Category

News

Elizabeth Murray (American, 1940–2007) Deep Blue C, 2001 Edition: 50, SP 9 14-color lithograph/screenprint, hand-cut  29 1/4 x 44 1/4 inches Courtesy of Gemini G.E.L. at Joni Moisant Weyl

Exhibition Spotlight: Elizabeth Murray

By | News | No Comments

Much of Elizabeth Murray’s artwork references domestic still lives: coffee cups, utensils, furniture, eggs over easy. But as David Hickey noted in his 2005 essay about her printmaking at Gemini G.E.L., these still lives “are anything but still.” Her artwork is a “kind of graphic cubism” that expands beyond the traditional framework that had once contained the biomorphic inventions of Joan Miro, the riotous color of Henri Matisse and the fractured representations of Pablo Picasso.

Trained as a painter, first at the Art Institute of Chicago and then at Mills College in Oakland, California, Murray headed to New York after completing her MFA. She first gained acclaim as one of the featured artists in the annual exhibition Contemporary American Painting held at the Whitney Museum of American Art in 1972. Over the years, she has held sixty solo exhibitions including a retrospective at the Museum of Modern Art in 2005. In 1999, she was awarded the MacArthur Foundation “genius” award.

Murray’s shaped canvases literally explode from the wall as passionate and enthusiastic translations of the everyday made extraordinary. Her pieces are not windows into an illusionistic two-dimensional space but rather they are the actual spaces where her invented objects exist. They suggest a conflation of cartoon-inspired surrealism (think Max and Dave Fleischer, the creators of Betty Boop and Popeye) and 1960s Pop Art but with much more attention to gesture and surface.

Similarly, her work on paper will not be constrained by the limitations of the rectangle, often resulting in her decision to cut and construct the image into shapes that further define the composition. In this print, The Deep Blue C, the artist might simply be referring to the blue cup that dominates the composition but she also might be drawing our attention to the tidal motion of rocking and reeling that results in what can best be described as whitecaps erupting from that cup. That palpable energy is barely contained within the print itself, which is circumscribed by a scalloped pink doily, plate, placemat, tablecloth or even table top, beneath the “C.” This domestic scene of morning coffee or afternoon tea is far from tranquil. Murray’s comical depiction of this tempest in a teacup seems to acknowledge the underlying tension and anxiety of modern domesticity and the inherent possibility of psychological crisis.

Elizabeth Murray (American, 1940–2007) Deep Blue C, 2001 Edition: 50, SP 9 14-color lithograph/screenprint, hand-cut  29 1/4 x 44 1/4 inches Courtesy of Gemini G.E.L. at Joni Moisant Weyl

Elizabeth Murray

(American, 1940–2007)

Deep Blue C, 2001

Edition: 50, SP 9/10

14-color lithograph/screenprint, hand-cut

Courtesy of Gemini G.E.L. at Joni Moisant Weyl

 

A Little Lunch Music, 12/14/2017: Auburn Music Club Singers Presenting Christmas Concert

By | Art Experiences, Music, News, Performances, Visiting Artist | No Comments

On Thursday, December 15 from noon to 1:00 pm, the series will present a free concert in the Auditorium by the Auburn Music Club Singers. The group will present a choral program of traditional Christmas music and featuring composers including Wolfgang Amadeus Mozart, Pyotr Ilyich Tchaikovsky, Wesley D. Peters, Emmett Kennedy, Victor C. Johnson, Herbert Chappel, Johann Sebastian Bach, and Peter Gruber. Pianist Mary Slaton will take requests from the audience for Christmas carols. Gifts from Bill Wilson and anonymous friends of the series have helped to make this performance possible.

The group’s director, Phyllis Gauker, has degrees in music from Auburn and from William & Mary. She studied voice and conducting and taught high school choral music in Virginia and the U.S. Virgin Islands before moving back to Auburn. There she worked for the city until retiring.

In 2002, Gauker accepted the volunteer director position, promising every year to expose its members to serious choral repertoire. Each year, she and the Singers work up programs for a spring concert and a Christmas concert.

On Thursday, the singers will present traditional and new Christmas music, with solos by Jacquiruth Kemp Stover and flutist Janet H. Sanders. Pianist Elizabeth Rutledge will accompany the choir. Pianist Mary Slaton will close the program with carols requested by the audience.

“I don’t think that we’re preparing a program just for an audience,” Gauker said. “We’re doing it for ourselves as well.” The all-women group rehearses weekly on Tuesday mornings. Currently at twelve singers, they are open to accepting new members.

Slaton, who also has music degrees, says she has sung with the group off-and-on for about five years. “Some of it gets kind of tough,” Slaton said. “It’s hard music.” But she said most people in the group have experience or training in music. She said Gauker can be demanding, but that’s ok. “She is knowledgable,” Slaton said. “She knows what she’s talking about.”

Gauker says Thursday’s first two pieces will show the variety of music the group performs. She says Joseph M. Martin’s “Sing! Shout! Alleluia!” is a new piece with contemporary rhythms that is a lot of fun. Wolfgang Amadeus Mozart’s “Alleluia Canon” follows, composed in the late 1700s. “In contrast it is so wonderful,” she said.

Gauker says her mission is to foster the experience of singing in an ensemble. She says a professional approach to rehearsing choral repertoire gives a real feeling of accomplishment, and that the whole is greater than the sum of its parts. “They get the satisfaction of the soloist who could do it alone without having to do it alone,” she said.

“Equally important is having fun,” said Gauker. “That’s why we don’t get as much done as we want, because we’re having such a good time.”

For information about joining the Auburn Music Club Singers, contact Gauker at 334-887-7261.

Mary Cassatt (American, 1844–1926) Kneeling in an Arm Chair, 1903 Edition: ca. 50, numbered 2 in pencil Drypoint engraving 11 7/8 x 9 9/16 inches Courtesy Pia Gallo

Collection Spotlight- Mary Cassatt

By | News, Uncategorized | No Comments

Mary Cassatt
(American, 1844–1926)
Kneeling in an Arm Chair, 1903
Edition: ca. 50, numbered 2 in pencil
Drypoint engraving
Courtesy Pia Gallo

Mary Cassatt was born into a family of wealth and privilege who objected to her aspirations of becoming a professional artist. In spite of this lack of familial support, Cassatt today is recognized as one of America’s most significant masters of the late 19th and early 20th century. As an ex-patriate she is credited with influencing and shaping American art tastes as evidenced by the Havemeyer Collection of Impressionism now in the Metropolitan Museum of Art in New York.

At the early age of fifteen, Cassatt began her formal studies at the Pennsylvania Academy of the Fine Arts in Philadelphia but she was disappointed in the limited instruction she received as a female student. In 1866, she persuaded her mother to move with her to Paris where she continued her studies under the private tutelage of Jean-Léon Gérôme and later Thomas Couture. By 1868, she had a painting selected to be in the Paris Salon, but it would be another decade before Cassatt would find her true artistic identity among the Impressionists, that infamous group of painters that defied academic tradition. Her introduction to the group came through Edgar Degas, who encouraged Cassatt to explore other media such as pastel and intaglio printmaking on copper plate (which she was first introduced to by Carlo Raimondi in Parma, Italy in 1872). Over the next few decades she would become extremely skillful and innovative at both mediums.

During her years in Paris, Cassatt’s extended family was a constant presence and were the subject of several of her paintings. Many of these images include her closely observed treatments of a mother and child, for which she became known. She did not over-romanticize these images, but focused instead on the individuality and temperament of her subjects.

“Kneeling in an Arm Chair is an exceptionally fine, early impression of this drypoint image from 1903, which features Margot, the daughter of Reine Lefebvre who lived near the artist’s summer home, Chateau de Beaufresne at Mesnil-Theribus in Oise,” said Marilyn Laufer, director, Jule Collins Smith Museum of Fine Art. “Both mother and child often sat for Cassatt. There is undoubtedly an ease and familiarity with her young subject, which enabled Cassatt to capture that fleeting moment when the child paused to consider something outside the picture frame. Her gaze is wistful, but in an instant, we know that her impatience will return and she will resume her childlike perpetual motion.”

Mary Cassatt (American, 1844–1926) Kneeling in an Arm Chair, 1903 Edition: ca. 50, numbered 2 in pencil Drypoint engraving 11 7/8 x 9 9/16 inches Courtesy Pia Gallo

A Little Lunch Music: AU Faculty and Students Performing Music for Horn and Piano

By | Art Experiences, Music, News, Performances, Visiting Artist | No Comments

On Thursday, December 7 from noon to 1:00 pm, the series will present a free concert in the Grand Gallery. Featured will be music for horn-piano duo and music for horn trio. The duo is hornist William Schaffer and pianist Joshua Pifer. Members of the Auburn University Horn Ensemble playing trio music are Andrew Kirk, Jonythan Tribble, Tripp Gulledge, and Sam Becker, all students of Dr. Schaffer. The program will include music by Anton Reicha, Eugène Bozza, Wolfgang Amadeus Mozart, and Peter Schickele. Gifts from anonymous friends of the series have helped to make this performance possible.

Click here for the calendar event page with more about the performers and the full schedule for fall 2017.

Schaffer is assistant professor of Horn and Music Theory at Auburn and serves as principal horn in Florida’s Sinfonia Gulf Coast. He has published original, arranged, and historical works for horn and brass ensembles.

Schaffer says Wolfgang Amadeus Mozart’s “Horn Concerto No. 4,” is the biggest work on Thursday’s program and was the second one composed by Mozart. “They numbered them after his death, and they got them out of order,” Schaffer said. He says it was probably written for Mozart’s good friend and horn virtuoso Joseph Leutgeb. Its third movement contains the hunting themes common in horn music.

“The horn made its way into Western music by its use in the hunt,” Schaffer said. “It was a signaling instrument, essentially.” He said the curved shape allowed it to be carried on a horseman’s shoulder, and it was designed so that the bell pointed behind the rider and away from the horse’s sensitive ears. He says it first showed up in concert music during hunting scenes in operas in the 1600s, possibly earlier.

Even after its transition from the hunting trail to the formal concert venue, the horn didn’t gain full acceptance into the world of art-music for centuries. “They didn’t hire a valve horn teacher until 1902 at Paris Conservatory,” Schaffer said.

Thursday’s program will also feature French composer Eugène Bozza’s “En Foret,” written in 1941 for horn and piano. “It was a [Paris] conservatory contest piece,” Schaffer said. “If you won, you actually got a cash prize and a job.”

Bozza designed “En Foret” to showcase what the instrument can do. “It uses every single timbre of the horn,” Schaffer said. Open horn is the normal unaltered sound, echo horn is when the player uses the hand to cover most of the bell’s opening, stopped horn refers to using the hand to completely cover the bell, and muted horn makes use of a mute inserted into the bell. Each technique produces a different tone color.

Schaffer says “En Foret” is episodic, presenting one melodic idea after another, returning at the end to the original theme. He said it uses harmonies common to Western musical tradition, but like the melodies, it exhibits sections with different tonal centers. “When I was in school, we used to refer to these [pieces] as quasi-tonal,” Schaffer said.

The student horn ensemble will perform three trios by Anton Reicha, a court musician who was a contemporary of Ludvig van Beethoven. “These trios are really well known to horn players, but I’m not sure anyone else knows about them,” Schaffer said.

Hornist Thomas Bacon once asked his young grandson a question. In 1992, the result inspired a piece that Bacon commissioned composer and parodist Peter Schickele to write entitled “What Did You Do Today at Jeffy’s House?” Schaffer says the work is really short and cute with movements titled after the child’s answers. Schaffer and Pifer will end the program with this piece.

Pifer is a senior lecturer at Auburn, recently returning from a two-week piano residency in Taiwan. He is an international performer, clinician, and adjudicator, and is a founding member of both Duo Echo with oboist Jennifer Pifer and Plains2 with trombonist Matthew Wood. He released his first solo CD, “Alexander Tcherepnin My Favorite Piano Works,” in 2015.

A Little Lunch Music, 11/30/2017: Award-Winning Classical Guitarist Performing

By | Art Experiences, Music, News, Performances, Visiting Artist | No Comments

On Thursday, December 30 from noon to 1:00 pm, the series will present a free concert in the Grand Gallery by classical guitarist Kevin Manderville. The program will feature music by Johann Sebastian Bach, Gerardo Tamez, Phillip Houghton, John Doan, Pieter Van der Staak, and others. Gifts from Jack & Jane Brown and from anonymous friends of the series have helped to make this performance possible.

Click here for the event page on our calendar with the full fall schedule.

Manderville has won top prizes in competitions including first prize at the Montreal International Classical Guitar Festival. He has performed throughout North America and Europe and has premiered works including some written for him.

Thursday’s program will include Scottish lute pieces from the late Renaissance period, a transcription of cello music by Johann Sebastian Bach from the Baroque Period, and a series of pieces composed in the late twentieth-century.

Manderville will perform two pieces by Phillip Houghton, an Australian composer who died in October. Manderville says the composer had many influences and listed rock, jazz, new age, mythology, world music, and classical music among them. Furthermore, the piece “God of the Northern Forest” was inspired by Australia’s Northern Territory and a painting of the same name by Swiss artist Paul Klee.

Manderville says the wildness of “God of the Northern Forest” contrasts with Houghton’s “Kinkachoo, I Love You,” which is quiet, meditative, and ambient. “It’s flowing, with a sense of weightlessness,” Manderville said. Both pieces are featured on Manderville’s 2010 debut CD, “Through the Centuries” released on the Clear Note label. Click here to see and purchase the CD on Clear Note’s website.

Gerardo Tamez is a still-living composer born in 1948. Manderville says he is not well-known in the U.S., and found Tamez’s work, “Aires de Son,” doing internet searches for ideas. “I fell in love with this piece,” Manderville said. “It’s got a little bit of everything.”

Manderville says “Aires de Son” includes very beautiful lyricism, a dance written in an odd meter, and things that remind him of music Andres Segovia would play. Segovia was a twentieth-century guitarist, iconic to the classical guitar genre.

Thursday’s program will include Pieter Van der Staak’s “Three Moods from the Song of Solomon.” Manderville says it is a profound work, though under five minutes long. “There’s more music than the length,” he said, adding that it was inspired by the Biblical Song of Soloman and has Middle Eastern influences.

Manderville says he heard John Doan’s piece, “Farewell,” many years ago in graduate school, but it didn’t fit into any category of music expected of a graduate student. “It’s something a little different than what a classical musician would typically play,” Manderville said, citing its simplicity, beautiful melodies, and Celtic flavors. “As I’ve gotten older and have played more, it’s nice to play something that’s beautiful as opposed to academic or substantial…There’s a lot of just beautiful lyricism in this program.”

With degrees from Stetson University and Florida State University, Manderville has served on college faculties in Georgia, New York, Florida, and Alabama. Currently based in Montgomery, he directs the classical guitar program at Carver Elementary Arts Magnet School and is on the faculty at Huntingdon College.

photo credit: Susan Stripling

Gregorio Prestopino (American, 1907–1984) Donkey Engine, 1948 Gouache on paper Jule Collins Smith Museum of Fine Art, Auburn University; Advancing American Art Collection 1948.1.29

Collection Spotlight: Gregorio Prestopino

By | News, Spotlight | No Comments

In this collection spotlight, advanced art history students in Dr. Emily Burn’s class Art of the United States have prepared two practicum exhibitions opening this fall.Pieces selected for the exhibitions were chosen from the museum’s permanent collection. The research below is from “The American City: Tourists and Denizens.”

Gregorio Prestopino
(American, 1907–1984)
Donkey Engine, 1948
Gouache on paper
Jule Collins Smith Museum of Fine Art, Auburn University; Advancing American Art Collection
1948.1.29

Rattling on the tracks, wheezing of steam, and grinding of gears as the engineer navigates from train-to-train—Gregorio Prestopino’s Donkey Engine invokes these noises. This painting communicates the radial churning of pistons around wheels easing this once majestic vehicle to a halt in the foreground of a train yard. In the background to the right, subway cars and boats repeat their daily routine. Born in the Lower East Side of New York City at the turn of the century, Prestopino is understood as a social realist because of his depictions of the grit and toil of city life. Here Prestopino draws attention to the docks and workers of the Lower East Side, highlighting labor vital to the city’s existence, yet often overshadowed by the glamour of urban life.

Gregorio Prestopino (American, 1907–1984) Donkey Engine, 1948 Gouache on paper Jule Collins Smith Museum of Fine Art, Auburn University; Advancing American Art Collection 1948.1.29

A Little Lunch Music, 11/16/2017: Acclaimed Pianist Performing Music by Granados, Chopin, Beethoven

By | Art Experiences, Music, News, Performances, Visiting Artist | No Comments

On Thursday, November 16 from noon to 1:00 pm, the series will present a free concert in the Auditorium by pianist Vijay Venkatesh, in collaboration with the Emory Chamber Music Society of Atlanta. The program will feature music by Enrique Granados, Frederic Chopin, and Ludwig van Beethoven. Gifts from Virginia Transue, Patricia Giordano, and anonymous friends of the series have helped to make this performance possible.

Click here for our calendar page for the event which includes the series’ fall schedule and more about its performers.

The critically acclaimed Venkatesh is a native of Orange County, California. At age 14, he made his orchestral debut with the South Coast Symphony and since then has performed with orchestras in the United States and Austria.

A winner of first prizes in competitions around the U.S., he was named a Davidson Fellow and honored with an award ceremony and reception at the Library of Congress. He is a 2009 alumnus of National Public Radio’s “From the Top.”

Thursday’s program will feature music by Enrique Granados, Frederic Chopin, and Ludwig van Beethoven.

“Goyescas” is a piano suite by Granados, who lived around the turn of the 20th century. Venkatesh says paintings by Francisco Goya inspired the music. Thursday’s program will include the suite’s first movement, “The Maiden and the Nightengale.”

“It’s actually one of my favorite pieces,” Venkatesh said of the movement. “I try to play it at every concert.”

Venkatesh says Granados later composed an opera based on the piano suite. In the opera version, this movement is an aria. In the scene, two men are sword-fighting for the love of the character Rosario. She flees from the fight to a courtyard where she sings to a nightingale about her distress.

“It’s a Spanish love piece that is full of Spanish themes of Machismo,” Venkatesh said. “There’s a lot of machismo in this scene.”

Venkatesh says he tries to let his own life experiences affect the way he interprets the music he plays. Playing different pieces and immersing himself in other cultures can often reveal things hidden within a piece of music. “Every time I play a piece, there are intrinsic seeds of DNA that are there to be discovered,” he said.

Venkatesh says Chopin’s scherzo, programmed for Thursday, is technically demanding and full of patriotic themes connected to Poland, the composer’s homeland. Though scherzo means joke, he says Chopin’s scherzos are very serious pieces.

Chopin died at 39, sick with tuberculosis and what was likely heart disease. Historians have speculated that he also suffered poor mental health. But Venkatesh says Chopin’s music remained strong.

“I don’t think he let that sickness translate into his music,” Venkatesh said. “‘It’s guns covered in roses,’ is what a lot of people say.”

Venkatesh will also perform one of Chopin’s nocturnes, a genre Chopin made famous. In contrast to the scherzo, nocturne means “night song” or “love song” and is often filled with languid, lyrical melodies.

“Chopin is actually one of the greatest melody composers,” Venkatesh said. “He was great at expressing unrequited love. A lot of these love songs I think are speaking about himself in the third person.”

Also on Thursday’s program will be Beethoven’s final piano sonata, “Sonata No. 32 in C Major.”

By the time Beethoven was writing his last three piano sonatas, he had gone completely deaf. In these pieces, compared to the composer’s earlier sonatas, Venkatesh hears what is possibly a more inward source of inspiration. He says their chromatic harmonies and sudden changes in volume and mood possibly reflect Beethoven’s state of mind and his frustration as he faced the struggles at the end of his life.

“It’s all culminating in this [final] two-movement sonata,” said Venkatesh. He describes the first movement as tempestuous and majestic, the second as spiritual and relinquishing. “It’s almost as if Beethoven’s soul is transitioning from this world to the next.”

A Little Lunch Music is coordinated by Patrick McCurry. It is an informal, weekly series that features national and international performers as well as the region’s professionals and students. The schedule can be found on the museum’s calendar at jcsm.auburn.edu.

For more information, contact Scott Bishop, Curator of Education and University Liaison, at bishogs@auburn.edu or 334-844-7014.

Patricia Crispino

A Little Lunch Music, 11/9/2017: Series Featuring Duo Music for Clarinet and Piano

By | Art Experiences, Music, News, Performances, Visiting Artist | No Comments

On Thursday, November 9 from noon to 1:00 pm, the series will present a free concert by clarinetist Patricia Crispino with pianist Beibei Lin. The program will feature music by Robert Muczynski, Darius Milhaud, Norbert Burgmuller, and Francis Poulenc. Gifts from Phyllis Stanaland, Ruth Crocker, and anonymous friends of the series have helped to make this performance possible.

Click here for the concert’s event page with more about the performers and the full concert schedule for Fall 2017.

Crispino says she grew up in a military family that moved around a lot. Because of that, she didn’t start learning music when others her age did. But even as a latecomer, she took quickly to the clarinet. “I loved it,” she said, adding that it was so important to her, her parents sometimes used it as leverage if Crispino ever misbehaved.“One of the ways my parents punished me was saying, ‘I’m going to take that clarinet away from you.’”

There are things that are special about the clarinet to Crispino. She says among all instruments, it has one of the widest ranges. She says it is unique in the way its sound is consistent throughout its full range. She adds that it is not only the tone quality of the clarinet that remains consistent, but also how versatile it is.

When Crispino speaks of a versatile sound, she means that the instrument can be played at its highest, lowest, and anywhere in between with the same gentleness or the same force as anywhere else in its range. She says whether it’s using certain subtle ways to play a melody or making a tone-color change, anything is possible at any range.

“The instrument will not prohibit you from getting the sound you want,” she said.

Thursday the duo will perform Robert Muczynski’s “Time Pieces for clarinet and piano, Op. 43.” Crispino says the composer wrote the piece with an awareness that the instrument is so versatile.

“It’s great at showcasing evenness, range, articulations, and balance,” said Crispino of “Time Pieces.” She adds that is it a demanding and well-rounded piece.

The composer Norbert Burgmüller died in 1836 at the age of 26. Crispino says his death was lamented as tragic by his colleagues, some of whom were famous composers such as Louis Spohr and Robert Schumann. They saw Burgmüller’s potential to enter history as one of its greatest composers.

Thursday, The duo will perform Burgmüller’s “Duo for clarinet and piano in E-flat major.” Crispino describes it as having lots of exchange of melody and a big ending.

Crispino has performed with Theatre Tallahassee, the Solon Center of the Arts Opera, Solon Philharmonic, Waco Symphony Orchestra, Austin Chamber Players, and Yakima Symphony Orchestra. She has also performed for the Cleveland Composers Guild, Waco Symphony Sunday Sounds Series, and can be heard in the short film, “Blue Disquietude.”

Based in the Tallahassee area, Crispino freelances in North Florida, directs the clarinet choir Tallahassee Breezes, teaches, and is an Ophthalmic Technician at Southern Vitreoretinal Associates.

Crispino says she and Lin met at a Bible study at Florida State University where they were both doctoral students. After that, they began playing together.

Lin has appeared as guest recitalist, pedagogue, and adjudicator throughout the United States. She debuted as a soloist with the MasterWorks Festival Orchestra at age seventeen, performing Prokofiev’s First Piano Concerto. Recent performances include the 2016 International Double Reed Society Conference and the 2017 Women Composers Festival of Hartford.

Lin’s research in the field of piano-pedagogy trends in 21st-Century China has been featured in publications and conferences. She has appeared as a performer, presenter, and panelist at The Sport Professionals’ Experience and Research Conference, speaking on interdisciplinary topics relating to music and sports performance. She currently teaches at Columbus State University.

A Little Lunch Music is coordinated by Patrick McCurry. It is an informal, weekly series that features national and international performers as well as the region’s professionals and students. The schedule can be found on the museum’s calendar at jcsm.auburn.edu.

For more information, contact Scott Bishop, university liaison and curator of education, at bishogs@auburn.edu or 334-844-7014.

JCSM Museum Shop Art Sale Dec. 2

By | Museum Shop, News, Visiting Artist | No Comments

Eat, drink and buy art!

Join JCSM, as we invite up to 12 artists for a specially curated, one-day seasonal event on Saturday, Dec. 2 from 12:00 to 6:00 p.m. Our featured artist is nationally acclaimed quilter, Cathy Fussell. Shop unique, hand-crafted gifts and decorative items. The Museum Cafe will have savory bites, cocktails and mocktails available for purchase as you make your selections. Martha’s Trouble will perform between 12 and 3:00 p.m. Galleries will also be open with special exhibitions from the permanent collections and loaned works from art collectors. Free admission, advance ticket reservations encouraged.

A quilter for almost 50 years, Cathy Fussell works out of her home studio in Columbus, Georgia, where she produces both hand-quilted and machine-quilted pieces. She makes traditional quilts, art quilts and modern quilts, and she salvages vintage quilt tops.

Website

Stephanie Edstrom Jewelry creates original custom jewelry designs, handcrafted in Auburn, Alabama that are modern, timeless and sophisticated.

Website

Facebook

Instagram 

In Deborah Strawn’s words, “For many years now I have been in love with glass. It never disappoints when it comes together on the table. And at that moment, as the light passes through the work, it explodes with color.”

Facebook

Instagram

Tammy Reese has recently worked as an assistant teacher at Pilchuck Glass School in Stanwood, Washington. She uses a relatively new technique of powder printing in glass.

Welcome to the Jule Collins Smith Museum of Fine Art!

We are excited that you are here with us. Feel free to look around and reach out to us by navigating to our contact page.

Upcoming Events

Sun 25

Community Films and Conversations

February 25 @ 1:00 pm - 3:00 pm
Mar 01

A Little Lunch Music, Spring 2018

March 1 @ 12:00 pm - 1:00 pm