Thursday, September 16, 2010
The Weatherspoon Art Museum at The University of North Carolina at Greensboro is pleased to announce the selection of artists for the 2010 Art on Paper biennial exhibition, which opens to the public on November 7, 2010 and remains on view through February 6, 2011.
Xandra Eden, the Weatherspoon’s Curator of Exhibitions, has invited seventy-five artists of regional and international significance to present unique works made on, or of, paper. “With this year’s exhibition, the Weatherspoon continues to expand its international scope,” comments Eden, “Art on Paper 2010 includes artists from across the Americas, Europe, Asia and the Middle East." The full list of participating artists appears at the end of this release.
Since 1965, the Weatherspoon’s Art on Paper exhibition has charted a history of art through the rubric of one-of-a-kind works on paper. Now in its forty-first year, the steadfast commitment of xpdex (formerly the Dillard Paper Company) has allowed the Weatherspoon to acquire works from each and every Art on Paper exhibition, resulting in the formation and tremendous growth of the Dillard Collection of Art on Paper, which today numbers close to 550 objects. Acquisitions have included work by some of art’s seminal practitioners, including Louise Bourgeois, Eva Hesse, Brice Marden, Joan Mitchell, Robert Smithson, and Frank Stella. Support for the exhibition and catalogue is generously provided by the F. M. Kirby Foundation, Inc.
The exhibition opens on Saturday, November 6 with a Curator’s Talk by Xandra Eden at 6:30 pm, and a Preview Party hosted by the Weatherspoon Art Association from 7-9 pm. Call 336.334.5770 or email email@example.com for more information and to purchase tickets.
The 28-page Art on Paper 2010 catalogue will includes selected images, an exhibition checklist, and curator’s statement.
Art on Paper 2010: List of Artists
Barbara Campbell Thomas
Gabriel de la Mora
Jessica Jackson Hutchins
Lisa M. Kellner
Eun Hyung Kim
Tonya D. Lee
Maria (Eun-Hee) Lim
Mariam Aziza Stephan
About the Weatherspoon Art Museum
The Weatherspoon Art Museum at the University of North Carolina at Greensboro acquires, preserves, exhibits, and interprets modern and contemporary art for the benefit of its multiple audiences, including university, community, regional, and beyond. Through these activities, the museum recognizes its paramount role of public service, and enriches the lives of diverse individuals by fostering an informed appreciation and understanding of the visual arts and their relationship to the world in which we live.
The Weatherspoon Art Museum at The University of North Carolina at Greensboro was founded by Gregory Ivy in 1941 and is the earliest of any art facilities within the UNC system. The museum was founded as a resource for the campus, community, and region and its early leadership developed an emphasis—maintained to this day—on presenting and acquiring modern and contemporary works of art. A 1950 bequest from the renowned collection of Claribel and Etta Cone, which included prints and bronzes by Henri Matisse and other works on paper by American and European modernists, helped to establish the Weatherspoon’s permanent collection. Other prescient acquisitions during Ivy’s tenure included a 1951 suspended mobile by Alexander Calder, Woman by Willem de Kooning, a pivotal work in the artist’s career that was purchased in 1954, and the first drawings by Eva Hesse and Robert Smithson to enter a museum collection.
In 1989, the museum moved into its present location in The Anne and Benjamin Cone Building designed by the architectural firm Mitchell Giurgula. The museum has six galleries and a sculpture courtyard with over 17,000 square feet of exhibition space. The American Association of Museums accredited the Weatherspoon in 1995 and renewed its accreditation in 2005.
Collections + Exhibitions
The permanent collection of the Weatherspoon Art Museum is considered to be one of the foremost of its kind in the Southeast. It represents all major art movements from the beginning of the 20th century to the present. Of the nearly 6,000 works in the collection are pieces by such prominent figures as Sol LeWitt, Robert Mangold, Cindy Sherman, Al Held, Alex Katz, Henry Tanner, Louise Nevelson, Mark di Suvero, Deborah Butterfield, and Robert Rauschenberg. The museum regularly lends to major exhibitions nationally and internationally.
The Weatherspoon also is known for its adventurous and innovative exhibition program. Through a dynamic annual calendar of fifteen to eighteen exhibitions and a multi-disciplinary educational program for audiences of all ages, the museum provides an opportunity for audiences to consider artistic, cultural, and social issues of our time and enriches the life of our university, community, and region.
Weatherspoon Art Museum
The University of North Carolina at Greensboro
Spring Garden and Tate Streets, PO Box 26170
Greensboro, NC 27402-6170, 336.334.5770, firstname.lastname@example.org
For more information or press images, contact:
Loring Mortensen, 336-256-1451, email@example.com
Monday, September 13, 2010
Monday, August 30, 2010
September 9 through October 23
Opening Reception: Wed, September 22, 8 - 11pm
Curated by Hartmut Austen, the Great Lakes Drawing Biennial is a juried show open to all artists in Michigan, Ohio, Indiana, Illinois, Minnesota, Wisconsin, New York and Pennsylvania. Hosted by Eastern Michigan University once every two years, it will highlight artistic activity related to all manor of contemporary drawing. The show will be accompanied by a mini-catalog highlighting the work of all participants selected and six awards (5 for Merit and one Best in Show) will be announced at the opening.
REVision @ The Katzen Museum in Washington, DC
August 31 through October 24, 2010
Opening Reception: Saturday, September 11, 6pm
This second Alumni Show in the American University Museum will be will be selected by Art Department faculty members Tim Doud and Zoe Charlton, and Museum director and curator Jack Rasmussen.
Thursday, August 12, 2010
Through August 14th:
Wednesday, March 24, 2010
March 27–June 27, 2010
Exhibition Reception is April 9, 2010, 5:00-8:00 (musical performance begins at 7:30 p.m.) It is not new for a museum to put on events or design exquisite installations. It also is not new for museums to share the art viewing experience with a performance in the same locale. For the SBMA, it is a regular happening and has been for many years. What is new, however, is to celebrate the joining of events and art in the third installment of Perform/Install. This fusion comes to the SBMA in the form of two visual artists installing work and deliberately transforming the Warner Gallery into a performing arts venue. Over the course of the exhibition several events ranging from experimental in nature, to traditional forms of performance will be presented.
Meredith Setser (Indianapolis, Indiana)–– Grounded by process and materials, space is transformed using massive, swelling walls of handmade felts, imaged with etchings and screen prints. The light at the end of this billowing cave converges on a surprise built of living and dead plant matter, textured felts, and resin. The patterning employed on the massive swaths of felt employ generic biological renderings of dermis and vein patterns shared by a majority of organic life forms and is applied with traditional printmaking applications. Incorporated into the installation are animal by-products (wool, hooves, and pelts) as a means to juxtapose the “faux” felted pelts with actual animal products. This combination places the installation somewhere between reality and falseness, perhaps producing some sense of subterfuge when examined closely.
Lauren Rice (Detroit, Michigan)–– Fantastical landscapes created from debris, papier mache, wood, spray and found objects organic grow and expand in unexpected ways. “Flowers” are formed from bulky blobs resting uncomfortably upon their armatures of wooden dowels, wire and cement. The imagery in this installation work references gardens and flowers, however the traditional preconceptions of these feminine and romantic things are often vulgarized. Rice’s installation intends to simultaneously support and subvert expectations of formal qualities and structural integrity, utilitarian and decorative function. And, in doing so, investigate techniques and materials that have masculine and feminine connotations, as well as explore notions of craft, kitsch, preciousness and sentimentality.