DOCSLIB.ORG

Unquiet Territories: Art by Cheryl Goldsleger, Organized by the Morris Museum of Art and Held December 10, 2016–March 12, 2017

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Unquiet Territories: Art by Cheryl Goldsleger, Organized by the Morris Museum of Art and Held December 10, 2016–March 12, 2017 Essays by Fran Kaufman, J. D. Talasek, and Lilly Wei orris useum of rt Augusta, Georgia 2017 CONTENTS Foreword and Acknowledgments vii KEVIN GROGAN Artist’s Acknowledgments xi This volume has been published in conjunction with the exhibition Artist’s Statement xiii Unquiet Territories: Art by Cheryl Goldsleger, organized by the Morris Museum of Art and held December 10, 2016–March 12, 2017. Cheryl Goldsleger: Amidst the Chaos 1 ©2017, Morris Museum of Art, Augusta, Georgia. All rights reserved. FRAN KAUFMAN Essay by Fran Kaufman, ©2017, Fran Kaufman. Essay by J. D. Talasek, ©2017, J. D. Talasek. Mapping the Imagination and the Structure of Thought 5 J. D. TALASEK Essay by Lilly Wei, ©2017, Lilly Wei. Point to Line to Space 13 Published by: Morris Museum of Art LILLY WEI Edited by: Kevin Grogan, Cary Wilkins Designed by: Todd Beasley The Exhibition 17 Printed by: Strother’s Printing, Augusta, Georgia Artist’s Biography 36 No part of this book shall be reproduced or utilized in any form Selected Exhibitions 38 or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the Morris Museum of Art, Augusta, Georgia, Selected Awards 44 with the exception of “fair use” as defined by U.S. copyright law. Selected Collections 45 ISBN: 978-1-890021-34-4 Selected Bibliography 47 Morris Museum of Art Exhibition Checklist 55 One 10th Street • Augusta, Georgia 30901 • 706-724-7501 • www.themorris.org CHERYL GOLDSLEGER CHERYL GOLDSLEGER FOREWORD AND ACKNOWLEDGMENTS native of Philadelphia, Cheryl Goldsleger the North Carolina Museum of Art, the Greenville Aholds a bachelor of fine arts degree from County Museum of Art, the Yale University Art Gal- the Philadelphia College of Art (now the lery, the Herbert F. Johnson Museum of Art at Cor- University of the Arts) and a master of fine arts nell University, the Tel Aviv Museum of Art, and the degree from Washington University in St. Louis, Israel Museum, to cite just a few. Missouri. As an undergraduate, she attended a Goldsleger’s work has been featured in exhibi- summer semester at Temple University’s Tyler tions at the Corcoran Gallery of Art, the American School of Art in Rome, Italy, and has returned to Academy of Arts and Letters, the Albright-Knox Italy many times as an artist-in-residence. She has Art Gallery, the Brooklyn Museum, the National taught at Western Carolina University, Piedmont Museum of Women in the Arts, the Virginia Museum College in Georgia, and Georgia State University, of Fine Arts, the New Orleans Museum of Art, the where she served as the director of the Ernest G. Tel Aviv Museum of Art, and the Israel Museum. Welch School of Art & Design. In 2015 she was Her 2003 Museum of Contemporary Art of Geor- named the fifth William S. Morris Eminent Scholar gia (MOCA GA) exhibition, utopia, traveled to the in Art at Augusta University. National Academy of Sciences in Washington, D.C., Her work has been exhibited throughout and to the Morris Museum of Art. Goldsleger was the United States and internationally, and it is one of the artists included in the Georgia Coun- included in important museum collections, most cil for the Arts book Georgia Masterpieces: Selected notably those of the Museum of Modern Art, the Works from Georgia’s Museums and the MOCA High Museum of Art, the Albright-Knox Art Gallery, GA exhibition, Georgia, Georgia, that it inspired. the Fogg Museum at Harvard University, the New Cheryl Goldsleger’s paintings and drawings Orleans Museum of Art, the Brooklyn Museum, weave clearly delineated geometry with abstract, INDETERMINATE (2016) vi UNQUIET TERRITORIES UNQUIET TERRITORIES vii CHERYL GOLDSLEGER CHERYL GOLDSLEGER painterly marks to express something akin to our interpretations of maps and architectural plans contemporary sensibility. She employs isometric are carefully observed, richly detailed depictions drawing, painting, and encaustic to create layered, of the full range of possibilities that these maps architectural spaces to explore time, perception, and plans suggest. It is as if she has viewed them and the process of comprehension. A psychologi- from the curving arc of heaven and then captured cal edge has been present in Goldsleger’s work them to share with us. In the act of painting, she since the early 1980s, when she had her first sig- has freed herself from the formal conventions nificant solo exhibitions at Heath Gallery in Atlanta of her source material, liberating herself and the and at Bertha Urdang Gallery in New York City. viewer simultaneously. What we are seeing here Critic Patricia C. Phillips, writing in Artforum (Janu- is something wholly original and wholly new. And ary 1985), noted that “Goldsleger is not interested we should revel in that experience. in melodrama, but she does suggest that archi- Needless to say, we are grateful to Cheryl Gold- tecture as space offers an important resource for sleger for the gift of her work and her the investigation of perception and experience. easy agreeability to the idea of this OPPOSITE: CHERYL Her visionary worlds lack any signature of archi- exhibition. The insightful essays of Fran GOLDSLEGER AT tecture—the spaces are anonymous, and default Kaufman, J. D. Talasek, and Lilly Wei WORK IN THE STUDIO. style—yet somehow, in these characterless have significantly enriched our appre- PHOTO: ©RANDY PACE spaces, the psychological force of architecture is ciation of this work. This publication PHOTOGRAPHY keenly felt.” has benefited from the patient, thor- As she notes in her artist’s statement in this cat- ough editorial guidance of Cary Wilkins and the alog, “My work attempts to reflect and synthesize design skills of Todd Beasley. The exhibition itself the pervasive moods of unquiet and apprehen- reflects the hard work and attention to detail of sion that permeate our lives and to offer a place exhibition designer Dwayne Clark, registrar Stacey of focus, a way to still the collective shudder, and Thompson, and assistant registrar Stacey Gawel. a way to think about our own place in an increas- Kevin Grogan ingly global society.” Director, Morris Museum of Art What Goldsleger has accomplished in these new paintings is quite remarkable. While not a fantasist—these paintings could never be charac- terized as flights of fancy—she is not too tightly bound by the constraints of literal accuracy. Her viii UNQUIET TERRITORIES UNQUIET TERRITORIES ix CHERYL GOLDSLEGER CHERYL GOLDSLEGER ARTIST’S ACKNOWLEDGMENTS y deepest thanks go to Kevin Grogan and for this exhibition. And my warm thanks to those Mthe Morris Museum of Art for inviting me lenders, Martha Anne Tudor, Chris and Eileen Mil- to have this exhibition, Unquiet Territories. lard, and Christine LeFrancis and Larry Woodard, This exhibition and catalog would not be possible for their generosity in loaning their pieces for an without the support and contributions of numer- extended period of time. ous individuals and other entities. The museum staff with whom I have interacted Lilly Wei, independent critic and writer for on a regular basis, including Todd Beasley, Michelle Art in America and numerous other art journals, Schulte, Cary Wilkins, Nicole McLeod, Stacey J. D. Talasek, director of cultural programs at the Thompson, Stacey Gawel, Dwayne Clark, and the National Academy of Sciences in Washington, numerous other staff members working behind- D.C., and Fran Kaufman, independent curator at the-scenes have been gracious and generous with Kaufman Vardy Projects, have taken the time to their time and expertise. I am truly grateful for all of look seriously at my work and talk with me about it their efforts in the areas of design, logistics, assis- in order to write thoughtful essays on the occasion tance, and attention to detail. Their hard work has of this exhibition. I am genuinely appreciative of made this collaboration a wonderful experience. the insights they share here. My special thanks and gratitude go to William My appreciation goes to Robin Sandler and Deb- S. Morris III for endowing the Morris Eminent bie Hudson of Sandler Hudson Gallery in Atlanta, Scholar in Art Chair at Augusta University, which I Judith Costello of J. Costello Gallery in Hilton Head, now hold. I would not be here were it not for the and Molly McDowell and Mary Hull Palmer of Out- great support that I have received from Augusta side the Box Fine Art in Augusta for their support University, the Morris Fund, the Department of Art, PHOTO: ©RANDY PACE PHOTOGRAPHY of my work and their help in coordinating loans and my colleagues. I am profoundly grateful to the x UNQUIET TERRITORIES UNQUIET TERRITORIES xi CHERYL GOLDSLEGER CHERYL GOLDSLEGER university as a whole and to Stephen Lamb and ARTIST’S STATEMENT Stacy Bolin at the Augusta University Foundation office for their ongoing help and advice. Scott Thorp and Carol Cross in the Department of Art These mixed-media paintings and drawings combine the fluid topography of maps, the poetry of have also been helpful, interested, and generous lines in space, and the geometry of analytical systems. They embrace the real and the imagined while with their time. attempting to address aspects of how society is organized. Over the years different generational and It is with great awareness of my CHERYL GOLDSLEGER cultural attitudes toward space have been important factors in my work, challenging me to understand good fortune in having this exhibition IN THE STUDIO. PHOTO: diverse points of view and varied, often contradictory, cultural needs. In 2014, after completing a course at the Morris Museum that I humbly ©RANDY PACE in the use of geographic information systems (GIS) software and learning how one creates and focuses thank my family, Larry and David Mil- PHOTOGRAPHY a contemporary map, my research extended into the history of modern mapmaking with a focus on lard.
Load more

Recommended publications
  • An Internship Report on the Ogden Museum of Southern Art
    University of New Orleans ScholarWorks@UNO Arts Administration Master's Reports Arts Administration Program 12-2015 An Internship Report on the Ogden Museum of Southern Art Grace Rennie University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/aa_rpts Part of the Arts Management Commons Recommended Citation Rennie, Grace, "An Internship Report on the Ogden Museum of Southern Art" (2015). Arts Administration Master's Reports. 185. https://scholarworks.uno.edu/aa_rpts/185 This Master's Report is protected by copyright and/or related rights. It has been brought to you by ScholarWorks@UNO with permission from the rights-holder(s). You are free to use this Master's Report in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Master's Report has been accepted for inclusion in Arts Administration Master's Reports by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. An Internship Report on the Ogden Museum of Southern Art An Internship Academic Report Submitted to the Graduate Faculty of the University of New Orleans in partial fulfillment of the requirements for the degree of Master of Arts in Arts Administration by Grace Rennie B.F.A. School of the Art Institute of Chicago, 2011 December 2015 Table of Contents
    [Show full text]
  • Southeastern Reciprocal Membership Program
    SOUTHEASTERN RECIPROCAL MEMBERSHIP PROGRAM Upon presentation of your membership card you will receive: Free admission at all times during museum hours. The same discount in the gift shop and café as those offered to members of that museum. The same discount on purchases made on the premises for concert and lecture tickets, as those offered to members of that museum. Reciprocal privileges do not include receiving mailings from any of the participating museums except for the museum with which the member is affiliated. Note: List subject to change without notice. Museums may temporarily suspend reciprocal program during special exhibitions. Some museums do not accept SERM from other local museums. Call before you go. ALABAMA Augusta Museum of History – Augusta Greensboro Birmingham Museum of Art -- Birmingham Bartow History Museum – Cartersville Greenville Museum of Art – Greenville Carnegie Visual Arts Center -- Decatur Columbus Museum – Columbus Hickory Museum of Art -- Hickory Huntsville Museum of Art – Huntsville Georgia Museum of Art – Athens Mint Museum, Randolph -- Charlotte Jule Collins Smith Museum of Fine Art at Auburn -- Marietta Museum of History – Marietta Mint Museum Uptown – Charlotte Auburn Morris Museum of Art – Augusta Waterworks Visual Art Center – Salisbury Mobile Museum of Art – Mobile Museum of Arts & Sciences – Macon Weatherspoon Art Museum – Greensboro Montgomery Museum of Fine Arts – Montgomery Museum of Design Atlanta – Atlanta Reynolda House Museum of American Art – Winston Wiregrass Museum of Art – Dothan
    [Show full text]
  • John Alexander
    John Alexander 1945 Born in Beaumont, Texas EDUCATION 1970 M.F.A. from Southern Methodist University, Dallas, Texas 1968 B.F.A. from Lamar University, Beaumont, Texas SOLO EXHIBITIONS 2011 John Alexander: One World: Two Artists, Ogden Museum of Southern Art, New Orleans, LA John Alexander: Paintings, J. Johnson Gallery, Jacksonville, FL John Alexander: John Alexander and Walter Anderson, One World: Two Artists, The University of Mississippi Museum, Oxford, MS 2010 John Alexander, McClain Gallery, Houston, TX 2009 John Alexander, Arthur Roger Gallery, New Orleans, LA 2008 John Alexander: Drawings. Hemphill Fine Art, Washington DC John Alexander: A Retrospective. Museum of Fine Arts, Houston, TX John Alexander: New Paintings, McClain Gallery, Houston, TX John Alexander. Drawing Room, East Hampton, NY John Alexander: New Drawings, McClain Gallery, Houston, TX John Alexander: Recent Paintings, Imago Galleries, Palm Desert, CA 2007 John Alexander: New Works on Paper. Eaton Fine Art, West Palm Beach, FL John Alexander: A Retrospective. Smithsonian American Art Museum, Washington DC 2006 John Alexander, Arthur Roger Gallery, New Orleans, LA 2005 John Alexander: The Sea! The Sea!, Eaton Fine Art, West Palm Beach, FL John Alexander: Recent Observations, The Butler Institute of American Art. Youngstown, OH 2004 John Alexander, J. Johnson Gallery, Jacksonville Beach, FL John Alexander, Bentley, Gallery, Scottsdale, AZ 2003 Dishman Gallery of Art, Lamar University, Beaumont, TX JA: 35 Years of Works on Paper. Art Museum of Southeast Texas, Beaumont,
    [Show full text]
  • HETAG: the Houston Earlier Texas Art Group
    HETAG: The Houston Earlier Texas Art Group HETAG Newsletter No. 31, March 2019 Center for the Advancement and Study of Early Texas Art Friday-Sunday, March 29-30, 2019 The 2019 CASETA Symposium and Texas Art Fair at the TCEA Conference Center in Austin, TX. Registration, program and hotel info now available on the CASETA website. Thanks to all who helped make HETAG a Gold sponsor again this year, and to all Houston individual and organization symposium sponsors, including The Menil Collection and the Museum of Fine Arts, Houston. See you all in Austin in just two weeks! Symposium speakers for 2019: Katherine Brimberry Bradley Sumrall Co-founder and Director Curator of the Collection Flatbed Press and Gallery, Austin, TX Ogden Museum of Southern Art, New Orleans, Topic: Early Texas Artists in the History LA of the Flatbed Press Topic: The Ogden Museum and Roger Ogden Collections Michael R. Grauer McCasland Chair of Cowboy Culture/ Ron Tyler, Ph.D. Curator of Cowboy Collections and Western Art Former Director, Amon Carter Museum of National Cowboy & Western Heritage Museum, American Art, Fort Worth, TX Oklahoma City, OK The Art of Texas: 250 Years Porfirio Salinas: Serious Artist or Potboiler Painter Panel – So Much Art, Too Little Space: What can Susie Kalil Collectors Do with Their Artwork? Author/ Independent Curator, Houston, TX and Sue Canterbury Roger Winter The Pauline Gill Sullivan Associate Curator of Artist, New York, NY American Art, Dallas Museum of Art, Dallas, TX Fire and Ice: A conversation with artist Roger Winter Ted Lusher Early Texas Art Collector, Austin, TX Liz Kim, Ph.D.
    [Show full text]
  • John Alexander
    JOHN ALEXANDER 1945 Born in Beaumont, Texas Lives in New York City EDUCATION 1968 BFA, Lamar University, Beaumont, Texas 1970 MFA, Southern Methodist University, Dallas, Texas SOLO EXHIBITIONS 2021 John Alexander: New Paintings and Drawings, Berggruen Gallery, East Hampton, New York 2020 John Alexander: Landscape and Memory, Berggruen Gallery, San Francisco 2018 John Alexander: Recent Drawings & Paintings, Arthur Roger Gallery, New Orleans 2016 John Alexander: Recent Drawings & Paintings, John Berggruen Gallery, San Francisco 2015 Human/Nature. The Ridiculous & Sublime: Recent Works by John Alexander, Meadows Museum, Southern Methodist University, Dallas, Texas John Alexander and Francisco Goya (forthcoming), Meadows Museum, SMU, Dallas, Texas 2014 John Alexander: Unique Observations of the Natural World, Arthur Rogers Gallery, New Orleans, Louisiana 2013 John Alexander, Guild Hall Museum, East Hampton, New York John Alexander, Pace Editions, Southampton Art Fair Southampton, New York 2012 Recent Observations, Arthur Roger Gallery, New Orleans, Louisiana John Alexander, Pace Editions, Dallas Art Fair, Dallas, Texas One World, Two Artists, John Alexander & Walter Anderson, Walter Anderson Museum, Ocean Springs, Mississippi 2011 In My Garden, McClain Gallery, Houston, Texas One World, Two Artists: John Alexander & Walter Anderson, Ogden Museum of Southern Art, New Orleans University, New Orleans, Louisiana; travelled to University of Mississippi Museum, Oxford, Mississippi John Alexander: Paintings, J. Johnson Gallery, Jacksonville, Florida 2010 Life on a Merry-Go-Round, McClain Gallery, Houston, Texas 2009 Arthur Roger Gallery, New Orleans, Louisiana 2008 Drawings, Hemphill Fine Art, Washington, D.C. John Alexander: A Retrospective, Museum of Fine Arts, Houston, Texas New Paintings, McClain Gallery, Houston, Texas Drawing Room, East Hampton, New York Recent Paintings, Imago Galleries, Palm Desert, California New Drawings, McClain Gallery, Houston, Texas 2007 John Alexander, A Retrospective, Smithsonian American Art Museum, Washington, D.C.
    [Show full text]
  • 2014 Exhibition of Contemporary Southern Art
    2014 Exhibition of Contemporary Southern Art Huntsville Museum of Art 2014 Exhibition of Contemporary Southern Art August 17 — October 26, 2014 Major funding is generously provided by: The Kuehlthau Family Foundation With additional support from: The Alabama State Council on the Arts Altherr Howard Design The Women’s Guild of the Huntsville Museum of Art Copyright © 2014 Huntsville Museum of Art All rights reserved Catalogue Design, Illustration & Production: Betty Altherr Howard New Market, AL Photography: The Individual Artists Spike Mafford Seattle, WA Huntsville Museum of Art 300 Church Street Southwest Huntsville, AL 35801 USA 256.535.4350 www.hsvmuseum.org The Red Clay Survey is organized by Peter J. Baldaia, Director of Curatorial Affairs of the Huntsville Museum of Art, to highlight outstanding regional contemporary art. Contents Foreword & Acknowledgments 6 Museum Purchase Awards 7 Juror’s Comments 10 Juror’s Awards 11 The Exhibition 20 Exhibition Checklist 81 Foreword & Acknowledgments The Huntsville Museum of Art is very pleased endeavor. We additionally thank graphic to present the 2014 edition of The Red Clay designer Betty Altherr Howard for providing Survey exhibition of contemporary Southern a handsomely designed exhibition art. Since its inception in 1988, this recurring announcement and catalogue, and for competition has provided a forum for her meticulous management of all aspects current art in our region through a critical of their production. selection of work from eleven Southern states. This year’s Survey features 90 works Public and private support provides the by 72 artists, juried by distinguished artist foundation for this exhibition. We are and educator Susanna Coffey.
    [Show full text]
  • America's Historical and Cultural Organizations
    NEH Application Cover Sheet America's Historical and Cultural Organizations PROJECT DIRECTOR Barbara C Batson E-mail:[email protected] Exhibitions Coordinator Phone(W): 804-692-3518 800 East Broad Street Phone(H): Richmond, VA 23219-8000 Fax: UNITED STATES Field of Expertise: Arts: History, Criticism, and Theory of the Arts INSTITUTION Library of Virginia Foundation Richmond, VA UNITED STATES APPLICATION INFORMATION Title: To Be Sold: Virginia and the American Slave Trade Grant Period: From 4/2014 to 5/2016 Field of Project: History: U.S. History; History: African American History Description of Project: To Be Sold: Virginia and the American Slave Trade is an exploration of the visual and material culture of the American domestic slave trade captured through the paintings and illustrations created by British artist Eyre Crowe based on his 1853 visit to Richmond's slave market. Crowe's works captured the complexities and pathos of American slavery and the internal slave trade. To Be Sold uses Crowe's works as the basis to explore Virginia's role as a mass exporter of enslaved people through the Richmond market to the Lower South and the inner workings of the market itself--the most profitable economic activity in terms of gross receipts in Virginia and possibly the nation. To Be Sold is the first exhibition to explore and examine the development of the visual and material culture of the internal slave trade. The project is comprised of a traveling exhibition (January 2015-March 2016), a one- day, two-site webcast symposium,
    [Show full text]
  • Ogden Museum of Southern Art
    OGDEN MUSEUM OF SOUTHERN ART. INC. FINANCIAL STATEMENTS AS OF AND FOR THE YEARS ENDED DECEMBER 31, 2019 AND 2018 ERICKSEN KRENTEL CERTIFIED PUBLIC ACCOUNTANTS • CONSULTANTS S Oi Ac 3 - /s. cll OLcl ance witn Lrover IS i ERICKSEN KRENTEL LtKflUbi) PUbLiC ALLOUNIANiS • CaNbULfANTS INDEPENDENT AUDITORS^ REPORT To the Board of Tn^tees of Ogden Museum of Southern Art, Inc. Report on the Financial Statements We have audited the accompanying financial statements of Ogden Museum of Southern Art, Inc. (a nonprofit organization), which comprise the statement of financial position as of December 31, 2019 and 2018, and the related statements of activities, functional expenses, and cash flows for the years then ended, and the related notes to the financial statements. Management's Responsibility for the Financial Statements Management is responsible for the preparation and fair presentation of these financial statements in accordance with accounting principles generally accepted in the United States of America; this includes the design, implementation, and maintenance of internal control relevant to the preparation and fair presentation of financial statements that are free from material misstatement whether due to fraud or error. Auditors' Responsibility Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in accordance with auditing standards generally accepted in the United States of America and the standards applicable to financial audits contained in Government Auditing Standards, issued by the Comptroller General of the United States. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free from material misstatement.
    [Show full text]
  • Manolis Projects Gallery HUNT SLONEM
    HUNT SLONEM - Biography Hunt Slonem was born on July 18, 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. As Slonem honed his aesthetic, his work began appearing in unique, contextual spaces. By 1995 he finished a massive six-by-86-foot mural of birds, which shoots across the walls of the Bryant Park Grill Restaurant in New York City. His charity work has resulted dozens of partnerships, including a wallpaper of his famous bunnies designed specifically with Lee Jofa for the Ronald McDonald House in Long Island.
    [Show full text]
  • Larsen Cv Copy
    N A T A L I E L A R S E N Exhibions Classrooms Without Borders Exhibi4on, Pi4sburgh, Pennsylvania and Karmiel, Israel, forthcoming 2018/2019 Pi7sburgh Society of Ar4sts Exhibi4on, Spinning Plate Gallery, Pi4sburgh, Pennsylvania, 2015 New AAP Members Exhibi4on, Cultural Trust Educa.on Gallery, Pi4sburgh, Pennsylvania, 2015 Faculty and Alumni Exhibi4on, Marshall University Visual Arts Center, Hun.ngton, West Virginia, 2014 Maine College of Art Painters 10 Years Later, June Fitzpatrick Gallery, Portland, Maine, 2014 Anonymous Drawings, Galerie Nord/Kunstverein Tiergarten, Berlin, Germany, 2013 24th Naonal Drawing and Print Compe44ve Exhibion, Gormley Gallery, Bal.more, Maryland, 2013 Sense of Place: Sesquicentennial Ar4st Invita4onal, Hun.ngton Museum of Art, Hun.ngton, West Virginia, 2013 Food: Friend or Foe?, Torpedo Factory’s Target Gallery, Arlington, Virginia, 2013 The Art of Teaching Art, Hun.ngton Museum of Art, Hun.ngton, West Virginia, 2013 Marshall University Faculty Exhibi4on, Gallery 842, Hun.ngton, West Virginia, 2012 Gallery Divided, Clay Center for the Arts and Sciences, Charleston, West Virginia, 2012 Cause and Effect, Birke Art Gallery, Marshall University, Hun.ngton, West Virginia, 2012 Drawing Connecons, Siena Art Ins.tute, Siena, Italy, 2011 Americas 2011: Paperworks, Northwest Art Center, Minot State University, Minot, North Dakota, 2011 Synergis4c, West Tampa Center for the Arts, Tampa, Florida, 2011 On Spirituality: Emerging Visions of the Spiritual, Gallery 842, Hun.ngton, West Virginia, 2011 Body Shots, Joan C. Edwards
    [Show full text]
  • You Can Also View a Digital Version of the Auction Program!
    WELCOME Welcome to Cabin Fever, 1708’s 31st Annual—and 1st virtual—Art 1708 GALLERY'S ANNUAL ART AUCTION Auction! We are so incredibly grateful that you are joining us on this most unusual platform in this most unusual time. Thank you for continuing to be a part of Cabin Fever—we feel your love over the internet! We are also full of gratitude for the entire Richmond arts community. Over these past months, you have demonstrated your mettle and heart, CABIN FEVER intrepidness and vision. We are inspired and awed by each of you! And of course, a big THANK YOU to the Cabin Fever artists and the organizers of the Hope Wall project, tonight’s many generous sponsors, 1708’s small but mighty staff, and our fellow Board of Directors. While we can’t come together in person, we can still celebrate contemporary art and artists. The Live and Silent Auctions feature terrific works by regionally and nationally regarded artists. They represent the best emerging talent and the celebrated champions of this city’s art scene. We hope you will log out tonight with an artwork (or two) from this amazing AUCTION COMMITTEE group. These past months we have demonstrated our commitment to being a MOLLY DODGE, PAIGE GOODPASTURE, CATALYST for artists in our community. Through projects like the Space SUSAN JAMIESON, HALEY MCLAREN, Grant program, our new Virtual Studio Tours, and InLight, we found VALERIE MOLNAR, JULIE WEISSEND, creative ways to provide support and outlets for so many emerging talents. AND CAROLINE WRIGHT By purchasing sponsorships, collecting great art, and raising your paddle tonight, YOU are a CATALYST for this transformative support of artists and for the provocative and engaged art that results.
    [Show full text]
  • Salvest 9.3.19
    john salvest b. 1955, Kearny, N.J. education 1983 MFA University of Iowa, Iowa City, IA 1979 MA, English, University of Iowa, Iowa City, IA 1977 BA, English, Duke University, Durham, NC professional 1989- Arkansas State University, Jonesboro, AR solo exhibitions 2019 John Salvest: Field Guide, David Lusk Gallery, Nashville 2018 Arboretum, David Lusk Gallery, Memphis 2017 John Salvest: New Work, Bradbury Art Museum, Jonesboro. AR Breaking, SITE Gallery Houston at the Silos at Sawyer Yards, Houston, TX 2016 Out of the Ordinary, Alexandria Museum of Art, Alexandria, LA BassX: John Salvest, Bass Museum of Art, Miami, FL 2015 John Salvest: 21cVitrine Exhibition, 21c Museum Hotel, Bentonville, AR 2014 Disappearing Ink, Art Museum at the University of Memphis, Memphis Object Lessons, Morgan Lehman Gallery, New York 2012 Not everyone (can carry the weight of the world), Gallery 130, The University of Mississippi, Oxford, MS (with Les Christensen) 2011 New Cornucopia and the Big IOU, Grand Arts, Kansas City, MO 2010 Consumo Ergo Sum, Brooks Museum of Art, Memphis 2009 Not Myself Lately, Morgan Lehman Gallery, New York 2008 John Salvest at Morgan Lehman Gallery, Pulse Contemporary Art Fair, New York 2007 Il Memoriale del Fango, Florence Biennale of Contemporary Art, Florence, Italy 2006 No Time for Sorrow, Morgan Lehman Gallery, New York 2005 Fly etc., Bernice Steinbaum Gallery, Miami, FL 2002 New Glory, Cheekwood Museum of Art, Nashville John Salvest: TEXTure, Arkansas Arts Center, Little Rock, AR 2000 Undercurrent, Rudolph Projects, New York Undercurrent, Rudolph Poissant Gallery, Houston, TX 1999 John Salvest: Time on His Hands, Phoenix Art Museum, Phoenix Words to Live By, Arkansas State University, Jonesboro, AR Busy Hands, Southwest Texas State University, San Marcos, TX 1998 Nothing Endures, New Museum of Contemporary Art, New York Kindling, Smoky Hill River Festival, Salina, KS 1997 Meditation 7.21, Forum for Contemporary Art, St.
    [Show full text]