Krannert Art Museum (KAM) at the University of Illinois Urbana-Champaign is the second-largest general fine arts museum in the state of Illinois.
KAM’s collection contains more than 11,000 works of art from around the globe, spanning six millenia, from 4,000 BCE to the present, and nine collection galleries, including our ongoing installation of modern and contemporary art.
During the 2024 season, Krannert Art Museum is undergoing construction to enhance the accessibility and sustainability of our facilities. As a result, some galleries will be closed. All main floor collection galleries in the original building will be open.
Our 2024 special exhibition opens February 1: Artist and educator Jen Everett remixes images of herself in conversation with materials she collects to talk about Black life, kinship, and collective gathering. Could you dim the lights? at Krannert Art Museum is her first solo museum presentation.
For more information and a full calendar of events, please visit the museum website. KAM is open five days per week, and admission is always free. Free group tours are available by request.
• Spring 2024 Opening Night Reception, Feb 1, 5-8 pm
Image: Art Since 1948, installation at Krannert Art Museum, 2023. Photo by Julia Nucci Kelly
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\r\n\r\nJoin us Thursday, February 23 for an Artist Talk by British-Nigerian video artist and filmmaker Zina Saro-Wiwa. She will speak about her body of work and the exhibition Zina Saro-Wiwa: Did You Know We Taught Them How to Dance?
\r\n\r\nEngaging Niger Delta residents both as subjects and collaborators, Zina Saro-Wiwa cultivates strategies of psychic survival and performance, underscoring the complex and expressive ways in which people live in an area historically fraught with the politics of energy, labor, and land. Known for decades for corruption and environmental degradation, the Niger Delta is also a verdant place, an abundant food producer as well as provider of crude oil and natural gas to the entire globe. The United States has until recent years been the largest importer of Nigeria’s oil, while Europe and India are now the top destinations. Returning to this contested region—the place of her birth—Saro-Wiwa insinuates herself as a transformative force ingesting and disgorging the stuff of tradition and of psycho-social dynamics to produce new origin narratives. Her new work makes visible the cultural, spiritual, and emotional powers propelling the Niger Delta and its connections as a global energy capital.
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