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Portraits of Faces|Places from the Harn Photography Collection celebrated the museum’s growing collection. It highlighted 55 photographs, many seen here for the first time. The images described the look and feel of places, and the self-possession and specificity of bodies and faces from around the world—from Mexico’s markets, to a portrait studio in Mississippi, to Coney Island’s beaches. Each coaxed us to notice more than what is visible.
The American artists featured in this exhibition represented fine examples from a large and diverse body of the movements that have defined abstraction since 1945. Artists in these decades grappled with the making of meaning through artistic expression, the science of illusion, the power of color and shape, and the experimental possibilities of form and gesture.
The Harn Museum’s collection of works by Jamini Roy ranks among the largest public collections of distinguished holdings by the artist outside of India. Inspired by Indian village artisans, Roy often used pigments made from organic matter, including rock-dust, tamarind seeds, and mercury powder, to paint his canvases.
This exhibition provided an overview of influential American artist Jacob Lawrence (1917 - 2000). Lawrence was primarily concerned with the narration of African American experiences and histories. His acute observations of community life, work, struggle and emancipation during his lifetime were rendered alongside vividly imagined chronicles of the past.
Poetic and Political explored two realms of perception often considered oppositional but more likely to work in tandem to make a rich, provocative and compelling visual impact.
In this exhibition of selected built projects and proposals for architecture, Donald Judd's connection to and freedom from architecture culture was explored, and the integral nature of his art and architecture practice was revealed.
This exhibition highlighted the Harn’s diverse collecting areas through an alphabetical exploration of subject matter, medium and formal elements. From alligator to zig-zag, the exhibition delighted children, families and the young-at-heart.
Imbued with the elemental, Joni Sternbach’s photographs capture the vast terrains of desert and ocean through a unique interplay between image and materials. Choosing wet plate collodion, analog, digital or video technologies, Sternbach’s landscapes reference history and the contemporary sublime.
The Tree of Life addressed the importance of biodiversity and the interrelation of all species on earth. The exhibition explored these themes through a selection of prints and photographs depicting Florida species, as well as a touch table with interactive and video elements.
Nearly 120 drawings, pastels, paintings and sculptures by prominent French artists of the eighteenth and early nineteenth-century were on loan from one of the most comprehensive and superb private collections of its kind.
Spotlight: Latin America celebrated the contributions of 37 artists from the Caribbean, Mexico, Central America and South America. The works—roughly 50 in all—were drawn mostly from the Harn’s collections with additional loans from private Gainesville collectors. The exhibition included Spanish translations of the gallery interpretation.
The Same But Different celebrated the Harn’s growing photography collection. It highlighted more than 90 photographs by 50 photographers arranged in 13 themes. The images in each theme shared a visual or conceptual component that was then interpreted through each photographer’s unique sensibility.
Blank Space invited visitors to create, respond and play in the museum. The gallery featured interactive installations; scheduled opportunities for yoga, storytelling and dance performances; and art by students.
Intra-Action celebrated 36 international women artists working from the mid-20th century to the present, including the groundbreaking, radical collective called The Guerrilla Girls. More than 70 works challenged patriarchal domination, notions of gender, identity and the art world itself.
Sahel, meaning “shore” in Arabic, refers to the region bordering the Sahara Desert. Art in the Sahel reflects assimilation of diverse cultural and visual ideas that have enriched this region for centuries. Shore Lines: Art Across the Sahel presented historical and contemporary works from the Harn’s collection made by artists who live in the Western Sahel, including the nations Mali, Senegal, Mauritania, Niger, Burkina Faso and Chad.
Beginning in the late 1970s, philanthropist Arthur Ross (1910–2007) avidly collected works of art by some of the most renowned printmakers of the last three centuries. The Arthur Ross Collection eventually came to comprise more than one thousand eighteenth- to twentieth-century Italian, French, and Spanish prints of the highest quality.
Cuban artist Cundo Bermúdez is best known for his use of color in his paintings, prints and murals. This exhibition highlighted four prints from the renowned artist and included Spanish translations of the gallery interpretation.
Frida Kahlo (1907-1954) was among the most photographed women of her generation. What photographers found intriguing was her uninhibited humor and charm, overt sensuality and rare beauty and style.
The United Nations reports there are more displaced people in the world today than ever before due to war, conflict and persecution. Aftermath: The Fallout of War brings together the work of twelve contemporary photographers, both American and from the Middle East, who explore the effects of war on civilians and the environment.
The exhibition focuses on a masking tradition of the Islamized Zara peoples of Burkina Faso, called Lo Gue, or White Masks.
The exhibition features ceramic works by artists inspired by both traditional themes and the avant-garde. Tensions between form and functionality, traditional and modern, national and international are often evident across works in the exhibition and within individual works.
Framing Nature: the Living World in Art takes a dynamic view of the artistic engagement with nature across cultures. The exhibition offers challenging and enriching perspectives on how we see and understand the natural world through the eyes of artists and makers from around the globe.
Capturing Nature: The Insect World in Art explores the naturalist illustrations of four artists who were active in the 18th century: John Abbot, Mark Catesby, Moses Harris and Maria Sibylla Merian.
Sixty-six photographs by Michael Kenna depict nature and the manmade from countries around the world.
In 2011, acclaimed photographer Dawoud Bey made portraits of ‘first-year” UF students and asked them to write of their “hopes, dreams and fears.” Five years later, the Harn displayed these images again after contacting these same students inviting them to write about their UF experience—several responded. Their comments—“Then” and “Now”—are exhibited with the original portraits.
Artists in this exhibition contest history and the definition of art itself. They push boundaries and claim new terrain, testing the parameters of aesthetic experience while creating new models of visual meaning. Resisting the idea of aesthetic purity, they deny the separation between the realm of the artwork and the realm of the political. This exhibition traces this tendency beyond Europe and the United States in the West to include artists from Africa, Latin America and China.
Conversations: A 25th Anniversary Exhibition provides an opportunity to mark the Harn Museum’s anniversary through an installation that celebrates the growth of its collections over the past 25 years. The exhibition features roughly 125 works representing more than 100 artists.
This film traces the history of women’s work on the development of the Modern Project in New York City and beyond during the 1920s and 1930s.
Concurrent with celebrating the Harn’s 25th Anniversary, NEXUS: Experimental Photography in Florida - Uelsmann, Fichter, Prince, Streetman & Walker takes a look at the long, prosperous and continuous careers of five key members of the UF Photography Department Faculty during the 1960s and 70s.
Objects from homes, palaces, shrines and other sacred spaces including, sculptures, paintings, ceramic vessels, textiles and architectural elements, such as doors, window frames and roof ornaments are on display in this exhibition.
Society, Studio and Street brings both sides of Hoppé’s work together for the first time, and marks the rediscovery of Hoppé as a pivotal figure in Edwardian art and photo-modernism.
This exhibition highlights the intersections between designer fashions and traditional forms of dress in Ghanaian culture, with runway garments displayed alongside historical textiles such as a batakari tunic and kente cloth.
Monet and American Impressionism highlights twenty-five artists who launched a new way of painting in response to the influence of Monet and French Impressionism. The exhibition presents roughly fifty paintings and twenty prints dated between 1880 and 1920.
The Harn Museum of Art opened in 1990. For a list of exhibitions prior to what is listed on this page, click below.