Museum of Art

Paul Strand, one of the greatest photographers in the history of the medium, is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works, 25 of which form this exhibit, were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. Free

Paul Strand, one of the greatest photographers in the history of the medium, is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works, 25 of which form this exhibit, were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. Free

Paul Strand, one of the greatest photographers in the history of the medium, is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works, 25 of which form this exhibit, were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. Free

Paul Strand, one of the greatest photographers in the history of the medium, is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works, 25 of which form this exhibit, were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. Free

Paul Strand, one of the greatest photographers in the history of the medium, is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works, 25 of which form this exhibit, were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. Free

Paul Strand, one of the greatest photographers in the history of the medium, is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works, 25 of which form this exhibit, were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. Free

Paul Strand, one of the greatest photographers in the history of the medium, is perhaps best known for his pictorialist studies from early in his career, his machine photographs of the 1920s, and his 1955 publication Un Paese: Portrait of an Italian Village. But some of Strand’s most compelling works, 25 of which form this exhibit, were taken in Vermont during the years 1943–1946, when he had just returned to still photography after almost a decade of making films. Free

Erick Gong, Assistant Professor of Economics; Svea Closser, Associate Professor of Anthropology/Sociology; and Pam Berenbaum, Coordinator of Global Health Programs and Professor of the Practice of Global Health, will discuss the relationship between income and HIV risk, the relationship of U.S. activism to global AIDS programs, and HIV/AIDS prevention strategies in the context of U.S. health disparities. Sponsored by the Museum in conjunction with POST POP: The Prints of Keith Haring, and the Rohatyn Center for Global Affairs.

Pieter Broucke, associate curator of ancient art and curator of the current museum exhibition Untouched by Time, presents a virtual gallery talk exploring the enduring fascination with the High-Classical monuments from the Enlightenment to the present. Enjoy further conversation over a light lunch in the lobby. Part of the series Off the Wall: Informal Discussions About Art, sponsored by the Middlebury College Museum of Art and the Committee on the Arts. $5 donation suggested; free to College ID cardholders

Robert F. Reiff Curatorial Intern Madison Hampton ‘18 gives a public talk as part of the series Off the Wall: Informal Discussions about Art. We have grown to accept art as something framed and subsequently hung on the pristine white walls of museums and galleries; but Aspen, as a boxed publication printed in 1967, forces us to question not only how we define art, but also how we interact with it. Enjoy further conversation over a light lunch in the lobby. Sponsored by the Middlebury College Museum of Art and the Committee on the Arts. Lunch is provided.