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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 -
About Andy Evansen
01 NIGHT OWL: PAINTING THE NOCTURNE Carl Bretzke 11 FACES OF THE SHOAH David Jon Kassan 23 AN ORCHESTRATED COMPULSION Alyssa Monks 32 GOOD, BETTER, BEST. Jay Moore 41 A QUEST FOR DYNAMIC PHOTO REFERENCE Rachel Moseley 52 COMPOSING A PAINTING Huihan Liu 60 PAINTING OUR TRUTH Noah Buchanan 75 USING VALUE STUDIES TO SIMPLIFY WATERCOLOR Andy Evansen 84 AN ARTIST’S PERSPECTIVE Kay Griffith Publication Schedule Issue 27 - January 2018 Issue 28 - March 2018 Issue 29 - May 2018 Issue 30 - July 2018 Issue 31 - September 2018 Issue 32 - November 2018 CARL BRETZKE NIGHT OWL Painting the Nocturne A “nocturne” was described by James McNeill Whistler as a painting of night, twilight or absence of direct light. A Google search will demonstrate nocturne paintings by many other well-known painters throughout history. More recently, with the improvement in plein air gear and portable lights, nocturne painting has become extremely popular. James Abbott McNeill Whistler (1834-1903), Nocturne in Black and Gold, the Falling Rocket, 1875, oil on panel, 23-3/4 x 18-3/8 inches, Detroit Institute of Fine Arts, Gift of Dexter M. Ferry, Jr. 02 I became excited about night paintings after visiting a gallery in Carmel several years ago. The gallery featured historic California artists and was showing a nocturne by Rollo Peters (1862-1928). The painting was leaning against the wall in a dark corner of the gallery, and at first glance it looked almost totally black. To my delight, when placed under the light, a mysterious and surprisingly colorful image emerged. Interestingly, Peters was known as the “poet of the night.” I still study his work for clues about color saturation in the dark. -
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 -
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, -
Vol. 24, No. 3 March 2020 You Can’T Buy It
ABSOLUTELY FREE Vol. 24, No. 3 March 2020 You Can’t Buy It The NC Museum of Art in Raleigh, NC, will present Front Burner: Highlights in Contemporary North Carolina Painting, curated by Ashlynn Browning, on view in the Museum’s East Building, Level B, Joyce W. Pope Gallery, from March 7 through July 26, 2020. Work shown by Lien Truong © 2017 is I, “Buffalo”, and is acrylic, silk, fabric paint, antique gold-leaf obi thread, black salt and smoke on linen, 96 x 72 inches. I “Buffalo” was purchased by the North Carolina Museum of Art with funds from the William R. Roberson Jr. and Frances M. Roberson Endowed Fund for North Carolina Art. Photography is by Peter Paul Geoffrion. See article on Page 34. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. DONALD Weber Page 1 - Cover - NC Museum of Art - Lien Truong Page 3 - Ella Walton Richardson Fine Art Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 4 - Linda Fantuzzo / City Gallery at Waterfront Park Page 4 - Editorial Commentary & Charleston Artist Guild Page 5 - Wells Gallery & Halsey McCallum Studio Page 5 - Ella Walton Richardson Fine Art & Robert Lange Studios “Italian Sojourn” Page 6 - Kathryn Whitaker Page 6 - Meyer Vogl Gallery & City of North Charleston Page 7 - Emerge SC, Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Page 8 - Art League of Hilton Head Reception March 6th 5-8 pm | Painting Demonstration March 7th 2-5 pm Rhett Thurman, Anglin Smith Fine Art, Halsey Institute of Contemporary Art, Page 10 - Coastal Discovery Museum, Society of Bluffton Artists & Clemson University / Sikes Hall The Wells Gallery at the Sanctuary & Saul Alexander Foundation Gallery Exhibition through April 1st, 2020 Page 12 - Clemson University / Sikes Hall cont. -
The Latest Research in Optical Engineering and Applications, Nanotechnology, Sustainable Energy, Organic Photonics, and Astronomical Instrumentation
OPTICS + PHOTONICS• The latest research in optical engineering and applications, nanotechnology, sustainable energy, organic photonics, and astronomical instrumentation ADVANCE THIS PROGRAM IS CURRENT AS OF TECHNICAL APRIL 2015. SEE UPDATES ONLINE: PROGRAM WWW.SPIE.ORG/OP15PROGRAM Conferences & Courses San Diego Convention Center 9–13 August 2015 San Diego, California, USA Exhibition 11–13 August 2015 CoNFERENCES EXHIBITION AND CoURSES: 11–13 AUGust 2015 9–13 AUGust 2015 San Diego Convention Center San Diego, California, USA Hear the latest research on optical engineering and applications, sustainable energy, nanotechnology, organic photonics, and astronomical instrumentation. ATTEND 4,500 Attendees Network with the leading minds SPIE OPTICS + in your discipline. PHOTONICS The largest international, multidisciplinary optical science 3,350 Papers and technology meeting in North Hear presentations America. on the latest research. 38 Courses & Workshops You can’t afford to stop learning. 180-Company Exhibition See optical devices, components, materials, and technologies. Contents Metamaterials, plasmonics, CNTs, Events Schedule . 2 graphene, thin films, spintronics, nanoengineering, optical trapping, SOCIAL, TECHNICAL, AND nanophotonic materials, nanomedicine, NETWORKING EVENTS Low-D and 2D materials - Technical ............................. 3-4 - Industry................................ 5 - Social Networking....................... 6 - Student .............................. 6-7 - Professional Development ............... 7 Thin films, concentrators, -
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. -
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. -
ALL IS POSSIBLE VR Tour Script
All Is Possible – Mary Ann Scherr’s Legacy in Metal February 20-September 6, 2020 Thomas J. Cabaniss Historic Residence Mary Ann Scherr (1921-2016) was a pioneer in industrial design, commercial illustration, and many other design fields, but early in her career she turned to teaching metalsmithing and making jewelry as a pursuit that offered endless possibilities for learning, experimentation, and innovation. By 1989, when she moved from New York City to Raleigh, she was already an internationally renowned metal designer who had chaired the Crafts Department at Parsons School of Design in Manhattan, innovated new metal techniques, and pushed the boundaries of new materials such as stainless steel, aluminum, and titanium. From the moment she arrived, Scherr enriched the arts and life of her new home state of North Carolina. Scherr taught metals at the Penland School of Crafts, north of Asheville, for over forty summers. In the Triangle, she taught at Duke, Meredith College, and at NC State’s Crafts Center, while continuing to experiment with metals well into her nineties. “I enjoy teaching,” she said, “because I enjoy the effort, and what happens with people when they discover the possibilities.” Her passion for metals, Zest for life, and dedicated mentorship are best communicated in the exhibition title, All is Possible — a message that appears on two of the silver cuffs on display. Scherr gifted one to a mentee and former studio assistant, and made the other for a fellow artist who needed encouragement to continue making her art. Scherr believed that jewelry was not only personal adornment but an art form in itself, imbued with power and meaning. -
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. -
Acknowledgments from the Authors
Makers: A History of American Studio Craft, by Janet Koplos and Bruce Metcalf, published by University of North Carolina Press. Please note that this document provides a complete list of acknowledgments by the authors. The textbook itself contains a somewhat shortened list to accommodate design and space constraints. Acknowledgments from the Authors The Craft-Camarata Frederick Hürten Rhead established a pottery in Santa Barbara in 1914 that was formally named Rhead Pottery but was known as the Pottery of the Camarata (“friends” in Italian). It was probably connected with the Gift Shop of the Craft-Camarata located in Santa Barbara at that time. Like his pottery, this book is not an individual achievement. It required the contributions of friends of the field, some personally known to the authors, but many not, who contributed time, information and funds to the cause. Our funders: Windgate Charitable Foundation / The National Endowment for the Arts / Rotasa Foundation / Edward C. Johnson Fund, Fidelity Foundation / Furthermore: a program of the J. M. Kaplan Fund / The Greenberg Foundation / The Karma Foundation / Grainer Family Foundation / American Craft Council / Collectors of Wood Art / Friends of Fiber Art International / Society of North American Goldsmiths / The Wood Turning Center / John and Robyn Horn / Dorothy and George Saxe / Terri F. Moritz / David and Ruth Waterbury / Sue Bass, Andora Gallery / Ken and JoAnn Edwards / Dewey Garrett / and Jacques Vesery. The people at the Center for Craft, Creativity and Design in Hendersonville, N.C., administrators of the book project: Dian Magie, Executive Director / Stoney Lamar / Katie Lee / Terri Gibson / Constance Humphries. Also Kristen Watts, who managed the images, and Chuck Grench of the University of North Carolina Press. -
Fiscal Year 2007 Annual Report (PDF)
Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner.