism in the Age of Information, as well as a short critical volume on Led Zeppelin IV. Davis contributes to scores of magazines, and his essays have been included in over a dozen books. He won a Maggie Award for his San Francisco magazine profile of the Internet entrepreneur and UFO contactee Joe Firmage, while the New Yorker has recognized his expertise in the works of the California science fiction writer Philip K. Dick. You can learn more about his work at www.erikdavis.org.