The circus is perhaps one of the more underrepresented motifs in art, at least contemporarily. Perhaps this is because of the fear of clowns most people claim to have or just that the circus itself has declined in popularity in recent decades. Yet whatever the case, the new two-part exhibit “Circus at the Chazen” at the Chazen Museum of Art should erase both those realities simultaneously.

The downstairs exhibit “Harry A. Atwell, Circus Photographer” is a collection of black-and-white photographs shot by the artist between 1910, when he was first hired by the Ringling Bros., and his retirement in the 1950s. The short essay included with the collection states that during that 40-odd-year span Atwell accumulated more than 5,000 negatives. A small portion of this work appears in the exhibit as inkjet prints, which are fascinating enough to warrant much more delving into Atwell’s collection.

Atwell’s photographs have a very familial context to them. They suggest that being a part of the circus is a lifestyle choice more than just a way to pay the bills. Of note is the fact that none of the reprints have titles. Perhaps this was Atwell’s way of expressing the universal nature of the circus to those outside of the lifestyle.

Of the many photographs depicting circus life, many of them are of clowns and show their happy, joyful side. Granted, it is a clown’s job to be happy on cue, but these photos suggest happiness beyond the job description. They seem to take much pleasure in what they are doing — indeed, there are no sad clowns here.

One of the most striking photos is of a clown named Al Miaco from 1920. It is a shot of him from the chest up, and he is in the state of delight only children at play know. What is most interesting about Miaco is the placecard next to it stating the subject was in his 70s when the photograph was taken and, more interestingly, that he ran away with the circus at age 9. If there has ever been commitment to one’s craft, he is it.

The upstairs exhibit, “Ringmaster: Judy Onofrio and the Art of the Circus,” is much grander in scale: A great hall is filled with framed lithographs, oil canvases and epic sculptures, both in theme and (in some cases) size. While the exhibit is named after the main artist featured, only the sculptures were done by the titular artist. The lithographs and oil canvases were created by other artists fascinated with circus culture.

The oil paintings balance commercial and artistic goals. That is to say, they are creative advertisements, not irritatingly ostentatious billboards. Especially striking is a piece called “Miss Louise and Her Den of Alligators,” by Sigmund Bock (1915), which depicts a woman standing on top of one alligator, with one arm wrestling another and with the other arm holding a baby alligator. True to life or not, it is a piece that demands your attention.

Onofrio’s sculptures are even more otherworldly in nature. Certainly, they are based in reality, but it is from this foundation that her art reaches for the sky. Her work is mainly of acrobats and contortionists who have captivated audiences for more than a century.

This is perhaps best embodied in a mixed media piece called “I Put a Spell on You” (2006), which portrays a magician’s head and arms making playing cards float around him and levitating a woman. The caption states that Onofrio is “fascinated by magicians,” and her work suggests magic “can be real [and] not merely an illusion.”

The juxtaposition of the sculptures, lithographs and oil canvases is a very nice touch to the overall theme of the circus. The “in your face” stereotype is suggested by the sculptures, not only because they literally jump out at the viewer but also because they are incredibly colorful. These mixed media works imply the hopeful potential and the fantastical possibility of the circus. The two-dimensional works are more of a “what is” of the circus — what the circus actually offers. The paintings and lithographs — somehow more true to life in their linear space — is only hinted at in the sculpture, and it works quite effectively.

This two-part exhibit is one no fan of the circus, or art in general, should miss. Afraid of clowns or not, everyone should come down to the greatest (art) show in town.

“Circus at the Chazen” is open to the public through June 29 at the Chazen Museum of Art.