Vol. 16, No. 9 September 2012 - Carolina Arts

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Cow Parade North Carolina 2012 continued from Page 37 joins Northern Ireland, Rio de Janeiro, Brazil and Nicosia, Cyprus in CowParade’s 2012 global tour. CowParade North Carolina 2012 is conservatively estimated to attract more than 500,000 visitors to the Triangle during the three-month public exhibition phase. Cow design by Alexander Julian The cows are placed throughout the Triangle, but a few herds can be found in the following areas: In Raleigh - Downtown along Fayetteville Street (11 cows) and North Hills (11 cows). In Chapel Hill - UNC Campus (15 cows). In Durham - American Tobacco Campus (11 cows) and Golden Belt Arts (8 cows). For other locations visit (www.cowparadenc.com). Wells Fargo & Company is a nationwide, diversified, community-based financial services company with $1.3 trillion in assets. Founded in 1852 and headquartered in San Francisco, Wells Fargo provides banking, insurance, investments, mortgage, and consumer and commercial finance through more than 9,000 stores, 12,000 ATMs, the Internet (wellsfargo.com), and other distribution channels across North America and internationally. With more than 270,000 team members, Wells Fargo serves one in three households in America. Wells Fargo & Company was ranked No. 23 on Fortune’s 2011 rankings of America’s largest corporations. Wells Fargo’s vision is to satisfy all our customers’ financial needs and help them succeed financially. Claymakers in Durham, NC, will host a two-person show entitled, Uncommon Implements, featuring the work of Alyssa Wood and Susan Feagin, on view from Sept. 14 through Nov. 10, 2012. September 14 through November 10, 2012. A reception will be held on Sept. 21, from 6-9 pm. North Carolina Children’s Hospital protects the health and well-being of North Carolina’s 2.1 million children by aligning premier health care practitioners, worldclass medical education, and innovative, interdisciplinary research to provide the highest-quality, family-centered care, regardless of a family’s ability to pay. As a major referral center for children with complex and chronic conditions, NC Children’s Hospital works hand-in-hand with community hospitals and pediatricians across the state, providing specialty care to more than 70,000 children from all 100 counties each year. Cow design by Jane Filer NC Children’s Hospital offers complete pediatric inpatient and outpatient care in its 150-bed state-of-the-art facility at UNC Hospitals in Chapel Hill and at more than 25 satellite outpatient clinics throughout North Carolina. The Children’s Hospital’s world-class physicians, nurses and other clinical staff represent all pediatric subspecialties and are capable of treating children with virtually any disease or disorder. For more information, please visit (www.ncchildrenshospital.org). For further information about CowParade North Carolina visit (www.cowparadenc.com). Claymakers in Durham, NC, Offers Works by Alyssa Wood & Susan Feagin Work by Alyssa Wood Alyssa Wood will exhibit her drawings on earthenware of herbs and vegetables from her garden and the local farmer’s market in Davidson, NC, as well as her sculptural wall work. Both series explore the ephemeral nature of life and the desire for permanence in the face of that brevity. Wood’s work is low-fire ceramic and has terra sigillata on the surface, a refined clay slip with a silky lustre that dates its usage from the Roman Empire. She then combines this with a variety of brightly colored underglazes, slips, and glazes. All of her drawings are made with bamboo brushes she has fabricated. Wood studied art at UNC-Chapel Hill and Penland School for Crafts with Cynthia Bringle. Her work has been included in exhibitions in the United States at the Houston Center for Contemporary Craft, Artspace in Raleigh, NC, Northern Clay Center in Minneapolis and The Clay Studio in Philadelphia. She received a McKnight Foundation residency through the Northern Clay Center in Minneapolis and a Regional Page 38 - Carolina Arts, September 2012 Artist Project Grant through the Arts and Science Council of Charlotte, NC. In 2010, Wood was named as a finalist for the Lydon Emerging Artist Program (LEAP) Award through the Society for Contemporary Craft, Pittsburgh, PA. Her work is currently in Kerameikon 2012 at City Museum, Varazdin, Croatia, in a show that will travel to Kapfenberg, Austria. Susan Feagin will show vessels meant to suggest scrap paper collages made from pieces of letters, newspaper clippings, journal pages, and sketchbook pages. Her simple forms contrast with busy surfaces, suggesting immediate use. Using colored slip, Feagin screen-prints layers of patterns and handwriting on flat slabs of light colored stoneware clay, before cutting and piecing them back together. She works quickly and when the form is leather hard, Feagin adds sgraffito and carved details to suggest embossed or relief printed surfaces. Her work appears as if the paperlike clay scraps have come to life and lifted themselves into inviting and useful shapes. Works by Susan Feagin Feagin holds an MFA in ceramics from the University of Florida and a BFA from UNC Greensboro. She began taking workshops at Penland in 1994 and became a core student there in 1998 and 1999. While a part of that program, she studied printmaking and papermaking as well as ceramics. After completing her MFA, Feagin returned to Penland and assumed her current role as continued above on next column to the right Table of Contents the clay studio coordinator. Feagin’s work appears regularly in national shows, and her awards and residencies include the Ceramic Surface Symposium, at Arrowmont School, a printmaking residency, at Penland School of Crafts, a University of Florida Teaching Assistantship, the Michael and Rosemary Teres Purchase Award, Lockhart Gallery, State University of New York at Geneseo, and the David and Pat Nevin Scholarship, Penland School of Crafts. Images of Feagin’s work have been published in Clay Times and in 500 Platters, Plates and Char- The University of North Carolina at Chapel Hill in Chapel Hill, NC, is celebrating the fall season of Japanese art and culture with three new exhibits at the Ackland Art Museum, including: East Faces West: The Modern Japanese Print, on view through Oct. 14, 2012; New Light on Japanese Painting: Recently Conserved Screens and Scrolls – Part 1, on view through Oct. 14, 2012; and Elegance and Extravagance: Japanese Posters from the Merrill C. Berman Collection, on view from Sept. 7 through Jan. 6, 2013. The twenty-two prints in East Faces West show the surprising variety of style, subject, and technique practiced by artists living in Japan and by a Japanese diaspora in France and the United States during the second half of the twentieth century. By 1900, Japan had a tradition of sophisticated printmaking that was centuries old, but Japanese society was changing rapidly and absorbing a flood of influences from Europe and America. Culturally, there was a complex interaction between Japanese traditions and influences from abroad. Some artists sought to modify the Japanese print tradition, while others, inspired by the rough carving and simplified forms of modern European woodcuts, favored a more radical break with tradi- gers, Lark Books, 2008. Claymakers is a non-profit educational arts organization that promotes the joy of working with clay; sustains a thriving community of artists, students, and teachers; and fosters enthusiasm for the ceramic arts through classes, workshops, exhibits, special events, and access to facilities and materials. For further information check our NC Institutional Gallery listings, call Analia Howard at 919/530-8355 or visit (www. claymakers.com). Carolina Clay Resource Directory is our attempt at Carolina Arts newspaper to create a focal point for info about the clay community in both North and South Carolina. We may not be everything some want, but we’ll try and bring our readers the most news about what’s going on, where you can find it, and info about the individuals and organizations involved in the Carolina community. Whether you call it clay, pottery, ceramics - if you don’t see what should be here - just let us know about it so we can add it to the mix. For the Carolina Clay Resource Directory go to: www.carolinaarts.com/ccrd/carolinaclay.html For the Carolina Clay Resource Directory Blog go to: http://carolinaclayresourcedirectory.wordpress.com/ ArtSource Fine Art Gallery in Raleigh, NC, Features Works by Jeanne Bessette and Carl Krabill ArtSource Fine Art Gallery in Raleigh, NC, will present the exhibit, Human/ Nature, featuring the works of Jeanne Bessette and Carl Krabill, on view from Sept. 21 through Oct. 20, 2012. A reception will be held on Sept. 21, from 7-9pm. The exhibition brings together two passionate artists who love experimenting with vibrant color. Both Jeanne Bessette and Carl Krabill are abstract painters who view layers of color as an important aspect of their work. Bessette intuitively begins each piece with an intention in mind or a message to communicate by pushing around color and displaying figures in her work. Oftentimes using her fingers, Bessette’s method is to layer, glaze, scratch, and draw on the surface, revealing color and contrast in the layers beneath. In contrast to Bessette’s approach to display a message, Krabill tends to use color to develop a mood and represent the radiance of nature. Krabill’s work has painterly marks and flecks influenced by observing sky, water, and the movement of leaves. Rather than Bessette’s intuitive approach, he returns to previous paintings as he quests for perfection so the viewer is able to take the path of viewing pleasure. For further information check our NC Commercial Gallery listings, call the gallery at 919/787-9533 or visit (www.artsourceraleigh.com). University of North Carolina at Chapel Hill (NC) Celebrates the Fall Season of Japanese Art and Culture Kiyoshi Saito, Japanese, 1907–1997: Seated Female Figure, n.d; woodcut. Ackland Art Museum, Gift of Professor and Mrs. J. Douglas Eyre. tion. The “westernization” of Japanese art was further accelerated by Japan’s defeat continued above on next column to the right
UNC @ Chapel Hill - Ackland continued from Page 38 in World War II, the American occupation, and political and social transformation that occurred after 1945, yet in the decentralized, Post-Modern art world of the late twentieth century, the conventions of the earlier Japanese print reemerged. This exhibition was curated by Timothy Riggs, Curator of Collections, Ackland Art Museum. The exhibition, New Light on Japanese Painting: Recently Conserved Screens and Scrolls – Part 1, presented in two consecutive installations, provides an up-close look at nine Japanese hanging scrolls and one folding screen, dating from the thirteenth to the nineteenth centuries, accompanied by revelatory and fascinating details about their conservation. Mekata Morimichi, Japanese, 1815–1880: One Hundred Birds Admiring the Peacock, 1860; color on silk. Ackland Art Museum, Gift of Eric and Martha Murray, ’87 and ‘88. With the advice and support of worldrenowned expert Sherman Lee, the Ackland assembled a remarkable collection of high quality Japanese paintings, often in spite of serious condition problems. The conservation of the Museum’s best screen and scroll paintings has been a longtime goal. Many of the pieces were acquired in fragile condition, at risk of further damage each time a scroll was unrolled or a screen unfolded. During the past three years, nineteen of the Ackland’s most significant and beautiful scroll and screen paintings have been conserved and remounted by the Nishio Conservation Studio in Washington, DC. The conservators of Nishio Conservation Studio are masters of their craft who combine traditional Japanese materials and practices with a modern understanding of chemistry and professional commitment to documentation. Previously soiled, creased, and broken paintings have been removed from their multi-layered mounts to be cleaned, smoothed, and made secure. Losses in the original silk or paper have been filled with tiny inserts of silk or paper dyed to match and carefully cut to fill the holes without overlapping any of the original. New mounts have been created using traditional silk brocades in proportions appropriate to each painting. With proper care and handling the conserved and remounted paintings can be enjoyed for many generations to come. We thank the Institute of Museum and Library Services, The Sumitomo Foundation, The E. Rhodes and Leona B. Carpenter Foundation, the Office of the Provost at The University of North Carolina at Chapel Hill, Shirley Drechsel and Wayne Vaughn, and the docents of the Ackland Art Museum for their generous support of this conservation project. We are currently seeking funding for an additional four paintings to be conserved and remounted by Nishio Conservation Studio. The ambitious exhibition, Elegance and Extravagance: Japanese Posters from the Merrill C. Berman Collection, pres- ents 86 important Japanese posters from the mid-1950s to the 1990s, borrowed from a distinguished private collection. Featuring rarely seen examples alongside acknowledged classics, it prompts a new look at the exuberance and inventiveness of highly influential poster designers of the postwar decades. Tadanori Yokoo, Japanese, born 1936: Word and Image, 1968, color screen print; Merrill C. Berman Collection, © Tadanori Yokoo. Although Japanese posters have been included as elements in larger design exhibitions in the United States, they have only occasionally been the focus of attention in their own right. Seen together, posters from these decades illustrate the substantial cultural and economic transformations that took place in Japan – from the country’s ascension as an economic world power to the radical shifts occurring in performing arts, including the rise of Japanese avant-garde theatre. experience first-hand the power, sophistication, and variety of Japanese posters from this era in their original form. Other major names to be represented include Kiyoshi Awazu, Hiromu Hara, Takenobu Igirashi, Yūsaku Kamekura, Kazumasa Nagai, Koichi Sato, and Keiichi Tanaami. The selection will showcase several generations of creativity and achievement, enabling visitors to experience how increasing technical, material, and aesthetic sophistication led to Japan’s position as one of the world’s leading graphic design cultures. An adjacent gallery will continuously screen pioneering animated short films from the 1960s and 1970s by designers Tadanori Yokoo and Keiichi Tanaami. Elegance and Extravagance is accompanied by a fully illustrated catalogue with introduction, commentary, detailed checklist, and artists’ biographies by Ackland Art Museum Chief Curator Peter Nisbet. For further information check our NC Institutional Gallery listings, call the Museum at 919/966-5736 or visit (http://www. ackland.org/index.htm). ENO Gallery in Hillsborough, NC, Features Works by Mike Hoyt ENO Gallery in Hillsborough, NC, is presenting the exhibit, Near and Far, featuring new oil paintings by Raleigh, NC, artist, Mike Hoyt, on view through Oct. 21, 2012. Hoyt studied design at the University of North Carolina at Chapel Hill and has studied with several notable impressionists including Lois Griffel of the Cape Cod School of Art and at the Scottsdale Artists School under award-winning plein-air figurative artists, Peggi Kroll-Roberts, Kevin MacPherson and Kenn Backhaus. Work by Mike Hoyt Hoyt refers to himself as a southern im- colors dance through a scene.” pressionist. Like the French Impressionists, Hoyt finds beauty in the most mundane Hoyt prefers to paint everyday subjects and of subjects... a few pans on the stove or capture their luminosity. Simple objects, an old truck in an abandoned barn. Where warmth and color are the essence of Hoyt’s conventional eyes see the ordinary, Hoyt’s work. He says: “Since almost all of my ability to portray what can only be de- work is done in plein-air, light, shadow and scribed as joyous color shows us the beauty mood are essential subjects in my paint- in the ordinary that we might otherwise take ings.” for granted. Ikkō Tanaka, Japanese, 1930–2002: The 5th Sankei Kanze Noh, 1958, color screen print; Merrill C. Berman Collection, © Estate of Ikkō Tanaka. Hoyt’s works range from still life and figurative paintings to luminous landscapes that as he explains, “portray the temporal “There’s something magic about an old barn or a broken-down tractor,” says Hoyt. “Not only do they have interesting forms, From the psychedelic, Pop-influenced effects of light and color, applied in an these subjects capture our warm, southern posters of Tadanori Yokoo, to the crisp, impressionistic style... in the end, though, I sunshine in interesting ways. A collector bold simplicity of works by Ikkō Tanaka, end up in an almost-constant chase for the once told me she liked my work because it to the witty and compelling designs of bold, bright and exciting color. I strive for a ‘makes me happy’. I also had a French nun Shigeo Fukuda, Elegance and Extrava- certain luminosity in my paintings and so I in Aix approach my easel and comment, gance provides the rare opportunity to like to work in the early morning and late in ‘you paint from your heart, don’t you’. I continued above on next column to the right the day when the warmest and most vibrant continued on Page 40 Table of Contents Carolina Arts, September 2012 - Page 39
Page 1 and 2: ABSOLUTELY FREE You Can’t Buy It
Page 3 and 4: Michael Harrell Bucket Load Waterco
Page 5 and 6: Upstate SC Area This map is not to
Page 7 and 8: CLEMSON CERAMICS NATIONAL JURIED EX
Page 9 and 10: RIVERWORKS Gallery continued from P
Page 11 and 12: � � � � � � � � Car
Page 13 and 14: Shain Gallery in Charlotte, NC, Off
Page 15 and 16: Hitchcock Health Center continued f
Page 17 and 18: City Art Gallery in Columbia, SC co
Page 19 and 20: Vista Studios in Columbia, SC conti
Page 21 and 22: Sumter Co. Cultural Center continue
Page 23 and 24: Cameron Art Museum continued from P
Page 25 and 26: NC Wesleyan College - Elementary co
Page 27 and 28: Fracture Oil on Canvas, 72 x 66 inc
Page 29 and 30: The Art Institute of Charleston con
Page 31 and 32: Rick Rhoads Photography continued f
Page 33 and 34: Green Hill Center for NC Art contin
Page 35 and 36: North Carolina Pottery Center conti
Page 37: Art Trail Gallery in Florence, SC,
Page 41 and 42: Hillsborough Gallery of Arts in Hil
Page 43 and 44: I-40 64 66 Western NC Area 441 2 In
Page 45 and 46: Morning Sky Over Lake Michigan 11 x
Page 47 and 48: Caldwell Arts Council in Lenoir, NC
Page 49 and 50: Pickens County Museum continued fro
Page 51 and 52: Nick Toebaas, Adam Yungbluth, Baile
Page 53 and 54: cultural institution to host this e
Page 55 and 56: to "Cash Crop", which includes adul
Page 57 and 58: Mount. Sept. 22 - Jan. 13, 2013 - "
Page 59 and 60: & by appt. Contact: 828/350-7711 or
Page 61 and 62: Celo Toe River Crafts, 6274 on Hwy.
Page 63 and 64: CityArtGreenville.com). Strickland
Page 65 and 66: Salisbury/Spencer Throughout Salisb
Page 67 and 68: Turn and Burn Pottery, 124 East Ave
Page 69 and 70: Twelve." Charleston Quilter Dorothy
Page 71 and 72: allergies, and ice cream preference
Page 73 and 74: and interpretive displays of Southe
Page 75 and 76: wife Elaine, Grace Hartigan, Joan M
Page 77 and 78: 864/325-4445 or at (www.dalydesigns

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