On View in April

Capital Vice: Politics of the Seven Deadly Sins

Now through May 19, 2024

Capital Vice highlights a variety of art forms in the Fitchburg Art Museum’s Permanent Collection (including street photography, silverware, and weaponry) to question how outdated notions of archetypal sin fit within a modern sensibility.

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On Her Terms: Feminine Power Embodied

Now through June 2, 2024

On Her Terms: Feminine Power Embodied features New England artists who foreground the human body in their work to engage contemporary issues around women’s rights. Taking inspiration from concepts including the Woman Life Freedom movement, modern rap, historical gynecological tools, and Victorian hair weaving, these artists identify the body as a site of empowerment.

Supported by the Simonds Lecture Fund.

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Portrayed by Eakins: Ella Crowell as Model and Student

Now through June 2, 2024

Ella Crowell (1873–1897) was an important figure in the art and life of her uncle, the renowned American artist Thomas Eakins (1844–1916). He famously painted her as a toddler in Baby at Play (1876) but was later held responsible for her mental decline and early death.  

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Ari Montford’s Freedom Arrows

Ongoing

Ari Montford’s Freedom Arrows amplifies the arrow’s symbolism as tool, weapon, and message to explore Indigenous Black themes through the lens of the Native American experience of genocide. Within the museum lobby, a volley of hand-beaded arrows is suspended midair (as if just unleashed from unseen bows) and embedded in the walls. Dual concepts of protection and service, aggression and power blend with the arrows’ spiritual presence to create a space that provokes conversation about racial justice and narrative-making. Montford’s installation engages with the impact of structural racism, Indigenous trauma, and the process of creating safe spaces for restorative justice through their own voice as a Black Two Spirit Indigenous cultural practitioner.

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