Laurie Frick: Walking, Eating, Sleeping

Laurie Frick opens an exhibit at the Marfa Contemporary Gallery “Walking, Eating, Sleeping” and it takes an obsessive, quantitative look at daily life, drawing on Frick’s background in engineering and technology.The artwork of Laurie Frick explores the intersection of technology and creativity as the artist herself adopts a daily regimen of self-tracking that measures her activities and body. In doing so, she shapes a vocabulary of pattern used to construct her intricately hand- built works and installations. Her quantifiable patterns, like her heart rate, the duration of her sleep or body weight are some of the metrics that inspire her colorful and complex works. “Numbers are abstract concepts but we recognize pattern intuitively. I’m experimenting with wall size patterns that anticipate the condition of our daily-selves. Very soon walls and spaces we occupy will be filled with easy to decode patterns – a visual record of how we feel, stress level, mood, bio-function captured, digitally recorded and physically produced using 3D printers and lasercutters. Human data portraits transcribed as pattern from the all the sensor data collected about us.Will it kill the mystery of being human, simply magnify our defects or will sensors and a mass of measurements acknowledge and present patterns of self- examination that lure us into a future of self-quantification that is irresistible?” Laurie Frick is a TED Award winner.

Laurie Frick: Walking, Eating, Sleeping September 10 – Janaury 3, 2014 Artist Talk Sunday Oct 13 at 11.30 am Marfa Contemporary Marfa, TX 79843

FRAMING SPECIFICATIONS AND ADVICE METRO GALLERY FRAME

Thin Profile: 114 Type: Thin Gallery Frame Wood & Finish: Unfinished Ash Wood Frame Purchasing Option: joined wood frame with contrasting splines Framing Advice: fitting gallery frames

Audubon and the Art of Birds

The Bell Museum will debut Audubon and the Art of Birds, an exhibition that explores the human fascination with birds, and showcases one of the museum’s most valuable treasures: a double-elephant folio edition of John James Audubon’s Birds of America. The rare collection of hand-colored engravings was donated to the Bell Museum in 1928.

John James Audubon (1785-1851) is one of the most enduring figures in American art and culture. His biography reads like a romantic novel. Born the illegitimate son of a French sea captain in what is now Haiti, he was raised in France during the years of revolution. As a young man he came to America to seek his fortune on the western frontier. After years of struggle and business failure, Audubon decided to devote his life on his true passion, the painting of birds. In 1820, at age 35, he set out to paint every bird in America, life-size and in color.

Today, Audubon is synonymous with birds and the conservation of nature. His images revolutionized the way we view birds and the natural world. Before Audubon, artists depicted animals either as allegorical figures, or as stiff, dead specimens. Audubon’s birds are not only technically superb, with every feather and scale delineated, they reveal birds as living, dynamic creatures whose intrinsic beauty and vitality are worthy of study and preservation. Today, artists and naturalists continue to find inspiration in his work and life, and his prints are as popular as ever.

This exhibition focuses on the masterwork of American art, science and conservation – Audubon’s the Birds of America. Organized around a series of themes, the show compares the naive drawings of early naturalists such as Mark Catesby and Alexander Wilson, to the brilliant colors of Francois Levaillant’s engravings and the lavish publications by John Gould. During the 20th Century artists such as Louis Agassiz Fuertes, Francis Lee Jaques, and Roger Tory Peterson took bird art in new directions. The human fascination with birds continues today, and the show includes works by a select group of living artists, such as Lars Jonsson and Walton Ford, whose work is inspired by Audubon’s example.

The exhibition assembles over 100 prints, drawings and paintings; including a selection of newly conserved original double-elephant folio engravings from the Birds of America, and 60 to 70 works by other artists from the 1500s to the present day. The artworks are complimented with displays of antique illustrated books, specimens and artifacts, interpretive panels, hands-on exhibits and activities on bird biology. The exhibition draws upon the collections of the Bell Museum, University of Minnesota Libraries, Minneapolis Institute of Arts, Woodson Art Museum, Cornell Laboratory of Ornithology, Academy of Natural Sciences, National Museum of Wildlife Art and individual collectors and artists.

Audobon and Art of Birds October 5, 2013 to January 19, 2014 and February 1 to June 8, 2014* Bell Museum of Natural History , University of Minnesota

October 4, 2014 – Jan. 4, 2015 National Museum of Wildlife Art Jackson, WY

May 15 – July 26, 2015 Sam Noble Museum Univ. of Oklahoma, Norman, OK

FRAMING SPECIFICATIONS AND ADVICE

METRO GALLERY FRAME

Standard Profile: 106 Type: Standard Gallery Frame Wood & Finish: cherry wood frame with natural cherry finish Purchasing Options: joined wood frame Framing Advice: fitting gallery frames

Kenneth Josephson at Stephen Daiter Gallery in Chicago

Kenneth Josephson has been a tireless pioneer of conceptual art photography since the late 1950s. He is the product of a rigorous education that began with the inspiration of the visionary Minor White at the Rochester Institute of Technology and culminating with his graduate studies under the renown teaching team of Harry Callahan and Aaron Siskind at the fabled Institute of Design, Chicago. At a time when photography was just beginning to be considered seriously by the art world and the art market, Josephson was working ahead of the curve, busy laying the groundwork for conceptual approaches to the medium that would later subvert many long held notions about the place and purpose of pictorial representation.

Josephson’s early visual experiments ran the gamut of imaginative approaches and were rooted in the highest technical standards of his craft. Before others he employed the conceits of images within images and posed questions such as what is the importance and reality of the photograph itself as a physical object. In addition, Kenneth Josephson imbued his work with a signature sensibility of humor – an application that came naturally and added dimension to the artist’s highly intentioned works. There is no mistaking Kenneth Josephson artworks for those by his other conceptually driven peers and contemporaries, such as Edward Ruscha, John Baldessari and Robert Heinecken, who were content to use photographic material, often incorporated with other media, for the production of their final works. But this appropriation of imagery was peripheral to the notion of the pure photographic process – it was Josephson’s obsession with the inherent and endless possibilities within the medium that makes him unique among them, and positions him as a master.

Kenneth Josephson Colorado 1959 | Gelatin silver print | 6 x 9 in. 1959 print. Signed, dated and annotated ´59-2-9-7´ in pencil by artist on print verso Kenneth Josephson Wisconsin 1965 | Gelatin silver print | 4.69 x 6.63 in. C. 1965 print. Signed, titled, dated and annotated ’65-5-1-2′ in pencil by artist on print verso.

Kenneth Josephson Chicago 1962 | Gelatin silver print | 4.25 x 9.06 in. c. 1962 print. Signed, titled, dated and annotated ’62-2-1-11′ in pencil by artist on print verso. Been There. Done That. September 6 – November 30, 2013 Stephen Daiter Gallery Chicago, IL

FRAMING SPECIFICATIONS AND ADVICE

METRO GALLERY FRAME

Standard Profile: 106 Type: Standard Gallery Frames Wood & Finish: walnut wood frame with ebony finish Purchasing Options: joined wood frames Framing Advice: fitting gallery frames

Objects of Desire Michael Beck at Paul Thiebaud Gallery in San Francisco

Objects of Desire by Michael Beck opens the fall season at the Paul Thiebaud Gallery in San Francisco. Though not necessarily depictions of items coveted by the masses, they are a curious group of subjects— sailboats, cars, trucks, amusement park rides, and dolls—all antique toys, desired at certain ages and in certain eras. Beck’s explores and elevates these “junk” objects, now discarded, time- worn, or rendered obsolete with regard to use in today’s age—the detritus of the past. To Beck, they are items of nostalgia; he sources material from flea markets, especially in Alameda. This series began in the late 1990s, when the painter turned to single, solitary objects and their complicated shadow patterns produced through the use of multiple light sources. By depicting the objects in their actual sizes, Beck wished to engage the viewer as if the objects were truly present in the round and in real time. As he explained, “ . . . making it smaller creates a preciousness, making it larger creates an issue that goes beyond what the actual object is (i.e. Rosenquist, Oldenburg, etc.).”

Beck received an MFA in Painting with High Distinction from the California College of the Arts and Crafts (now the California College of the Arts), Oakland, California in 1984. He lives and works in Oakland, California.

Objects of Desire September 10 – October 26, 2013 Paul Thiebaud Gallery San Francisco, CA

FRAMING SPECIFICATIONS AND ADVICE METRO FLOATING FRAME

Deep Floating Profile: 121 Type: Floating Frame for 1-1/2″ deep canvas paintings Wood & Finish: ash wood frame with black lacquer finish Purchasing Options: joined wood frame Framing Advice: fitting floating frames

Modern Spirit: The Art of George Morrison at the Plains Art Museum

“George Morrison’s importance to our understanding of twentieth-century Native American art is unparalleled,” says Kristin Makholm, executive director of the Minnesota Museum of American Art. “This first, comprehensive retrospective of his work will reveal how visions of identity and place play an essential role in assessing American art of the 20th century and beyond.”

The Minnesota Museum of American Art launched Modern Spirit: The Art of George Morrison, an exhibition of about 80 drawings, paintings, prints, and sculptures at the Plains Art Museum in Fargo, North Dakota on June 16, 2013. Modern Spirit surveys the prolific career of George Morrison (1919–2000), a distinctive and well-loved artist whose works bring together concepts of abstraction, landscape, and spiritual reflection and draw from his physical and spiritual homelands—speaking to both American urban settings and to the solitude of Northern Minnesota.

Modern Spirit spans the entire breadth of Morrison’s oeuvre, from early figurative drawings and Regionalist paintings of the 1940s to monumental abstract landscapes and wood sculptures of the 1970s onward. Many of the works in the exhibition draw from Morrison’s early career in New York, Providence, and Provincetown and refer to important art historical movements such as Cubism, Surrealism, and Abstract Expressionism. Modern Spirit also presents Morrison’s works from the 1970s to the 1990s, which were inspired in part by the artist’s home on the north shore of Lake Superior. This body of work includes line drawings on colored papers, sketches of constellations over Lake Superior, and several paintings of forms breaking up in front of the abstracted shoreline. In terms of technique, these later paintings—quiet, lyrical, and meditative—synthesize Impressionism with Expressionism, while retaining the artist’s trademark representation of nature, land, and the horizon.

Part of a unique collaboration between the Minnesota Museum of American Art and Minneapolis-based Arts Midwest, which helped organize and launch the exhibition, Modern Spirit will tour to five venues across the United States before closing in May 2015: Plains Art Museum (Fargo, North Dakota); Smithsonian National Museum of the American Indian (New York, New York); Eiteljorg Museum of American Indians and Western Art (Indianapolis, Indiana); Heard Museum (Phoenix, Arizona); and the Minnesota History Center (St. Paul, Minnesota).

Cumulated Landscape, 1976, wood, 48 x 120 x 3 in. Collection Minnesota Museum of American Art. Gift of Honeywell Inc. 2000.01 Untitled, 1995, colored pencil on paper, 10 5/8 x 13 5/8 in. Collection Dr. Robert and Frances Leff Spirit Path, New Day, Red Rock Variation: Lake Superior Landscape, 1990, acrylic and pastel on paper, 22 1/2 x 30 1/8 in. Collection Minnesota Museum of American Art. Sun and River, 1949, watercolor and crayon on paper, 15 3/4 x 21 in. Copyright Plains Art Museum. From the permanent collection of the Plains Art Museum, Fargo, North Dakota.

Black and White Patterned Forms, 1952, ink on paper, 10 3/4 x 8 3/8 in. Collection Minnesota Museum of American Art. Gift of George Morrison. 96.10.14

Modern Spirit: The Art of George Morrison June 16-Sept. 1, 2013 Plains Art Museum Fargo, ND 58102

FRAMING SPECIFICATIONS AND ADVICE

METRO GALLERY FRAME

Thin Profile: 102 Type: Thin Gallery Frame Wood & Finish: maple wood frame with clear lacquer finish Purchasing Option: joined wood frame Framing Advice: fitting gallery frames Stephen Magsig at George Billis Gallery

“When I think about the conventions of painting — a tradition I respect immensely — I notice that my concern has always been with the interplay of light and structure,” says artist Stephen Magsig. “Light, since it defines everything, is what my work is about — how light changes things, how it inflects the surfaces of places we imagine for ourselves and inhabit, like sunlight touching a window sill, illuminating and creating contrasts and shadows.”

Working with images he personally photographs, Magsig looks for crucial details in both the highlights and the shadows, in the brightness and obscurity of each scene. The artist says, “I get caught up in the mix of organic and non-organic human signs: the color of loaves of bread in an Italian bakery window, the reflections of facades in the car’s windshield, the abstracted angles of cornices and architectural detail.” New Yorkers will recognize many of the scenes Magsig paints, yet the universal appeal is the atmosphere and mood which attracts those for whom the images hold no personal significance

Stephen Magsig lives and works in Detroit, Michigan.

Stephen Magsig April 23 – May 25, 2013 Reception April 25, 2013 6 – 8 pm George Billis Gallery New York, NY

FRAMING SPECIFICATIONS AND ADVICE

FLOATING FRAMES

Deep Floating Profile: 121 Type: floating frame for 1-1/2″ deep canvas paintings Wood & Finish: maple wood frame with black opaque finish Purchasing Options: joined wood frame Framing Advice: fitting floating frames

Fatima Ronquillo “Private Revolution”

On Saturday, April 6th, Wally Workman Gallery opens Private Revolution, a solo show by Fatima Ronquillo. Her fourth show with the gallery, Private Revolution is a celebration of the various private revolutions that her imagined personages launch: rebellions against indifferent beloveds, oppressive thoughts, and real or perceived injuries. There is a context for the ongoing themes of symbolic or literal wounds, mingled with the optimism of youth, lovers and dreamers. Stylistically Fatima has been inspired by the neoclassical period following the French Revolution alongside formal portraiture in colonial Latin America. She is amused by the juxtaposition of a colorful palette and traditional compositions with the ambiguous yet oddly humorous situations of injured cupids or children in military dress or exotic persons with their animal entourage.

ABOUT THE ARTIST

Fatima is a self-taught painter who works from a deeply personal visual language and imagination. Each painting is an unfolding story of layered meanings brought to life through multiple layers of paint. Her painted surfaces sparkle with thin delicate glazes over thick impastos and scattered scumbles of semi transparent colors. She paints in the style of the European classical traditions coupled with a magical realism rooted in folk and colonial imagery. Hers is an authentic voice echoing from an inner world where art history meets with nostalgia and imagined characters from literature, theatre and opera.

Born in San Fernando, Philippines in 1976, Fatima Ronquillo immigrated as a child to the United States in 1987 where her family settled in San Antonio, Texas. She currently resides and maintains a studio in Santa Fe, New Mexico with her husband and west highland terrier. Her work is included in private collections throughout North America and Europe.

“Private Revolutions” April 6 – April 27, 2013 Wally Workman Gallery Austin, Texas Fatima Ronquillio

FRAMING SPECIFICATIONS AND ADVICE METRO FLOATER FRAME

Very Deep Profile: 120 Type: floater frames for panel paintings on 2-1/4″ cradle Wood & Finish: maple wood frame with graphite finish Purchasing Options: joined wood frame with splines Framing Advice: fitting floater frames

Edward Curtis photos & Metropolitan frames travel around the world Cardozo Fine Art has created the most extensive exhibition program of Curtis photography in history. These exhibitions and Metropolitan frames have been seen in over forty countries and on every continent but Antarctica. It is estimated that through his books, exhibitions, lectures, and former gallery, Cardozo has brought Curtis to well over 10 million people world-wide.

Metropolitan first began doing business with Cardozo Fine Art in June of 1999. They came to us because they wanted to replicate some of the original Edward Curtis frames. Because of our work with Cardozo Fine Art we have learned about the amazing legacy Curtis left the world.

Edward Curtis Edward Curtis was born in 1868 and grew up in abject poverty in rural Minnesota. He built his first camera at age twelve and thus unwittingly embarked on his lifelong photographic career. In 1887, Curtis moved to the Pacific Northwest where he quickly positioned himself as Seattle’s foremost studio photographer. This success gave him the freedom to pursue his love of the great outdoors and this activity brought him into contact with small groups of Native Americans who were still living somewhat traditional lives.

These experiences led Curtis to begin, by 1900, an undertaking that would consume him for the next thirty years. This project was the creation of his magnum opus, The North American Indian, a twenty volume, twenty-portfolio set of handmade books. Each Set contains over 2,200 original photographs, plus extensive text, and transcriptions of language and music. It is difficult to overestimate the enormity of Curtis’s task. The project involved over one hundred artisans, translators, sales staff, logistical support, field assistants, accountants, etc. In today’s dollars it was an approximately $35,000,000 publishing project, unparalleled in American publishing history.

While The North American Indian is an inestimable contribution to the worlds of art, photography, ethnography, and fine bookmaking, the project nearly killed Curtis. He lost his family, his money, and his health. By 1930 he was a broken man. While he lived out the rest of his life in obscurity, he left us with a sacred legacy that may endure for many centuries to come.

The Edward S. Curtis/Sacred Legacy Museum

The following is excerpted from a recent interview in Forbes magazine.

Michael Tobias: I gather that you are working to establish the first Edward Sheriff Curtis Museum in the world, having already taken much of your collection to over 50 countries. What are your goals for a Curtis Museum, and why now?

Christopher Cardozo: The Edward S. Curtis/Sacred Legacy Museum will bring the Sacred Legacy of beauty, heart and spirit to the world in ways that Curtis and his Native friends could never have imagined. It would also establish a single source facility for research on Curtis’s body of work. It will create increased understanding of and appreciation for, the beauty of the natural world, her diversity and to honor the inclusion of all peoples. The Christopher G. Cardozo/Edward S. Curtis Collection will be the foundation of the Museum. We hope to be open in 2018 – the sesquicentennial of Curtis’s birth. I believe The Museum will be a significant cultural, artistic, and economic asset for the city in which it is ultimately located. I am currently in early stage discussions in Denver, Dallas and Seattle Cardozo Fine Art Christopher Cardozo is widely acknowledged as the world’s leading expert in the work of Edward S. Curtis. Over the past thirty-eight years he has assembled the world’s most extensive collection of vintage original photographs by Edward S. Curtis. Cardozo is the author of two award-winning monographs on Edward S. Curtis: Sacred Legacy; Edward S. Curtis and the North American Indian and Native Nations: First Americans as seen by Edward S. Curtis. He also has authored six other titles on Edward Curtis. Cardozo has lectured on Curtis for over thirty years and done so internationally.

Venues interested in presenting an Edward Curtis exhibition are invited to contact:

Alyssa Graham Cardozo Fine Art 612-377-2252 [email protected]

Metropolitan Edward Curtis Exhibition Frames

Picasso and Chicago at The Art Institute of Chicago

The “Picasso and Chicago” exhibit marks the special hundred- year relationship of Pablo Picasso with the city of Chicago and features more than 250 works selected from the The Art Institute of Chicago’s own exceptional holdings and from private collections throughout city. Representing Picasso’s innovations in nearly every media—paintings, sculpture, prints, drawings, and ceramics—the works not only tell the story of Picasso’s artistic development but also the city’s great interest in and support for the artist since the Armory Show of 1913, a signal event in the history of modern art.

The 1913 Armory Show showcased the works of the most radical European artists of the day alongside their progressive American contemporaries and forever changed the artistic landscape for artists, collectors, critics, and cultural institutions in the United States. Unlike the other venues for the Armory Show in New York and Boston, which were private institutions, the Art Institute enjoys the distinction of being the only art museum to host the exhibition and as such, has the privilege of being the first in the United States to present the works of such artists as Constantin Brâncusi, Marcel Duchamp, Henri Matisse, and Picasso to the public. Indeed, Chicago’s interest in Picasso’s art would grow over the years, leading to a number of important distinctions: as just one remarkable example, in 1967 the city welcomed the artist’s first monumental work of public sculpture.

“It is clear in even the briefest of histories that Chicago played a critical, early role in the reception and development of modern art in the United States,” said Stephanie D’Alessandro, Gary C. and Frances Comer Curator of Modern Art at the Art Institute and curator of the exhibition. “While the career of Pablo Picasso is just one of many examples, it is nonetheless an extraordinary story: some of the most significant events in the reception of his art—including the first presentation of Picasso’s works at an American art museum, the first solo show devoted to the artist outside a commercial gallery, and the first permanent display of his work in an American museum—all happened in Chicago and all within just the first two decades of the last century. This exhibition marks the special hundred-year relationship of Pablo Picasso, and our city.”

Picasso and Chicago documents the development of Picasso’s career alongside the growth of Chicago collectors and cultural institutions, emphasizing the storied moments of overlap that have contributed not only to the vibrant interest in Picasso today but also to the presence of nearly 400 works by the artist in the collection of the Art Institute. The museum began its Picasso collection in the early 1920s with two figural drawings, Sketches of a Young Woman and a Man (1904) and Study of a Seated Man(1905); in 1926 the Art Institute welcomed one of Picasso’s signature Blue Period paintings, The Old Guitarist (late 1903–early 1904), as a part of a generous gift in memory of Helen Birch Bartlett.

Over the subsequent decades, the museum’s collection has expanded to include such important paintings as the classically inspired Mother and Child (1921) and surrealist Red Armchair (1931), as well as such memorable sculptures as the Cubist Head of a Woman (Fernande) (1909), the playful Figure (1935), and the maquette for Picasso’s largest three- dimensional work, the Richard J. Daley Center Sculpture (1964–67). The Art Institute has also developed an exceptional collection of works on paper that demonstrates Picasso’s endless inventiveness and masterful draftsmanship, as seen in such extraordinary examples as the turbulent Minotaur (1933) and the monumental Woman Washing Her Feet (1944). Likewise, the print collection holds special works including The Frugal Meal (1904), one of only three examples of this familiar Blue Period etching printed in blue-green ink. Because of the fragility of the drawings and prints, these works from the museum’s collection are rarely on view, and visitors will be offered an extraordinary opportunity to see them in the context of Picasso’s career and the museum’s own collection.

The exhibition is accompanied by a handsome catalogue, Picasso and Chicago: 100 Years, 100 Works, that brings together 100 of Picasso’s finest works in Chicago. The book will be available beginning March 4, 2013, at the Art Institute’s Museum Shop for $24.95.

Pablo Picasso. Man and Flute Player, 1967. The Art Institute of Chicago, restricted gift from the estate of Loula D. Lasker, © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. Minotaur and Wounded Horse, 1935. The Art Institute of Chicago, Anonymous gift. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. Weeping Woman I, 1937. The Art Institute of Chicago, through prior acquisition of the Martin A. Ryerson Collection with the assistance of the Noel and Florence Rothman Family and the Margaret Fisher Endowment. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. The Faun Musician, 1947. The Art Institute of Chicago, gift of Dorothy Braude Edinburg to the Harry B. and Bessie K. Braude Memorial Collection. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Pablo Picasso. The Frugal Meal, from The Saltimbanques,1904. The Art Institute of Chicago, Clarence Buckingham Collection. © 2013 Estate of Pablo Picasso / Artists Rights Society (ARS), New York.

“Chicago and Picasso” February 20 – May 12, 2013 The Art Institute of Chicago 111 South Michigan Avenue Chicago, IL 60603

FRAMING SPECIFICATIONS AND ADVICE

Kertesz frame Metro Gallery frames in a variety of finishes

METRO GALLERY FRAME

Standard Profile: 101 & Profile: 105 UltrA Thin Profile: 102UT Museum Profile: Kertesz frame

Type: standard gallery frame, ultra thin gallery frame, museum frame collection frame

Wood & Finish: walnut wood frame, cherry wood frame, and maple wood frame with charcoal finish

Purchasing Option: standard joined frames Framing Advice: fitting gallery frames 101st CAA Book and Trade Show in New York City

We are delighted to have a booth at the College

Art Association Book and Trade Fair this year in

New York City. We have been a member of the CAA for many years and always look forward to talking with the participants of the show. If you or any or your colleagues are going to the show, please stop by our booth and say hello. We would be happy to answer any of the questions you may have regarding frames and framing exhibitions.

The details:

We are at booth 214 in Americas Hall I

The Book and Trade Fair is open to attendees from: Thursday February 14 9:00 AM to 6:00

PM, Friday February 15 9:00 AM to 6:00 PM, and Saturday February 16 9:00 AM – 2:00 PM

The following highlights some of the current exhibitions we have done with members of the

CAA community. We hope you and your colleagues have or will have a chance to see some of these exhibits.

Grey Art Gallery NYU New York, NY ” Beat Memories: The Photographs of Allen Ginsberg” January 15 – April 6, 2013

Profile: 114 Wood: Maple Finish: 13 black opaque

S. Tucker Cooke Gallery The University of North Carolina, Asheville, NC

“Clarence Morgan – Images of Wonder: Recent Work” February 8 – March 4, 2013

Profile: 122 Wood: Maple Finish: 05 Pickled White with black interior Acorn Gallery Clemson University, Clemson, SC “Liminal Spaces” student exhibit January 22 – February 1, 2013

Don Russell Clayton Gallery Kennesaw State University, Kennesaw, GA

“Pedro: Menaboni’s Lost Story” January 17 – May 2, 2013

Atheneum Gallery, Sturgis Library Kennesaw State University, Kennesaw, GA

“Southern Industrial Landscapes:Photographs of the Marietta Bell Bomber Plant 1942–44″ January 17 – June 21, 2013

Profile: 114UT Wood: Maple Finish: 15 White opaque

Snite Museum of Art University of Notre Dame, South Bend, IN

“Lines Etched with the Weight of Life: Georges Rouault’s Miserere” January 13 – March 10, 2013

South Dakota Museum of Art, South Dakota University, Brookings, SD

“Cockerline

Collection:

Prints of the

60’s, 70’s

and 80’s” January 15 – May 12, 2013