An exhibit dedicated to armchair travel, vacations, and adventures elsewhere featuring the work of 12 contemporary artists and selected travel books, atlases, and other vintage materials from the library’s historic collection.

An exhibit that looks at preserving and examining nature via ark, zoo, library, archive and collection.

Read Ark/\Hive Marries Heaven and Hell by Brian Slattery in the New Haven Independent here.

An exhibit exploring the shifting role of narrative fictions in visual art, featuring collage, assemblage, sculpture painting, prints, film and multi-media works.

Read On Chapel, Fairytales Regain their Power by Lucy Gellman in the Arts Paper here.

The exhibit highlights the role of deductive reasoning and careful examination play in constructing a narrative and conclusion.

Read Art Presents Its Case by Allen Appel in The New Haven Independent  here.

Mincing Words presents a range of works by contemporary visual artists focused a sense of play between images and words.

CRU (“RAW” in French) is both a physical magazine and a virtual body: a secret website of sound art with access through a code only given to those who have bought the magazine and a printed issue documenting CRU exhibitions and performances held at La Plaque Tournante, a non-commercial artist space in Neukölln, Berlin.

Painting and Drawings by Mikhail Shevelkin

Paintings by local artists: Susan McCaslin, Heather Hill Young, John Keefer, Barbara Marks, Daniel Eugene, Amy Vensel, Noe Jimenez, Frank Bruckmann, & Steve Digiovanni.

Read The New Haven Independent article discussing the exhibit: ART EXHIBIT BECOMES A CARD CATALOG OF LIFE by Brian Slattery

Marion Belanger, Sean Kernan, Steven B. Smith, Marjorie Gillette Wolfe, Stefan Znosko

Read The New Haven Independent article discussing the exhibit: PHOTOS LEAP OUT OF THE FOG  by Allan Appel

An exhibition of the two print editions of The Floral Ghost published by Planthouse Gallery, New York.

A massive visual undertaking dives headfirst into Joyce’s masterpiece, with the artist creating one image for every page of text.

Read The New Yorker article discussing Tasha Lewis’ work:  WHY WE ARE NO LONGER SHOCKED BY “ULYSSES”  by Louis Menand