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Charlotte Hendrix

Print of Time Square at Night

Collection Spotlight: Yvonne Jacquette

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Yvonne Jacquette
(American, born 1934)
Motion Picture (Times Square), 1989–90
Edition: 60
Lithograph and screenprint
Museum purchase with funds provided by the 1072 Society, 2011

Whether seated in a Cessna airplane or a chair near the window in a high-rise, Yvonne Jacquette depicts the world from this very modern, elevated perspective and has done so for the past four decades. Her images capture the energy of the city as well as the complex sprawl of industrial centers, the organized chaos of waterfronts, and the grand sweep of imposed geometry across American farmlands. Her preferred aerial viewpoint results in unusual juxtapositions and spatial relationships that merge abstraction, representation, and surface pattern in richly hued paintings, drawings, and prints.

A visit to Japan, where Jacquette delighted in the bright and colorful contrasts of neon at night in the Shinjuku district of Tokyo, formed the inspiration for her Times Square Triptych II, from which this print derives. That painting’s three oil panels feature neon billboards selling corporate America, high above wet streets filled with cars, pedestrians, and movie marquees. Jacquette used slashing brushstrokes to suggest the motion of the city in her painting and repeated the technique in producing this print, whose composition mirrors the central panel of the highly regarded triptych. Motion Picture’s dynamic design offers a dialogue between the bold, red-striped neon billboard in the near picture plane and strong receding diagonals of the traffic-filled street below. Light flickers off the wet pavement and the shiny metal surfaces of street vehicles. Headlights create rhythmic puddles on the olive drab roadway. A movie theater marquee lists different films of the 1980s, including Wim Wenders’ 1987 romantic fantasy Wings of Desire and Charlie Ahearn’s 1983 hip-hop classic Wild Style. These titles illustrate not only the wide range of art and entertainment found at the so-called “Crossroads of the World,” but also alludes to the demi-monde aspects that exist in the district. The vibrant image confirms that Times Square is best experienced at night when it is truly electrified, both literally and symbolically.

Print of Time Square at Night

Detail

Detail of print depicting Times Square, cars and movie marquee

In anticipation of Auburn’s celebration of 125 Years of Auburn Women, curators will campaign to acquire work by women artists, thus adding to the 54 females currently represented in the collection. Learn more.

Logo celebrating 1892-2017 and Auburn women
Print depicting a scene of a revolt

Collection Spotlight: Käthe Schmidt Kollwitz

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Print depicting a scene of a revolt

Käthe Schmidt Kollwitz
(German, 1867–1945)
Losbruch (Uprising, also known as Outbreak), 1902–03
Etching on copperplate paper Plate 5 from the cycle Bauernkrieg (Peasant War) State XII published by von der Becke, 1931
20 3/8 x 23 3/8 inches
Museum purchase

Most women born in the second half of the 19th century were not encouraged to become artists, but such was not the case for Käthe Kollwitz, the fifth child of Karl Schmidt, a mason with radical social democratic leanings, and his wife Katherina, the daughter of a Lutheran pastor who founded an independent congregation after being expelled from the state-sanctioned church. Perhaps it was this freethinking upbringing that resulted in Kollwitz’s deeply rooted social idealism which was evident throughout her artistic career. Always encouraged at home, her formal art education began at the age of 12 in her hometown of Königsberg, Eastern Prussia (now Kaliningrad, Russia). At the age of 17 she enrolled at one of the few art schools in Berlin that permitted women. There she discovered the etchings of Max Klinger, whose technique and social concerns greatly influenced her. By 1888, while studying in Munich, she decided her true calling was drawing rather than painting. Her subjects at that time and for the rest of her career would be the working class and peasants she saw every day.

Print detail of woman raising her arms above her head

Peasant War was Kollwitz’s second major cycle of prints, which occupied her from 1902 to 1908. She had been appointed to teach graphics at the Berlin School for Women due to the success of her previous print cycle, known as The Weaver’s Revolt. This next series was commissioned by the Association of Historical Art. The title refers to the violent uprising of peasants against their feudal lords and the church which took place in the early years of the Reformation in Southern Germany (1522–25). In a letter to a friend she noted that she had read The General History of the Great Peasant’s War written in 1841– 42 by Wilhelm Zimmermann and had become fascinated by the legendary figure known as Black Anna who was said to have incited the insurrection. Kollwitz noted that she identified with this character who appears in this print urging the peasants forward, arms raised over her head.

The Peasant War series utilized of etching, aquatint, and soft-ground techniques and are among Kollwitz’ highest achievements as an etcher. Outbreak specifically reveals the experimental nature of the artist evident in the unusual tones and textures and the softer, grainier lines she attained in this image. This print is a later state but done within her lifetime, and reflects the stunning skills of one of the 20th century’s greatest printmakers.

In anticipation of Auburn’s celebration of 125 Years of Auburn Women, curators will campaign to acquire work by women artists, thus adding to the 54 females currently represented in the collection. Learn more.

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Artwork depicting life in a Mexican village.

Collection Spotlight: Mabel Hewit

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Mabel A. Hewit
(American, 1903–1987)
Village Well, 1955
Color woodcut with corresponding woodcut block
Museum purchase

Mabel Hewit’s Cubist-inspired depiction of life in a Mexican village was created through a printmaking technique developed by a small group of modernist artists in Provincetown, Massachusetts, in the late 1910s and 20s. In a process known as white-line woodcut (also “Provincetown print”), the method allows multicolor prints to be pulled from a single block of carved wood. Hewit learned the technique in the Provincetown artists’ colony in the 1930s from Blanche Lazzell (1878–1956), perhaps the best-known practitioner of the innovative method.

As clearly seen in the accompanying wood block, from which Village Well was printed, Hewitt delineated her composition with a narrow, gouged outline that forms the discrete shapes of landscape, buildings, and figures. Each section would be brushed separately with varying hues of watercolor paints, and the image transferred one color at a time to a sheet of paper laid atop the block and carefully rubbed.

Artwork depicting life in a Mexican village.
Woodcut block used for printing

The use of watercolor instead of printer’s ink imparts a subtle transparency to the colors and highlights the presence of the wood’s grain, both distinctive characteristics of whiteline woodcuts. The groove remains un-colored, resulting in the paper-white contour line that gives the print medium its name. Due to the slow and laborious process of pulling a finished print, typically involving a dozen or more colors, editions are usually small. Hewit likely produced no more that ten copies of Village Well, one of which is in the collection of the Cleveland Museum of Art. Each impression varies in color application, in effect, making every print a unique object. The opportunity to display both finished print with its block is a rare educational opportunity. Note Hewit’s use of the reverse side of the block for another print image, and the residual pigment that has been absorbed into the porous surfaces of the wood plank.

Hewit was born in Conneaut, Ohio, a town northeast of Cleveland on the Lake Erie shore. After her studies in Ohio, Hewit gravitated to Provincetown, a center of avant-garde artists’ activity at the tip of Cape Cod. Hewit undoubtedly would have come in contact with Karl Knaths, represented in JCSM’s Advancing American Art collection and one of the most prominent figures in the coastal bohemian community. Women artists compose a large number of the Provincetown printers, a topic of much current scholarship, and include Ada Gilmore Chaffee, Edna Boies Hopkins, Ethel Mars, Mildred McMillen, Maud Hunt Squire, Grace Martin Taylor, along with Hewit and Lazell. Recent exhibitions of their white-line woodcuts have been held at the Boston Museum of Fine Art, Cleveland Museum of Art, and Elvenhjem Museum of Art.

In anticipation of Auburn’s celebration of 125 Years of Auburn Women, curators will campaign to acquire work by women artists, thus adding to the 54 females currently represented in the collection. Learn more.

Logo celebrating 1892-2017 and Auburn women

One-day sale for members!

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New spring accessories, unique gift selections inspired by “Jiha Moon: Double Welcome, Most Everyone’s Mad Here,: books and toys to spark your little one’s creativity await you in the Museum Shop.

As a member benefit, you can take 20% off all regularly-priced items during this one day sale. Stop in Thursday, March 9 between 10 a.m. and 8 p.m. to get a jump on Mother’s Day, Father’s Day, Graduation, or “just because!”

A pearl ncecklace on display.
Mens' ties folded.
Exterior photo of buildlng

Museum Improvements Project – Summer 2017

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Guided by a comprehensive strategic building plan, and with the management of Auburn’s Office of the University Architect, JCSM is addressing the need for improved educational, storage and public spaces necessary for a 21st-century museum. During the summer of 2017, contractors will renovate collections storage areas to accommodate current holdings and plan for future growth, as well as rectify acoustic, lighting and temperature concerns in the Grand Gallery, Rotunda, Dwight and Helen Carlisle Lobby and Museum Café.

Project Timeline

April 17

Permanent collection galleries close

Curatorial staff begin preliminary work

April 30

Closing date of Jiha Moon: Double Welcome, Most Everyone’s Mad Here

May 5

Last café service until fall

May 8

Museum closes to public

Susan Phillips Gardens & Lethander Art Path remain open

Sept.

Operations resume

New exhibitions open: Raoul Hague, Leo Twiggs, Permanent Collection

Oct. 6

Opening reception of
Out of the Box:
A Juried Outdoor
Sculpture Exhibition and exhibition with Jean Shin

Frequently Asked Questions

Q: What is the last day I can visit the museum galleries, cafe and shop?

A: The last day to view permanent collection artwork is Sunday, April 16. The closing day for Jiha Moon: Double Welcome, Most Everyone’s Mad Here is Sunday, April 30.

The museum and Museum Shop will close to the public at 4:00 p.m. on Sunday, May 7. The final Museum Cafe service for the summer is Friday, May 5 from 11 a.m. to 2 p.m. The Museum Shop will have select items available online for purchase via Auburn University Marketplace. Please call 334-844-3084 for assistance.

Q: When can I visit the museum again?

The construction inside the building is expected to be completed in the fall of 2017, with regular operations resuming on Tuesday, Sept. 5 at 10 a.m. Exhibitions on view will include work by Jean Shin and Raoul Hague, as well as permanent collection selections, and the exhibition Leo Twiggs: Requiem for Mother Emanuel. Our community celebration of Out of the Box: A Juried Outdoor Sculpture Exhibition is slated for Friday, Oct. 6.

Any date changes will be posted to our website and publicized within the community. We hope you will continue to enjoy our grounds, including the Susan Phillips Gardens and Lethander Art Path. There are seven on our grounds.

Q: Will I be able to contact university art museum staff members?

A: The museum staff will continue to report from 7:45 a.m. to 4:45 p.m., Monday through Friday. Please see our staff directory or call 334-844-1484.

Q: What about hosting my special event at the museum?

A: Bookings will continue for the fall 2017-2018 special event season and beyond. Please contact Lauren Horton, special events coordinator, at 334-844-3488 or lauren.horton@auburn.edu.

Q: What summer art club programming will the museum offer?

A: The museum will remain active with K-12 participants through City of Auburn partnerships with Camp Kaleidoscope, Therapeutic Recreation Camps and other outreach programs. We also plan to participate in the City of Auburn’s Summernight Downtown Art Walk.

Q. If I am an area K-12 teacher or faculty member, can I still arrange my class tours for the fall semester?

A: Yes, we have an online form to assist you, you may contact jcsmtours@auburn.edu, or call 334-844-3486. All guided tours must be requested at least two weeks in advance.

Q. How will the museum keep the community engaged and informed about the project?

A: Relevant construction status updates will be posted to the jcsm.auburn.edu news page. We also invite you to connect with @JCSMAuburn on Facebook, Twitter, Instagram and YouTube.

Q: What will the museum staff do while the galleries are closed?

A: Staff at JCSM will still have access to the museum’s collections and will take this opportunity to focus on collections assessment and maintenance, as well as planning events to celebrate our reopening and other exciting programs.

Q. What if I need to access the museum collections?

A: The museum has an online database for the permanent collections. Because JCSM holds the permanent collection in public trust we will take every opportunity to provide researchers access to works of art not currently on view, but this must be done as a pre-arranged appointment. Please remember that some works of art may not be available due to outgoing loans, conservation concerns, or other considerations. Special access is not guaranteed, and is at the discretion of the curatorial staff.

New Year, New Exhibitions and Programs

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With the start of the new academic year, there’s plenty of things to do in Auburn at the museum. Here are just a few highlights from our spring semester schedule. View more by visiting our online calendar.

Jiha Moon: Double Welcome, Most Everyone’s Mad Here

Jan. 21—April 30, 2017
Bill L. Harbert Gallery and Gallery C

Based in Atlanta, Georgia, Jiha Moon (Korean, born 1973) harvests cultural elements native to Korea, Japan and China and then unites them with Western elements to investigate the multi-faceted nature of our current global identity as influenced by popular culture, technology, racial perceptions and folklore.

Jan. 27, 2017: Opening Reception with multimedia artist Jiha Moon

Feb. 9, 5 pm: Cloud Atlas (2012) R | 2h 52min | Drama, Adventure

Feb. 23: Lost Horizon (1937) Unrated | 1h 37min | Adventure, Drama, Fantasy

March 30: The World (2004) 2h 23min | Drama

Tiger Giving Day

JCSM needs your help to give a permanent home to Self-Portrait as Bunnies (The Bathers) during the university’s 24-hour online giving campaign, Tiger Giving Day, on Feb. 21, 2017. The sculpture is on loan. Your gift can help SAVE THE BUNNIES!

 

Teen Takeover 3

Teens respond to selected works in the JCSM collection in a project that will include both curated and created objects all built around a theme of animals and human interaction. On view March 27 to April 30.

Collection Spotlight: William Christenberry (1936 – 2016)

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In this collection spotlight, JCSM remembers artist William Christenberry (1936 – 2016).

William Christenberry was born in Tuscaloosa, Alabama in 1936—coincidentally, the same year that photographer Walker Evans and writer James Agee traveled to nearby Hale County to conduct research for an article on tenant families, which developed into their book Let Us Now Praise Famous Men. Twenty-four years later, as a young artist, Christenberry discovered the publication and recognized the places and some of the people it described; he also found a strong emotional tie to the landscapes, architecture, and signage that Evans had photographed. Christenberry returned to Hale County and the surrounding area to search for those same sites, thus beginning a yearly ritual of photographing the familiar landmarks he had grown up with and documenting their transformation through the passage of time.

William Christenberry, (American, 1936–2016), Red Building in Forest, Hale County, Alabama, 1974 Edition:25, Printed 2006, Archival pigment print, 6 3/4 x 10 1/4 inches, Jule Collins Smith Museum of Fine Art, Auburn University; museum purchase with funds provided by the 1072 Society, 2016 2016.01.03

Red Building in Forest, Hale County is one such iconic subject that Christenberry has revisited frequently, not only in photographs but in painted and sculpted forms. He began photographing this modest one-room structure in 1974. Isolated in the Talladega National Forest and long abandoned, it resembles a child’s drawing of a house or the mere symbol for a dwelling. With no windows on the entry façade, and walls and door covered in fake-brick asphalt sheathing, it seems more artifice than edifice. The noonday sunlight that envelopes the little building in a warm glow counters its sad state of disrepair and threat of consumption by the surrounding vegetation. Like the extant ruins from much more ancient times, its melancholy presence reminds us not only of our connections to the past but that our existence here is transitory. Christenberry is considered among the three greatest photographers of the South, alongside his mentor and friend Walker Evans and William Eggleston. His art is in the collections of the J. Paul Getty Museum, Hirshhorn Museum and Sculpture Garden, Museum of Modern Art, Smithsonian American Art Museum, and Whitney Museum of American Art, among many others.

Jerry Siegel
(American, b. 1958)
William Christenberry, Alabama, 2005
Archival pigment print
14 x 14 inches
Jule Collins Smith Museum of Fine Art, Auburn University; museum purchase
2013.25.04

A Legacy of Support Continues

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For Dr. Ralph B. Draughon Jr. ’58, supporting Auburn in both words and deeds is truly a proud family tradition. As a 10-year-old, a Sunday dinner conversation with someone like Dr. George Petrie at his childhood home—the President’s House—made a lasting impression on Draughon. “At a time when children were to be seen and not heard,” said Draughon. “Dr. Petrie asked me what I was reading, and I told him I was struggling with Sherlock Holmes. He shared that The Hound of the Baskervilles was his favorite.”

Draughon explained Petrie is widely known for penning The Auburn Creed and bringing football to town; but, he was also credited with inspiring many students to become historians, at what was then an agricultural and mechanicalinstitute. Draughon said in that moment, he too experienced Petrie’s charisma and was deeply affected by the fact that this well-known figure took a serious interest in him and did not just comment on how much he’d grown, like other adults. Draughon went on to complete his Bachelor of Arts in history at Auburn and doctorate in southern history at the University of North Carolina at Chapel Hill.

ABOVE: Dr. Ralph B. Draughon, Jr. poses with a photograph of Dr. George Petrie at Ralph B. Draughon Library.
ABOVE: Frank Applebee, founding chair of the art department, captured this view of Auburn’s campus near Samford Hall, ca. 1930–40, around the same time Dr. Draughon, Sr. began teaching at Alabama Polytechnic Institute.

Draughon experienced much of Auburn’s history during his time as a son and a student; in fact, one could say, he wrote the book. He is the co-author of “Lost Auburn: A Village Remembered in Period Photographs,” whose first publication of 20,000 copies with NewSouth Books sold out. He serves on the Alabama Historical Commission Board and is a member of the Alabama Trust for Historic Preservation. He taught at the University of Georgia, established a research center at the birthplace of Robert E. Lee, Stratford Hall, served as curator at the Historic New Orleans Collection, and acted as historical advisor to a major national archaeological firm.

He has also written about and lectured on another name known to the Auburn Family and the football faithful—Coach John Heisman. In his research, he highlights not stats but Shakespeare, as Heisman was a professional actor. “He organized the first dramatic group on the Auburn campus, the A.P.I. Dramatic Club,” he said. “The excuse was to raise money to pay off the football team. He produced shows in Opelika and in Auburn above Toomer’s Corner.”

Draughon has said in previous interviews that he found documentation of Heisman’s dramatic side in a scrapbook belonging to the wife of a chemistry professor. “In my own research, I delight in manuscripts of long ago, particularly personal letters,” said Draughon. “I want students of tomorrow to discover how captivating old letters and documents can be. They bring the past alive.”

Through an estate gift, Draughon is supporting both the Auburn University Libraries and JCSM. The museum will use these funds long into the future to further develop its collection of paintings, prints, and pottery related to Alabama and the southern part of the United States. “I just don’t want students and general public to neglect the artists who are working here,” he said. “It is gratifying that, for example, potters who were ignored for years and are now very collectible. Self-taught artists are appreciated.”

Draughon, who is also a donor to the museum’s annual 1072 Society, said that he would like for the museum to have a strong southern collection and that he was pleased that the university has a place to exhibit art connected to Auburn and Alabama. He said he also hoped the collection could one day include works by artists featured in major museums, noting the significant support required to develop such a collection.

The senior Draughon also played a role in collection building, as his son said he was instrumental in the acquisition of JCSM’s first collection. “My father was very proud of his association with Advancing American Art. He read the federal catalogue and always thought it was not only an important acquisition for Auburn, but a feather in his cap,” he said. “His office negotiated the sale with federal officials.” The acquisition records were among his father’s papers that he donated to the Ralph B. Draughon Libraries.

“My father struggled for years to have a first-rate library—one, he joked, that the football team could be proud of. I think he would agree today that the museum is also such a source of pride.”

Draughon supports JCSM because he feels the museum is an important element for the educational experience. “The museum has an important place in the university’s present and future. It’s very meaningful to be a part of that for me. It’s such a classy outfit, for one thing, and it’s so nice that the University of Alabama doesn’t have one!”

Spoken like someone who truly believes in Auburn, and loves it.

"The museum has an important place in the university's past and future. It is very meaningful to be a part of that for me."

Ralph B. Draughon, Jr. Museum donor

Call for Artists: Due June 1, 2017

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Out of the Box: A Juried Outdoor Sculpture Exhibition

Juried by Jean Shin | On view Oct. 6, 2017–Oct. 6, 2018

Jule Collins Smith Museum of Fine Art, Auburn University (JCSM) is one of Alabama’s leading art museums, with a growing collection of art ranging from traditional to contemporary—including outdoor sculpture! JCSM is accepting submissions from sculptors to participate in Out of the Box: A Juried Outdoor Sculpture Exhibition (Out of the Box) opening October 6, 2017.

Out of the Box is a biennial competition that began in 2013 in celebration of the museum’s 10-year anniversary. Now in our third iteration, our program continues in its goal of presenting engaging and educational works of art to our university audience and broader community, as well as actively pursuing the growth of our permanent collection of outdoor sculpture.

Artwork chosen for display in this year’s exhibition will be installed on the museum grounds until October 6, 2018. This call for sculpture is open to all artists, age 18 and older. Entries must be received by June 1, 2017.

Important Dates

June 1, 2017:
Deadline for entries

June 30, 2017
Notification of acceptance/decline

August 1, 2017
Request for heavy-lifting equipment due to JCSM

August 21–September 15, 2017
Installation of accepted sculpture

October 6, 2017–October 6, 2018
Out of the Box Exhibition

October 8–12, 2018
Deinstallation of sculptures

Artist Awards

  • 1st Place: $3,000
  • 2nd Place: $1,500
  • Honorable Mention: $500
  • ALL Finalists: $1,000

Quick Submission Checklist

All submissions must represent completed works of art. No incomplete works, conceptual works, or project proposals will be considered.

Work must be suitable for outdoor installation and must:

  1. Be structurally sound and able to be secured to a concrete pad or lawn surface with anchor bolts or similar devices.
  2. Take into consideration the safety of the audience.
  3. Be capable of withstanding adverse weather conditions including but not limited to high winds, temperature extremes (both high and low), heavy rain, hail storms, etc.
  4. Be able to withstand a high traffic, public walking environment.
  5. Be substantially maintenance free during the exhibition period.

The artist must describe on the entry submission form how the sculpture will be securely mounted to a concrete pad or lawn surface or if there are other requirements.

It is the artist’s responsibility to deliver the sculpture to the specified area of Jule Collins Smith Museum grounds and secure it properly to its mounts. Out of the Box will provide limited equipment and supervision for the placement of the chosen sculptures. It will be the responsibility of the artist to supply any specialty tools that may be needed for installation. If a crane or hoist is needed, it is the artist’s responsibility to notify JCSM by August 1, 2017, so arrangements can be made.

Sculpture must be installed by September 15, 2017. Any sculpture that cannot be installed by the designated date will be disqualified. All accepted sculpture must be removed by October 15, 2018. Any sculpture not removed by this date will be considered abandoned and will become the property of JCSM, unless other arrangements have been made between the artist and JCSM.

Artists may sell their work during the competition period, and JCSM will take no commission; however, the work must remain on site for the duration of the exhibition.

Auburn University will provide insurance for the term of display.

By submitting to Out of the Box, the artist agrees to comply with all rules and requirements.

Selections will be made through a blind-jurying process. Only images and basic descriptions of the works will be made available to the juror.

Finalists will be notified of their inclusion in the exhibition no later than June 30, 2017. Award winners will be announced at the opening reception on October 6, 2017.

About the Juror

shin_webJean Shin is an internationally recognized artist who works with multiples of objects to transform the everyday into decadent interpretations of identity and community. She uses materials that range from prescription pill bottles to sweaters, and often obtains them as second-hand objects from people in participating communities. These objects transform into her media and become complex, conceptual and beautifully intricate works of sculpture. Her work is distinguished by her labor-intensive process, and these breathtaking installations seem to capture the essence of communal and societal issues that everyone faces in their day to day life.

Born in Seoul, South Korea and raised in the United States, Shin attended the Skowhegan School of Painting and Sculpture in 1999 and received a BFA and MS from Pratt Institute in Brooklyn. Her work has been widely exhibited in over 150 major national and international museums, including in solo exhibitions at The Crow Collection in Dallas, Scottsdale Museum of Contemporary Art in Arizona, Smithsonian American Art Museum in Washington DC, the Fabric Workshop and Museum in Philadelphia, and The Museum of Modern Art in New York. Shin has received numerous awards and has been featured in a multitude of publications world-wide. In 2016, Jean Shin will complete a major commission for the Metropolitan Transportation Authority, New York at the 63rd Street Station on the new Second Avenue Subway line as well as a public art commission for the City of Seattle, Washington. She lives and works in New York City.

Up to 15 finalists will be selected to have their work displayed at the museum. All finalists whose work is displayed will receive a $1,000 honorarium. First prize is an additional $3,000. The second place winner will receive an additional $1,500, and the recipient of the honorable mention will receive an additional $500. Sponsored awards might also be available.

Submissions must follow all guidelines as stated within this prospectus. Artists may submit up to three different works with each work having no more than three images. The submission deadline is June 1, 2017.

Online submissions

All submissions are handled through the separate submissions management website, CaFÉ. If you do not already have an account with CaFÉ, you will need to complete the free registration in order to fill out your submission form and artist description. Processing of the one-time $25 entry fee is managed through Auburn University’s Marketplace website. You will receive an email confirmation.

Complete Your Application With CaFÉ

Pay Your $25 Entry Fee With Marketplace

For additional information or assistance please contact Jessica Hughes at 334-844-1596.

Welcome to the Jule Collins Smith Museum of Fine Art!

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Upcoming Events

Thu 30

FILM@JCSM: East Meets West

March 30 @ 5:00 pm - 7:30 pm
Thu 30

Museum After Hours

March 30 @ 5:00 pm - 8:00 pm
Apr 06

A Little Lunch Music

April 6 @ 12:00 pm - 1:00 pm