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In this 8th juried Student Response Exhibition (SRE), ߣߣÊÓƵ University students were called upon to creatively respond to a theme - the Environmental. It's Our World, is one of the two exhibitions in 2023-24 developed in conjunction with the University's FOCUS theme of Environmental Justice led by the Institute for Environment and Sustainability. It's Our World is comprised of 22 artists and 31 works. Students creatively reflect and respond to our changing environment, illustrating how creative expression can be used to observe, understand, represent, and draw attention to environmental issues that face individuals and the collective in the one world we share. Interpretations are subject to the student's personal perspective, major/minor, year of study, culture, age, and experience.

This is an online version of the ongoing exhibition, Art History at a Glance. Visit the exhibition and these works from our permanent collection live and in person when our galleries are open and enjoy them online here.

This website is a virtual exhibition of the ß£ß£ÊÓƵ University Art Museum's 2022 Fall Semester Exhibition: A Lens for Freedom: Civil Rights Photographs by Steve Shapiro, originally displayed inside McKie Gallery.

Learn more about the physical exhibition and related programming

Returning this semester, now taking place during Fall, is the Student Response Exhibition (SRE). Open to all ߣߣÊÓƵ University students, of any year, major/minor, this eighth SRE is connecting students with the complex theme of Sovereignty. Interconnected: Land, Identity, Community is developed in collaboration with the Myaamia Center at ߣߣÊÓƵ in association with the 2022-2023 FOCUS theme of Tribal Sovereignty. In Interconnected, sovereignty includes inherent and retained political rights and cultural integrity. Three key factors in maintaining Tribal Sovereignty are land, identity, and community. This theme, which was broadened for students to allow for wider contextualization, is also connected with the 50th anniversary of the relationship between the ߣߣÊÓƵ Tribe of Oklahoma and ߣߣÊÓƵ University.

After a year and a half of limited viewing, ߣߣÊÓƵ University Art Museum opened its doors fully for this quadrennial exhibition without the need to make a reservation so that art lovers can again freely engage with art in person. Also without reservation, faculty (current and emeritus) along with alumni had been busy creating new works and conducting original research for their contributions to this exhibition. Some artists and scholars responded to the world-wide pandemic, while others sought refuge through an introspective lens or reflected on the impact of other external forces. Not only does this represent the diversity of featured works, but also the very nature of artistic and scholarly creation – a response. 

“Confronting Greatness” celebrates the 50th anniversary of Linda Nochlin’s groundbreaking 1971 essay . The article investigates and strives to dismantle the institutional obstacles faced by women that have prevented their being seen as “great” in the same sense as their male counterparts. This essay will be featured prominently within the exhibition. 

The Great War (1914-1918), otherwise known as World War I, prompted many European artists to respond to the horrors of the war. Some artists produced demonstratively emotional and physical anguished imagery to illustrate the true nature of the war. For Georges Rouault (French, 1871-1958), the emotional and artistic expression of misery reflected personal meditations, reflections, and religious beliefs. Rouault made his acclaimed series Miserere between 1918 and 1927 based on drawings that he began in 1914 shortly after the outbreak of the Great War. His series of 58 etchings are a dark and personal pronouncement of the artist’s anxiety over the ills of a society inflicted by war.

For more than a thousand years music alongside prayer has played a key role in services among many Christian orders. Prayers were given melodies that led to songs incorporated in daily rituals for clergy. Many people today are familiar with Gregorian Chant, one of the earliest examples introduced in the Medieval period. In time, clergy presented songs to parishioners as a part of mass and other religious festivals.

In 2014, the ߣߣÊÓƵ University Art Museum purchased a collection of 25 broadsides illustrated by Mexican artist José Guadalupe Posada (1852-1913). Featured in this exhibition are 18 of these pieces. It is estimated that Posada produced more than 20,000 illustrations during his 42-year career.

Chasing Light is a photographic arts exhibition co-curated with ߣߣÊÓƵ University photographers and faculty, Scott Kissell, Jeff Sabo, Ron Stevens and Jon Yamashiro. The exhibition is presented in association with the Cincinnati-based photography initiative, FotoFocus 2020 a series of exhibitions and presentations. The FotoFocus theme of Light & inspired an exploration of how photographers look for and use light specifically in black and wite photography.

Prior to World War I (1914-1918), tourism brought much notoriety and prosperity to European cities and towns. Europe was left in shambles after the war and faced an uphill battle of rebuilding. Promoting travel to foreigners during the 1930s helped bring about a return to the hustle and bustle of life. At the heart of such activities was the production and distribution of travel posters.

Myaamia Ribbonwork is curated in the voice of Myaamiaki ‘ߣߣÊÓƵ Indian’ people. Our nation, the ߣߣÊÓƵ Tribe of Oklahoma, is centered in northeast Oklahoma but we have ongoing connections to our historic homelands in the Lower Great Lakes region. Due to our history of forced removal and dislocation, our 5,500 Myaamia ‘ߣߣÊÓƵ’ citizens live in all fifty states.

Desire, Conflict & Exchange: Art of 19th Century East Asia and the West is the culminating work of the 2019 Art & Architecture History Senior Capstone (ART498) seminar taught by Dr. Michael Hatch.

Originally shown at ߣߣÊÓƵ University’s Hiestand Galleries in the Fall of 2019, They that Matter online is sponsored by the 

These expressive and powerful works inspired our staff to make them available with the artist’s permission virtually.

The development of Over Here! Over Here! U.S. Propaganda and the Arts of World War I was made possible by generous loans of original artwork and materials, and permissions to reproduce important documents from institutional and private collections.