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New ŷ���ڱ���Ƶ Art Museum exhibit highlights the ways in which art meets challenging times and finds the sometimes-elusive silver lining

It began not with the more known Confederate battle flag—the infamous stars and bars—but with the lesser-known , a white linen towel waved on April 9, 1865, by Confederate troops when Gen. Robert E. Lee surrendered at Appomattox Court House, ending the U.S. Civil War.

In 2019, textile and social practice artist Sonya Clark made the flag of truce the focal point of her work , recreating the “cloth that brokered peace and represented the promise of��reconciliation.” The University of ŷ���ڱ���Ƶ Art Museum recently acquired Clark’s 2022 print, Confederate, surrender, which reconstructs the historical artifact.

"From Me, All Things Proceed and to Me, They Must Return," by Hollis Sigler (1991) is part of��the "Better Days" exhibition now open at the ŷ���ڱ���Ƶ Art Museum.

It was this interpretation of a lesser-known symbol that got curators and staff at the museum thinking: “(Clark) is taking this ongoing moment in history and, in many ways, elevating it with an act of repair,” says Hope Saska, acting director, chief curator and director of academic engagement in the museum. “That started us thinking about how do artists take these times that may be challenging and then use art to respond?”

The fruit of those discussions is “Better Days,” an exhibition on view beginning today and open through Oct. 26, highlighting how artists “respond to times of uncertainty” with “work that can help make sense of the world.” In the works in the exhibit, drawn from the museum’s collection, “some [artists] imagine a better world, encouraging viewers to find silver linings, while others reveal hidden aspects of conflict, sparking conversation… Collectively, they offer ways to contend with a complex world, urging viewers to celebrate our shared humanity, witness injustice and work to repair division and inequity.”

These themes are especially timely as the U.S. presidential race speeds toward election day and as events worldwide seem to create tumult and fracture rather than hope and healing, Saska says.

“In some of these artworks (in the exhibit), artists are taking stands about racial injustice and political and social conflict, or they’re making artworks related to the AIDS crisis,” she explains. “For the museum, in the climate we have today, taking on these topics kind of feels risky sometimes. We were thinking about all of these things as we curated the exhibit, so hopefully it is thought-provoking even in its challenging aspects. Our goal is that what people really get out of it is positive and reparative. We want them to come away with hope.”

Daniella Fairley, a junior who is studying art history and ethnic studies with a minor in creative technology and design, completed an eight-week Art Buffs Collective internship with the ŷ���ڱ���Ƶ Art Museum during the summer. As part of the internship, Fairley helped curate and create “Better Days.”

“I felt like this exhibit shows the perseverance of the human spirit and how we cope with tragedy,” Fairley says. “In seeing a lot of these art works and learning how they were made, what they represent, their stories, I feel like it's important to show how humans struggle and how we still live through it. Art connects us more than we think, and I hope that people can feel that connection or thread when looking at this show.”

Lead museum attendant Bella Mahlerbe, a student in the bachelor’s-accelerated master’s in art history, also provided curatorial labor for the exhibit. Malherbe worked with fellow Lead museum attendant Riley Ramsay to create a visitor feedback wall where visitors can share responses to the exhibition.

Top image: "Party Picture," by Laurie Simmons (1985)��is part of��the "Better Days" exhibition now open at the ŷ���ڱ���Ƶ Art Museum.

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