CULVER, Ind. — The Crisp Visual Art Center at the Culver Academies is pleased to announce three outstanding exhibitions for summer 2014: Visual Voices, Gifts from the Collection of Randy Deer N’48 and a Time of Malfeasance.

The Crisp Visual Art Center is located on Academy Road near Logansport Gate on the Culver Academies campus. The galleries are open to the public from 1 p.m. to 4 p.m. Saturday and Sunday, June 22-Aug. 9. Weekday appointments by individuals or groups may be arranged by calling curator Robert Nowalk at 574- 842-8278 or through e-mail at [email protected].

Visual Voices, in the Wolfe Gallery, includes work from both the Academies’ and private collections. The astute viewer will discover that the overall theme addresses the human propensity to engage in play, whether seen in the festival paintings of contemporary Mexico, the theatrical woodcuts of 19^th century Japan, or the dance moccasins of the Sioux and Blackfeet tribes. Even the oldest work in the exhibition, a Chinese coin from 1^st century A.D., has a playful design stamped across its double-footed spade shape. Overall the exhibition has many riches that are well worth an extended visit.

On exhibit in the Deer-Zink Gallery is a selection of paintings given by Indianapolis resident Randy Deer who graduated from Culver’s Summer Naval School in 1948. Gifts from the Collection of Randy Deer N’48 consists of 15 paintings ranging from a delicate 18^th century gouache by August Querfurt of Austria to two modern landscapes by American painter Laurence P. Sisson. The exhibition allows the viewer to enjoy Culver Academies’ only examples of French, English, and American Impressionism as well as several rarely seen works by the American expatriate painter, William Samuel Horton. Horton, who was born in Grand Rapids, Mich., in 1865, moved to England after being rejected by his family for wanting to pursue the life of a painter.

Summer allows the Crisp Visual Art Center to move work from the permanent collection into the second-floor student gallery and the show, A Time of Malfeasance, devotes the space to one suite of engravings that is both captivating and, despite its impetus, timeless. Printmaker Virginia Myers, like many Americans, was drawn into the drama that unfolded as the Watergate Hearings began broadcast in 1973. Always the artist, Myers recorded her emotional reaction in a series of self-portraits which eventually expanded to a 21-plate suite of engravings.