Since 2000, Lane Hall has displayed nearly 40 art exhibits, which are detailed below.
"I have a crisis for you": Women Artists of Ukraine Respond to War
Featuring work by Kinder Album, JT Blatty, Oksana Briukhovestka (MFA, Stamps School of Art and Design), Oskana Kazmina, Sonya Hukaylo, Svetlana Lavochkina, Kateryna Lisovenko, and Lyuba Yakimchuk
In February 2022, the world witnessed the invasion of Ukraine and all-out war of aggression by the Russian Federation. Since this time, massive casualties, human rights violations, and an unprecedented refugee crisis have ensued. Women artists of Ukraine have responded. They paint on found materials in refugee housing, illustrate in bomb shelters, photograph their shelled cities wearing press passes and bulletproof jackets. They document, create, and share. They post their daily journals and images on social media. They perform at the Grammy Awards. They know their message is powerful, and the amplification of their voices is critical for victory in a very real battle for survival.Curated by Grace Mahoney (U-M Slavic Languages and Literatures) and Jessica Zychowicz, Ph.D. (Fulbright Ukraine and U-M Alumna), "I have a crisis for you": Women Artists of Ukraine Respond to War showcases work created by women artists in response to Russia’s war in Ukraine. The involved artists are painters, photographers, filmmakers, poets, translators, and textile artists. Many of the works exhibited demonstrate a continuity of engagement by the artists with the topic of war, especially since 2014 when the people of Ukraine gathered in a “Revolution of Dignity” against attempts by the Russian Federation to control the country’s independence resulting in Russia’s annexation of the Crimean Peninsula and backing of pro-Russian separatists in Ukraine’s east. The featured artists have also been selected because of their prominent interest and exploration of issues relating to gender in their works. The title for this exhibit comes from a poem of the same name by Lyuba Yakimchuk:
“— our love’s gone missing, I explain to a friend/ it vanished in one of the wars/ we waged in our kitchen/ — change the word ‘war’ to ‘crisis,’ he suggests/ because a crisis is something everyone has from time to time.”
Like in Yakimchuk’s poem, many of these artists approach the war with personal perspectives. They intertwine, juxtapose, and disrupt experiences of war with the intimacies of personal relationships, the workings interior lives, and perceptions of social roles. The featured artworks and documents engage a range of subjects from women volunteering as combatants to the processes of grieving and reflect ongoing discourses in Ukrainian feminist scholarship.
On Display Fall 2022
Invisible Women: Portraits of Aging in Ukraine
Photographs by Ashley Bigham and Watercolors by Grace Mahoney
In this exhibition, artists Bigham and Mahoney investigate the visibility and social role of Ukraine’s older generation of women embodied in a figure both iconic and ubiquitous: the babusya. Seen in public transport, in the market, and on the street, each babusya has a story to tell. Each has something to say, something to gossip about, and something to complain about.
The current generation of Ukrainian grandmothers survived World War II and multiple repressions. The oldest were children during the famine-genocide of 1932-33 known as the Holodomor. They carry with them deep and complex memories that reflect the histories they have lived through. These experiences make them unexpected agents of protest and resistance to corruption, intimidation, and war.
Although civic activism is often thought to be the province of the young, many babusyas joined in the actions of Ukraine’s 2014 Revolution of Dignity in Kyiv and similar protests that occurred throughout the country. Now they witness the war in their country. Viral photos and videos of babusyas carrying kalashnikovs in plastic shopping bags and handing sunflower seeds to enemy soldiers with a curse that something grow from their graves have become icons of resistance since the beginning of the Russian Federation’s full-scale invasion of Ukraine. But they are also an extremely vulnerable population with little access to aid and technology. Many of them have lost their homes and some of them have lost their children and grandchildren. The generation called, “The Children of War” are now seniors of war.
In addition to their historic significance as a generation, these women are present in the spheres of daily life throughout the country. Often overlooked in society, these women are vibrant and active in the public spaces of contemporary Ukraine. Working in the open-air bazaars, resting on public park benches, or strolling through cemeteries, these women stake their claim on the urban space—blending, coalescing, disappearing. This exhibit endeavors bring visibility to these grannies. It’s an invitation to look closer, to see the stories which are written on their faces—they are old and tired, but not invisible.
The streets of New York City were filled with hundreds of cafeterias, self-service eating establishments, during the early to mid-20th Century. Their growth paralleled the rise of the office worker, women’s evolving roles in the work force, immigration, American love of efficiency and novelty, the growth of cities, the impact of Prohibition and the Depression, the labor movement, and American eating habits. Not one cafeteria from that era remains in New York City today. One particular restaurant, Dubrow’s Cafeteria in Brooklyn, was a legendary institution that served as a second home for many of the neighborhood’s elderly residents. Along with another Dubrow’s, a hub of the Garment Center, they provided a restaurant-cum-social club or “third place” for a generation of Jewish New Yorkers. New York City-based photographer Marcia Bricker Halperin documented Dubrow’s and other cafeterias in their waning days, drawn to the memorable faces and the liveliness and sorrow of urban life in that vanished world.Marcia Bricker Halperin is a Documentary Photographer who has been photographing the characters and landscapes of NYC since the 1970s. Born in Brooklyn, NY, she received a Master of Fine Arts in photography from Brooklyn College, where she studied painting with Phillip Pearlstein and Jimmy Ernst, sculpture with Lee Bontecou and photography with Walter Rosenblum. In photographing she hopes to relate a human story of a specific time, capture a places’ essence, and freeze details of life. | www.marciabricker.com
Whose Streets? Our Streets! New York City, 1980-2000
New York’s streets were turbulent and often violent in the 1980s and 1990s, as residents responded to social changes in their city as well national and international developments. The culture wars wracking the nation had particular resonance in New York. The City was ground zero for the AIDS epidemic and a center of avant-garde art as well as queer and feminist activism. It was also home to the Vatican’s spokesman in the U.S. and a significant culturally conservation Roman Catholic population.
Featuring photographs by Nina Berman, Donna Binder, Donna Decesare, Ricky Flores, Frank Fournier, Lori Grinker, Meg Handler, Lisa Kahane, Gabe Kirchheimer, Carolina Kroon, Meryl Levin, TL Litt, Dona Ann McAdams, Thomas McGovern, Tomas Muscionico, Brian Palmer, Clayton Patterson, Sandra-Lee Phipps, Sylvia Plachy, Alon Reininger, Richard Renaldi, Joseph Rodriguez, Linda Rosier, Q. Sakamaki, Richard Sandler, Catherine Smith, and Les Stone.
This exhibition was curated by Tamar W. Carroll, Meg Handler, Mike Kamber and Josh Meltzer with support from the Bronx Documentary Center and the Rochester Institute of Technology. More information is available at the project website, www.whosestreets.photo.
A collection of photographs take by Fran Antmann from 2006 to 2017, Maya Healers documents the life and culture of indigenous communities along the short of Guatemala's Lake Atitlán. In addition to chronicling daily activities, Anthmann's photos also reveal the spiritual and religious elements of Mayan culture, in which women have historically played a key role. Maya Healers provides a portrait of indigenous cultural endurance despite decades of genocide and suppression.
On display Fall 2018
Labors of Love and Loss
Repurposing everyday items like ironing boards, safety pins, and even hair and bone, Marianetta Porter and Lisa Olson's Labors of Love and Loss explored the intertwined lives of caregivers and their charges. Focusing on lived experiences, the exhibit examined how African American women's lives in the nineteenth century were affected by their relationships and occupations.
On display Winter 2018
Chicana Fotos: Nancy De Los Santos
Featuring photographs by filmmaker and artist Nancy De Los Santos, this exhibit explored struggles for social justice among Mexican Americans throughout the 1970s. Featuring rare images of of the United Farm Workers of America organizing activities in Chicago, protests against police brutality and for farm worker rights in Texas, and the first global conference on women, the International Women’s Year Conference in Mexico City, Chicana Fotos offered a distinct perspective on the role identity plays in grassroots political organizing.
On display Fall 2017
Moving Through the Centuries: The Empowerment of U-M Women Through Physical Activity
Part of the U-M's Bicentennial Celebration, this collection of photographs and memorabilia showcased women’s physical activity at the University. From early and restrictive physical education to D1 athletics, the exhibit explored early participatory nature of women’s movement. Despite inequities faced by women regarding physical activity, women have danced, flexed, fought, and championed for future women athletes at the university and beyond!
On display Winter 2017
Swallowed Whole: A Visual Journey Through Trauma and Recovery
Created by Heidi Kumao, this exhibition consisted of large-scale staged photographs and video, all of which drew upon U-M Stamps School of Art & Design Professor Heidi Kumao's experiences with a broken back and cancer treatment in 2011-12. Combining humor and stark imagery, the work playfully embraces the absurdity and isolation that accompanied these medical traumas.
On display Fall 2016
Above Ground: 40 Moments of Transformation
Above Ground is a photography exhibition highlighting the powerful, ground-breaking performance art and actions of China’s Young Feminist Activists (YFA). The exhibit was curated by Lü Ping, a Chinese feminist organizer and visiting scholar at Columbia University, who first organized the exhibit in New York City in fall 2015.
On display Winter 2016
Stories of Mothers Lost: The White Ribbon Alliance for Safe Motherhood
This quilt exhibit was made possible by the White Ribbon Alliance (WRA) for Safe Motherhood, an NGO whose goal is to reduce rates of maternal and child mortality. The initiative to obtain these stories was made possible by a United Nations Population fund grant to the WRA. Following a global call, there was an overwhelming response of 120 panels from 46 organizations.Stories of Mothers Lost - a collection of internationally sourced, hand crafted panels commemorating mothers lost – allowed families to express grief and also plays a powerful role as a mechanism for advocacy and communication on an issue that transcends country borders.
On display Fall 2015
This exhibit featured the work of 15 promising artists who rendered the modern spectrum of gender, going beyond the simple male/female binary to include a wide variety of identities and sexualities. The Re-imaging artists, MFA students enrolled at CIC universities, responded to a Call for Art issued by the Institute for Research on Women and Gender. The result was an exhibition of 17 works in a variety of media, including photography, paint, lithograph, mixed media, and video, which reflected new understandings of gender.
On display Winter 2015
This is an exhibit of photographs and text created by The Olimpias artist collective, a group of disability culture activists and their allies, led by artistic director Petra Kuppers, Professor of English, Theater and Dance, Art and Women’s Studies. The artists use underwater photography, dry performance workshops, creative writing and video to find their disabled beauty emerging from the deep, the wild aesthetic of water.
On display Fall 2014
4000 Years of Choice
This is an exhibition of posters created by Heather Ault about the age-old practices of abortion and contraception as a means to reclaim reproductive freedom as a deeply personal and life-sustaining act existing throughout all of human history.
On display Winter 2014
Sustainable Activism and Beloved Communities of Detroit
This is an exhibition of photographs by Wayne State Photography Professor Marilyn Zimmerwoman.
On display Fall 2013
Interrupted Life: Incarcerated Mothers in the United States
This is a multimedia exhibition featuring works by incarcerated women, curated by Rickie Solinger.
On display Spring/Summer 2013
Claiming Citizenship: African Americans and New Deal Photography
Curated by Rickie Solinger.
On display Winter 2013
Women's Studies 40 Years: Memorabilia
To recognize the 40th anniversary of the Women's Studies department at Michigan, members of the Women’s Studies community shared feminist memorabilia from 1970 to the present in an exhibit of posters, records, t-shirts, buttons, pamphlets, postcards, and documents.
On display Fall 2012
Full-color photographs that celebrate the accomplishments, diversity, and beauty of female athletes.
On display Winter 2012
A Women’s Place is in the Struggle: Gender, Race, and Nation
Posters from the collections of Paquetta Palmer and Maria Cotera.
On display Fall 2011
we will not be silent: photographs by ellen eisenman
On display Fall 2010
By Yehudit Endlard.
On display Winter 2010
On display Fall 2009
In Times of War: Her Untold Story
This exhibit is from the Arab American History Museum.
On display Winter 2009
By Jane Evelyn Atwood.
On display Fall 2008
By Janie Paul.
On display Winter/Spring 2008
By Rachel Melis.
On display Spring/Summer/Fall 2007
Jake in Transition from Female to Male
By Clarissa Sligh.
On display Winter 2007
On display Summer/Fall 2006
By Annu Mathew
On display Winter/Spring/Summer 2006
Southern Saddlebags and Shotgun Houses
By Beverly Buchanan
On display Fall 2005
Visualizing Women in Science, Mathematics and Engineering
By Pamela Davis-Kivelson
On display Winter/Spring/Summer 2005
MOLAS: Kuna Women's Visions from Kuna Yala, Panamá