Vol. 15, No. 3 March 2011 - Carolina Arts

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CELEBRATION OF THEwww.clemson.edu/cva facebook.com/clemsonvisualarts 864.656.3883April 2, Saturday | 6:00 – 10:00 pmMadren Center | Clemson UniversityTickets: $75.00 per personLive and silent art auctionsOver three hundred guestsHeavy hors d’ oeuvresLive musicCash barA gathering & live artauction to support theCenter for Visual Artsat Clemson UniversityCall 864.656.3883 orvisit clemson.edu/cvafor tickets and detailsSpartanburg Art Museum inSpartanburg, SC, Features Works byWest Fraser and Will Henry StevensSpartanburg Art Museum in Spartanburg,SC, will present two new exhibitsincluding West Fraser: A Southern Perspectiveand Will Henry Stevens (1881-1949), both on view from Mar. 8 throughMay 7, 2011.The Spartanburg Art Museum invitesyou to experience scenes of the Lowcountrythrough the exceptional artwork ofWest Fraser, commonly known as “SouthCarolina’s best known, [and] most widelySupport American Fishermen, by West Frasercollected contemporary artist.”Born in Savannah, GA, in 1955, Frasergathers inspiration from life to createpaintings of marine landscapes and harborscenes. One of the leading American artistsin the representational/plein air tradition,Fraser has built his career on richlypainted, atmospheric vistas of cities,coasts, and the landscape throughout theUnited States and internationally—fromthe pristine Sea Islands of South Carolinaand Georgia, to the hill towns of Tuscany.Page 14 - Carolina Arts, March 2011An inveterate traveler, he has paintedthroughout the Caribbean, CentralAmerica, Europe and Scandinavia. Yethis passion always draws him back to themarshes and landscape of the Georgiaand South Carolina Coast. This exhibitionexplores the paintings of his South, fromthe rolling hills of the North CarolinaMountains to the maritime forests on thesouthern sea islands.Following his success as a watercolor-ist, Fraser shifted to usingoil paints as his primarymedium. He tookhis art outside to createart “in the open air,” allowinghim to captureand create landscapecompositions with animpressionistic renderingof light, color, andatmosphere. In Fraser’sown words, “I capturemy experience of justbeing outdoors, wherethere is not a soundother than the cracklingof the marshes and thewind in the trees. I’ma storyteller of chance,happenstance andtime.”This exhibit is comprised of worksfrom private collections and Helena FoxFine Art, representative for the WestFraser Studio in Charleston, SC.The Spartanburg Art Museum will alsoexhibit the artwork of the late Will HenryStevens, “one of the south’s most prolificmodern masters.” This exhibition, willexplore the landscape painter’s evolvingstyle and methods.Stevens (1881-1949) spent much ofcontinued above on next column to the righthis life outdoors, and much of his careerpainting landscapes and nature, particularlyof the Appalachian highlands andthe Louisiana delta. His paintings capturea colorful, expressive, and even spiritualessence of the natural world, and demonstratea relationship with the environmentthat transcends landscape painting the waywe are accustomed to seeing it.A pioneer of modernism in the AmericanSouth, his works are reminiscent ofPaul Klee and Wassily Kandinsky. Hislyrical and poetic visions of the south aresoulful enough to inspire even the mostardent of city dwellers to rediscover theexpansive beauty of the natural world.Stevens was born in Vevay, IN, in1881. As a young painter he studied atthe Cincinnati Art Academy and the ArtCaldwell Arts Council in Lenoir, NC,will present the exhibit, All Shapes andSizes, featuring photography by JodyServon with poetry by Lorene Delany-Ullman; “Mikigami” series by MichaelTwery and paintings by Gregory Smith, onview from Mar. 4 - 25, 2011. A receptionwill be held on Mar. 4, from 5-7:30pm.Students’ League in New York City. Whileliving briefly in New York he had severalone man shows at the New Gallery. In1921, Stevens moved to New Orleansto become a professor of art at SophieNewcombe College, now part of TulaneUniversity. During his summer and wintervacations Stevens would take numeroustrips into the landscape. These tripsfostered his prolific career. Stevens diedin 1949 after retiring and moving back toVevay.This exhibition is supported andprovided by Blue Spiral 1 in Asheville,NC, the representative for the Will HenryStevens estate.For further info check our SC InstitutionalGallery listings, call 864/582-7616or visit (www.spartanburgartmuseum.org).Caldwell Arts Council in Lenoir, NC, OffersWorks by Jody Servon, Lorene Delany-Ullman,Michael Twery and Gregory SmithWork by Jody ServonSaved, featuring photography by JodyServon, is an honest and moving photographicand poetic exploration of thesometimes funny but always poignanthuman experience of life, death, andmemory. The work is candid and direct inits approach to a topic Americans avoidtalking about even though it is an experiencewe all inevitably share: the death ofa loved one. The project addresses howmemories of the dead are deeply rooted ineveryday objects, and how those objectsserve as the emblematic means to transportthose memories to the living.Saved was conceived when Servon’sfather and three friends died within asingle year. She was affected by howpeople bearing similar loss openly sharedstories of their loved ones with her.Previously, Servon had photographed hergrandfather’s dentures, and was intriguedby how the image resonated with viewers.This observation led her to borrow objectscontinued on Page 15
Caldwell Arts Council in Lenoir, NCcontinued from Page 14from the bereaved, and photograph themodest effects, mementoes, and heirloomsheld onto after the death of a loved one.Each item, ranging from a below-the-kneeprosthetic leg to an old Atlantic City slotmachine, was photographed on a seamlesswhite background, focusing on the wearapparent on each surface. It was importantfor each object to have a unique presence,thus the scale of each photo was based onthe personality of that item.Because the photos often raised questions,Servon sought collaboration withpoet Lorene Delany-Ullman. Prose poemswritten by Delany-Ullman provide insightinto the objects, the lives and deaths ofthe deceased loved ones, and the placesof those objects in the memories and livesof the people who saved them. Throughinterviews, the new object-owners wereasked to describe their relationship withthe deceased, any distinguishing characteristicsor traits of that person, a memorableoccasion or event shared betweenthem, and what makes that object special.Based on the interviewees’ responses,Delany-Ullman crafted prose poems,which chronicle the relationships betweenthe new and original object owners, theirlives and deaths. While the items may befunctional, and are sometimes utilizedin daily life, their value is based in theirmemorial function: their ability to keepthe dead alive in the minds of their newowners.Michael Twery offered the followingstatement about his works, “My concernsas a painter cover a variety of interests andprocesses. As a result, I work on four differentbodies of work that each allow meto express myself in very different ways. Ifind that alternating my method of workinghelps strengthen my abilities in eachdifferent area. I have always been fascinatedby the shape and quality of light andhow it creates environment and mood.I also work with implied meanings ofshape and color, context of subject matter, surface quality and sheer painterliness ina painting. I often incorporate glow in thedark paint to add another viewing dimensionto my work.Work by Michael Twerytion and ability to create illusion, moodresponse and context.”“Formal concerns aside, my subjectsand content range as far as an old ironlock, to the visual expression of theGolden Ratio,” add Smith. “The work isrendered with limited depth, realistic andrendered in a limited palette. All of theseaspects are influenced by Trompe L’oielAmerican painters of the early twentiethcentury. I am particularly moved by theThe North Carolina Arboretum inAsheville, NC, is presenting, Emissariesof Peace: The Cherokee and British Delegationsof 1762, a historical exhibit ofa British officer’s journey to a Cherokeevillage, on view through May 15, 2011.After battles, towns set ablaze, ambushesand bloody massacres, the Cherokeeand British were on the brink of treatyin November 1761, but one conditionremained. The Cherokee warriors gatheredat Fort Robinson asked that a Britishemissary return with them to their villageas a gesture of goodwill. This exhibitchronicles the story of that visit, taken byofficer and journalist, Henry Timberlake.Emissaries of Peace, brings HenryTimberlake’s memoirs to life throughartifacts, archaeological treasures, periodartwork, music, video, and life size figures.Timberlake, a junior officer, volunteeredto accompany the Cherokee back tothe Overhill towns after the British officerin charge deemed the mission too perilousto assign. The young Timberlake, alongwith another officer, an interpreter and aservant, set out on the journey by canoeon November 28, 1761.Visitors to the exhibit will experiencetwo contrasting cultures emerging fromwar and navigating the path toward peace.From the council houses of the Cherokeesto the pleasure houses of London, Emissariesof Peace provides a look at Cherokeeand English society of the mid-18thcentury, each viewed through the eyes ofthe other.“The ‘Mikigami’ series reflects myfascination with taking everyday mundaneobjects out of their normal contextand seeing them in a different way; withtheir shape playing an important role inhow they are viewed,” adds Twery. “Thepaintings are careful observations andrepresentations of real objects, yet often atfirst glance look very abstract. The shapesmade from folded candy wrappers suggestother objects and forms which vary dependingon different viewers own imaginations.The ‘Mikigami’ paintings are allacrylics on cut out signboard. The edgesof each piece are painted with phosphorescentpaint so the cut out shapes glow inthe dark. I work with cut-outs because Ithink the irregular shapes strengthen identificationof the painting as an object.”Gregory L. Smith offered the followingstatement about his works, “My primaryinspiration are the physical proprietiesof paint. Paint is fluid, plastic and hasdimensionality. All of these aspects canbe explored and exploited. Paint mayrendered in all levels of opacity, valueand tone. As a medium paint is unique.Its properties are infinite in their applica-continued above on next column to the rightwork John Peto and John Haberle.”“The combination of these formal andstylistic concerns continues to inspire andpush me to explore. Nothing is off limits,nothing out of bounds. I hope to continueto work around these concerns for manyyears to come”.For further information check our NCInstitutional Gallery listings, call the ArtsCouncil at 704/754-2486 or visit (www.caldwellarts.com).North Carolina Arboretum in Asheville,NC, Features Historical ExhibitionThe exhibit was originally producedby the Museum of the Cherokee Indianfor the Smithsonian Institution NationalMuseum of the American Indian. It is theonly traveling exhibition produced bymembers of an American Indian tribe. Theexhibition received the presidential “Wethe People” exhibit designation becauseof its excellence in telling the story ofAmerican history.To broaden the visitor experience,an exhibit called Corn, Beans & Squashexplores the agriculture practices of theCherokee and neighboring tribes of theCreek Confederacy. The exhibit, designedand produced by the Arboretum, featuresa seasonally appropriate garden of thelate 1700s and displays native plants usedfor food. Examples of a Cherokee summerhome and corn grinder, as well asa diorama of a village provide visitors aglimpse of life for the Cherokee.The exhibit is sponsored by the NationalEndowment for the Humanities, theCherokee Preservation Foundation, FirstCitizens Bank, Harrah’s Foundation, theCannon Foundation, the Colonial WilliamsburgFoundation, and the Museum ofthe Cherokee Indian. Exhibition support atthe Arboretum is provided in part by TheNorth Carolina Arboretum’s CommunityPartner, Smoky Mountain Living.For further information check our NCInstitutional Gallery listings, call the Arboretumat 828/665-2492 or visit (www.ncarboretum.org).Carolina Arts, March 2011 - Page 15
Page 1 and 2: ABSOLUTELYFREEYou Can’t Buy ItVol
Page 4 and 5: Editorial by Tom Starland, Editor a
Page 6 and 7: Walker Meets MakielskiOld is New Ag
Page 8 and 9: Shain Gallery in Charlotte, NC,Offe
Page 10: I N C O L U M B I A ’ S V I S T A
Page 13: I-406466Western NC Area4412 Interst
Page 17 and 18: MARCH 8 - MAY 7, 2011 TUES-SAT 10-5
Page 19 and 20: Hickory Museum of Art inHickory, NC
Page 21 and 22: ART With A FutureCharleston’s loc
Page 23 and 24: Coastal Community Foundation Center
Page 25: McCallum -Halsey StudiosCorrie McCa
Page 28: Cheraw Arts Commissioncontinued fro
Page 33 and 34: Adam Cave Fine Art in Raleigh,NC, F
Page 35 and 36: Duke University in Durham, NC,Featu
Page 37 and 38: Charleston City Market, Building B,
Page 39 and 40: on the wildlife of Africa and North
Page 41 and 42: Dobbin Gallery, in Freshfield’s V
Page 43 and 44: watercolors, acrylics and oil paint
Page 45 and 46: Karen's Korner, Gateway to the Beac
Page 47 and 48: at 828/262-3017 or at (www.turchinc
Page 49 and 50: talk about electricity, infrastruct
Page 51 and 52: Matt Jones, Robin Bryant Kirby, Mic
Page 53 and 54: lankets and wall art. sutherland al
Page 55 and 56: land in 1892. A reception will be h
Page 57 and 58: pottery, quilts and fiber arts. A r
Page 59 and 60: family-taught potter Crystal King.
Page 61: Ashe Custom Framing & Gallery, 105

Vol. 15, No. 3 March 2011 - Carolina Arts

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