Set on one day, June 16, 1904, James Joyce’s Ulysses follows the young poet Stephen Dedalus and the unlikely hero Leopold Bloom as they journey through Dublin. The groundbreaking novel links the epic to the ordinary, connecting characters and motifs from Homer’s ancient Greek poem the Odyssey with life in the Irish city that created Joyce. Written in self-imposed exile between 1914 and 1921, Ulysses expanded the limits of language and genre — and not without controversy. Censored and banned in America and England for obscenity, its publication in Paris a century ago was the catalyst for new legal standards of artistic freedom.
To mark the centenary of the novel’s first edition, the Morgan presents One Hundred Years of James Joyce’s “Ulysses” with items from the Morgan’s Sean and Mary Kelly Collection and the James Joyce Collection, University at Buffalo, The State University of New York.
Curated by the noted Irish author Colm Tóibín, this exhibition explores Joyce’s trajectory from lyric poet to modernist genius. It considers key figures in his career, artists and writers who responded to the novel, and the family who shaped him as a man and writer. At the exhibition’s heart is Joyce’s imagination as he created his masterpiece, explored in rare publications, portraits, correspondence, manuscripts, plans, and proofs — many of which are reunited for the first time in a century.
To learn more, visit themorgan.org.
The 1969 exhibition 5 + 1, and now Revisiting 5 + 1, are reminders that the history of Black Art in the United States is diverse rather than monolithic.
The artist’s solo US museum debut at the Baltimore Museum of Art is a contemptuous, at times satirical, take on oppression that gives way to a new history.
Simulation Sketchbook takes as its starting point the reality that digital artists, like all artists, sketch out their work as well.
Twitter’s curbing of free API access could affect accounts posting from museum collections or the archives of long-gone artists.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?
Critical race theory, which has been attacked by conservative lawmakers, is conspicuously absent, as are many contemporary and living Black artists.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
“Dignity of Earth and Sky,” unveiled in 2016, raises questions about who should depict Native people and how they should be portrayed.
In this online exhibition, Indigenous artists reclaim realities long denied them by US and Canadian federal governments — including moments of collective reverie.
At this year’s Sundance International Film Festival, more than half the feature-length movies were made by directors who identify as women.
In her novel Tell Me I’m an Artist, Chelsea Martin questions whether art offers a refuge from the world.