SCMAinsider

Given the universality of motherhood, this exhibition explores the theme of “Mother and Child” across time and cultures.

Following a long tradition of artists who beg, borrow, and steal elements from other artists, Roy Lichtenstein was a master of creating art about art stemming from both so-called “high” and “low” culture.

Completely enamored with mystery and intrigue, I became obsessed with the woman in white and was determined to unveil her secrets. 

CHM 100 is the chemistry for non-science majors offering from the chemistry department. It covers all the important introductory chemistry subject matter using art objects from the museum as illustrations for chemical principals.

Many of the oldest works on paper in the Cunningham Center are, unsurprisingly, religious manuscripts.

The enigmatic Canadian-born American artist Agnes Martin spent her long life and career purging her mind and art of all conceptual thoughts, living and working by inspiration alone in the pursuit of beauty and purity.

Holly Trostle Brigham (Smith College class of ’88) explores her own identity through the solitary female figure, and during the 1990s focused on women through the lens of ancient mythology.

These men and women volunteered often without any kind of army experience, to go out in the field to protect and restitute Nazi looted art. They were culled from all kinds of museums and art institutions and Smith College was not left behind.

Just like any other form of art, graffiti can invoke a great range of feelings.

This past semester, the Smith College community welcomed our new president, Kathleen McCartney, with open arms. The Museum celebrated her recent inauguration with ART STORIES, a special exhibition featuring art that has left a lasting impression on the widespread Smith community.

A look behind the scenes can show how easily human error or simple forgetfulness can lead a piece of art into limbo, into an existence without cataloging, captioning, or even a proper home.

Known as a “Romantic Minimalist,” his extremely reductive visual language of monochromes, lines, and grids may at first appear similar to that of his Minimalist contemporaries of the 1960s and ‘70s, but Marden never completely abandoned the accidental or idiosyncratic gesture characteristic of Abstract Expressionists.