Category

Traveling Exhibition

Chris Krupinski (Hurricane, WV) Pears and Plums

Awards judge names winners in juried watercolor competition

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The “Watercolor Society of Alabama 77th Annual National Exhibition” features more than seventy pieces from artists all over the country. The exhibition is on view through Sunday, July 29.

Awards judge, Barbara Nechis, an artist and resident of Napa, California, is the former director of the Watercolor Society. “When making my selections first I look at the work and pay attention to which pieces I respond to without analyzing why. I look for work that appears to be particular to each artist and try to choose what I believe could be recognized as such even without a signature,” said Nechis.

“Emotional content is important to me but drawing and compositional skills, control of paint, shape and edge, an understanding of the proportions of figure or landscape, considered rather than random color, brush strokes that are purposeful, not arbitrary and works that demonstrate intent rather than accidental results are among my other considerations.”

Congratulations to the winners.

Chris Krupinski (Hurricane, WV) Pears and Plums

Award of Excellence

Chris Krupinski
(Hurricane, WV)
“Pears and Plums”

Joanna Ellington (Miramar Beach, FL) Storm on the Way

Board of Directors’ Award

Joanna Ellington
(Miramar Beach, FL)
“Storm on the Way”

Debra Scoggin/Myers (Ewing, MO) Father Is Always Working

Patron Fine Art Award

Debra Scoggin/Myers
(Ewing, MO)
“Father Is Always Working”

Iain Stewart (Opelika, AL) Two Boys and a Bike—Gothenburg, Sweden

Patron Fine Art Award

Iain Stewart
(Opelika, AL)
“Two Boys and a Bike—Gothenburg, Sweden”

Charles Rouse (Vista, CA) Hanging Out at Half King

Patron Fine Art Award

Charles Rouse
(Vista, CA)
“Hanging Out at Half King”

Z. L. Feng (Radford, VA) Roots

Patron Fine Art Award

Z. L. Feng
(Radford, VA)
“Roots”

Bruce Little (Savannah, GA) Ferry at Night

Patron Fine Art Award

Bruce Little
(Savannah, GA)
“Ferry at Night”

Tuva Stephens (McKenzie, TN) Norm’s World II

Patron Fine Art Award

Tuva Stephens
(McKenzie, TN)
“Norm’s World II”

Merit Award: James Brantley, (Opelika, AL), “Survivor”
Merit Award: Matthew Bird, (Sykesville, MD), “For You”
Southern Watercolor Society Award: William H. Mckeown, Quincy, FL, “The Old Salt”
Georgia Watercolor Society Award: Sophie Repolt Rogers, Tuscumbia, AL, “My Kinda Red Flags”
Louisiana Watercolor Society Award: Heike Covell, Huntsville, AL, “Proud”
Tallahassee Watercolor Society Award: Suzanna Spann, Cortez, FL, “Friday on Frenchman Street”
Texas Watercolor Society Award: Anne Hightower-Patterson, Leesville, SD, “Waiting In the Light of the Sun”
Signature Members Award: Keiko Yasoka, Houston, TX, “Happy Anniversary”
Signature Members Award: Barbara O’Neal Davis, York, SC “Proud”
Signature Members Award: Corky Goldman, Mobile, AL, “Generations”
Signature Members Award: Chuck Jones, McCalla, AL, “Cold Water School”
Signature Members Award: Florene S. Galese, Vestavia, AL, “Lazy Croc”

Headshot of pianist Lawrence Quinnett

A Little Lunch Music, 3/22/2018: Pianist Returning with Liszt’s ‘Transcendental Etudes’

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On Thursday, March 22, from noon to 1:00 pm in the auditorium, the series will present a free concert by pianist Lawrence Quinnett. The program will feature all twelve of the “Transcendental Études” of Franz Liszt. Thanks to gifts from Anonymous Friends of the Series for helping to make this performance possible.

Click here for more about Quinnett and the full series schedule for spring 2018.

Quinnett has performed, given masterclasses, and lectured in St. Kitts and the United Kingdom as well as in the southeast US. He has appeared as a soloist with the National Repertory Orchestra, the Florida State University Symphony Orchestra, and the Samuel Barber Festival Orchestra.

Festivals that have featured Quinnett include the New Music Festival, the John Cage Festival at Florida State, the Ligeti Symposium and Festival, and Charleston’s Colour of Music Festival which celebrates composers of African descent. He teaches at Livingstone College in Salisbury, North Carolina, and previously served at Wallace Community College in Dothan.

This will be Quinnett’s third time to perform for “A Little Lunch Music.”

“I find that the more that I perform, the more I enjoy it,” Quinnett said. On Thursday, he will perform all twelve of Franz Liszt’s “Transcendental Études.” Liszt was a Hungarian composer and piano virtuoso who lived from 1811 to 1886.

Liszt composed three versions of his “Transcendental Études.” There are twelve pieces in the collection. Quinnett says the original études feel like exercises, which is what études, or studies, traditionally are. The second version was different.

“The second version was just insanely difficult, and is hardly ever performed,” Quinnett said. “When you see the second version, you see how amazing a pianist Liszt was.” Quinnett says Liszt then completely re-worked virtually all of the études into its final version.

The third version of “Transcendental Études” is the one Quinnett will perform Thursday. He says it is streamlined, but still supports Liszt’s signature virtuosity. “They are still incredibly difficult,” Quinnett said.

Quinnett says Liszt was one of the very first pianists who performed solo recitals that featured only one performer. Liszt’s approach was one in which he paraphrased Louis XIV’s famous quote, “I am the state,” saying, “I am the recital.”

Just as Liszt transcended conventions with his startling abilities, Quinnett says the études’ title suggests music that goes beyond what is natural, mundane, or even possible. Quinnett says this was perhaps to give the impression of going beyond the idea of playing fast notes, bringing the étude into the realm of art music.

Quinnett says the titles of Liszt’s études are reminiscent of the grand, fantastical, deeply felt ideas of the Romantic period of Western art and culture. One is translated “Rockets,” another “Memory,” and another is named after a poem in which a rider is strapped to a wild horse.

“Liszt actually wanted his hearers to feel like they were on a journey,” Quinnett said. “He was the consummate Romantic.” Living in Paris when he composed these pieces, Liszt was as the center of culture during his time.

Installation of Leo Twiggs: Requiem for Mother Emanuel

Immanuel: A Symposium

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On June 17, 2015 when Dylan Roof entered Emanuel AME Church in Charleston, South Carolina he was entering the oldest African American church in the South, the home of the first independent black denomination in the United States in a city that was central to the slave trade in the United States. Roof, a young white man, murdered nine African American members of a Bible study group, sparking a series of events that brought the city, the state, and the country together long enough to finally drive state governments to take down from public buildings the battle flag of Northern Virginia, more commonly known as the Confederate flag. There were more than just political ramifications. Artist, Dr. Leo Twiggs said, “What I feel is that the tragedy changed our state in a way that I had not seen before. I think for us that was a shining moment where people came together not because of the color of their skin, but because of the humanness in their hearts. I think for the first time we started communicating heart to heart instead of head to head.” Twiggs responded with a series of nine batik paintings that chronicles a narrative of violence and redemption that not only refers to the Mother Emanuel massacre, but also serves as metaphor for the broader African American religious experience in this country.

“Immanuel: A Symposium” will take place at JCSM on the afternoon before the opening of Leo Twiggs: Requiem for Mother Emanuel. It will provide the opportunity to discuss the African American church, and its historical and contemporary role as both sanctuary and location for civic and political activism. Taking the exhibition as point of departure, the objective of the symposium will be to explore the history of the black church in the U.S., and to open a discussion about the historical intersections between the Christian conversion of enslaved Africans, and the metaphorical and real church as location and catalyst for spiritual and political redemption. “Immanuel,” the Hebrew word for “God is with us,” gave Emanuel African Methodist Episcopal Church its name, and the concept of “Immanuel” offers a powerful point of departure for both the artwork of Dr. Twiggs and the broader themes the Symposium will explore. The symposium will consist of four talks and a panel discussion leading up to the opening artist talk. JCSM has been deliberate in choosing a scholar who can address the history of the African American church both nationally and in Alabama, a scholar from Charleston, and scholars from the local community.

The symposium has been made possible in part by a grant from the Alabama Humanities Foundation, a state program of the National Endowment for the Humanities, and the Auburn University Special Lectures Fund.

Auburn University’s Mosaic Theater will perform.

“Under Their Own Vine and Fig Tree: African Americans and the Church in Southern History”

Presented by Dr. Richard Bailey, Alabama historian and retired research specialist

“We Are Charleston”

Presented by Dr. Bernard E. Powers, Jr. Professor of History, College of Charleston

Following this presentation, there will be a break.

“‘The Most Segregated Hour in America’: Churches and Social Justice Across the Color Line, from the Civil Rights Era to the Present”

Presented by Dr. David Carter, Associate Professor of History, Auburn University, and Dr. Johnny Green, Assistant Vice President for Outreach in Student Affairs, Auburn University

Following this presentation, there will be a panel discussion and a break. 

“Requiem for Mother Emanuel,” Dr. Leo Twiggs, Professor Emeritus, South Carolina State University

Dr. Twiggs’s lecture will shed light on his conceptualization and resolution of works in his exhibition of nine batik paintings he made in response to the June 17, 2015 massacre in Emanuel AME Church in Charleston and to its aftermath and far-reaching consequences.

Opening reception for Requiem for Mother Emanuel immediately follows.

Camera Lucida: Jillian Mayer

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Popular culture has been molded by television and electronic graphic information since the mid-20th century. Whether appearing on a TV console, computer monitor, or smart device, video has become a comfortable, accessible, and preferred medium for both consumption and creation, especially to those among us under 30. Many critics today consider it to be this generation’s quintessential format for expression. Camera Lucida features eight contemporary artists from around the world who work with video and digital moving imagery. Artists Jay Bolotin, Rob Carter, Joe Hamilton, Yeon Jin Kim, LigoranoReese, Jillian Mayer, Rosa Menkman, and Rick Silva offer fresh perspectives on enduring concerns and new issues, using a technology that is widely familiar through common exposure, if not as broadly known as an independent art form. Yet video has been used as an eloquent and powerful vehicle by artists for more than 50 years, ranging from early documentary formats and narrative expositions to digital abstraction and game-playing interaction. JCSM’s survey provides a compelling look at the state of the medium today, where age-old intentions find new purpose in new applications.

This exhibition has been made possible by grants from the Alabama State Council on the Arts and the National Endowment for the Arts.

Jillian Mayer

That manner of subversive appropriation today includes pseudo infomercials and music videos, along with the slick fades and editing tricks we have come to know through contemporary mainstream television. The videos of Jillian Mayer, another artist exhibiting in Camera Lucida, hold up a virtual funhouse mirror to the deceits of popular television, cinema, and the Internet. Their humorously distorted reflections are both ludicrous and acutely on point. As if wielding the ultimate universal remote, Mayer channel hops among genres and formats as she takes on the clichéd memes, cultural affectations, lowbrow entertainment, social media confessionals, and online cons that occupy a large portion of her generation’s post-wired existence. Though masked by an aura of pop accessibility and innocence, her work raises serious questions about our spiraling immersion into a surrogate experience of the natural world.

This video contains an excerpt from I Am Your Grandma, 2011.

Courtesy of David Castillo / Borscht Corp.

Camera Lucida: LigoranoReese

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Popular culture has been molded by television and electronic graphic information since the mid-20th century. Whether appearing on a TV console, computer monitor, or smart device, video has become a comfortable, accessible, and preferred medium for both consumption and creation, especially to those among us under 30. Many critics today consider it to be this generation’s quintessential format for expression. Camera Lucida features eight contemporary artists from around the world who work with video and digital moving imagery. Artists Jay Bolotin, Rob Carter, Joe Hamilton, Yeon Jin Kim, LigoranoReese, Jillian Mayer, Rosa Menkman, and Rick Silva offer fresh perspectives on enduring concerns and new issues, using a technology that is widely familiar through common exposure, if not as broadly known as an independent art form. Yet video has been used as an eloquent and powerful vehicle by artists for more than 50 years, ranging from early documentary formats and narrative expositions to digital abstraction and game-playing interaction. JCSM’s survey provides a compelling look at the state of the medium today, where age-old intentions find new purpose in new applications.

This exhibition has been made possible by grants from the Alabama State Council on the Arts and the National Endowment for the Arts.

LigoranoReese

LigoranoReese is the collaborative name of artists Nora Ligorano and Marshall Reese, whose work, Dawn of the Anthropocene, is featured in Camera Lucida. LigoranoReese’s video documents the limited life span of their massive work of ice sculpture installed outdoors in a downtown Manhattan pedestrian plaza. Moreover, it functions independently as a compelling work of art, compressing time and the transformation of matter into an accelerated viewer experience, thus amplifying the artists’ conceptual statement. The installation of the 3,000-pound sculpture of the words THE FUTURE, measuring five by twenty-three feet, took place at the intersection of Broadway and 23rd Street on the morning of Sept. 21, 2014, to coincide with the United Nations Climate Summit and the People’s Climate March. The artists photographed and filmed the sculpture’s steady disappearance, posting it in real-time on the Internet.

This video contains an excerpt from Dawn of the Anthropocene, 2015.

Courtesy of Catharine Clark Gallery, San Francisco

“Dawn of the Anthropocene” is titled after the proposed name for the geological epoch in which we live. The term Anthropocene, popularized by the Nobel prize-winning chemist Paul Crutzen and other scientists, describes the period in which human activity has become the dominant influence on climate and the environment, overtaking that of the Earth’s natural forces. LigoranoReese’s work at large addresses the impact of technology on society, while utilizing high technology itself in novel applications. Recent projects by them include screening micro-projections of Hollywood war movies on the head of a pin and fiber optic data tapestries that alter appearance in response to biometric feedback.

Camera Lucida: Joe Hamilton

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Popular culture has been molded by television and electronic graphic information since the mid-20th century. Whether appearing on a TV console, computer monitor, or smart device, video has become a comfortable, accessible, and preferred medium for both consumption and creation, especially to those among us under 30. Many critics today consider it to be this generation’s quintessential format for expression. Camera Lucida features eight contemporary artists from around the world who work with video and digital moving imagery. Artists Jay Bolotin, Rob Carter, Joe Hamilton, Yeon Jin Kim, LigoranoReese, Jillian Mayer, Rosa Menkman, and Rick Silva offer fresh perspectives on enduring concerns and new issues, using a technology that is widely familiar through common exposure, if not as broadly known as an independent art form. Yet video has been used as an eloquent and powerful vehicle by artists for more than 50 years, ranging from early documentary formats and narrative expositions to digital abstraction and game-playing interaction. JCSM’s survey provides a compelling look at the state of the medium today, where age-old intentions find new purpose in new applications.

This exhibition has been made possible by grants from the Alabama State Council on the Arts and the National Endowment for the Arts.

Joe Hamilton

Most of the artists in Camera Lucida utilize editing and animation technologies that would have astonished earlier creators, thus highlighting how far the field has advanced in half a century. Visual effects seen today in the works of Joe Hamilton, Rosa Menkman, and Joe Silva quite simply could not have been created in an earlier time. Hamilton’s videos integrate rolling overlays of natural landscape views with fields of color, abstract forms, and collaged elements. This thoroughly contemporary, digital take on Cubism elicits an expanded field of awareness that incorporates multiple perspectives and perceptions, much as Braque and Picasso’s paintings achieve. His videos mimic our roaming focus and engagement in the environment and allude to our inner reflections on those sights and activities.

This video contains an excerpt from Trouble in Utopia, 2013.

Camera Lucida: Rob Carter

By | Art, Camera Lucida, Film, Traveling Exhibition | No Comments

Popular culture has been molded by television and electronic graphic information since the mid-20th century. Whether appearing on a TV console, computer monitor, or smart device, video has become a comfortable, accessible, and preferred medium for both consumption and creation, especially to those among us under 30. Many critics today consider it to be this generation’s quintessential format for expression. Camera Lucida features eight contemporary artists from around the world who work with video and digital moving imagery. Artists Jay Bolotin, Rob Carter, Joe Hamilton, Yeon Jin Kim, LigoranoReese, Jillian Mayer, Rosa Menkman, and Rick Silva offer fresh perspectives on enduring concerns and new issues, using a technology that is widely familiar through common exposure, if not as broadly known as an independent art form. Yet video has been used as an eloquent and powerful vehicle by artists for more than 50 years, ranging from early documentary formats and narrative expositions to digital abstraction and game-playing interaction. JCSM’s survey provides a compelling look at the state of the medium today, where age-old intentions find new purpose in new applications.

This exhibition has been made possible by grants from the Alabama State Council on the Arts and the National Endowment for the Arts.

Rob Carter

Rob Carter uses stop motion animation to render fictional yet conceivable transformations of the landscape through mankind’s propensity for building. His video “Foobel (An Alternate History)” traces the imagined evolution of a simple outdoor soccer pitch through time into ever larger and more bombastic iterations of stadium architecture. A later work, “Metropolis” depicts a similar metamorphosis of rural, 18th-century Charlotte, North Carolina into a futuristic urban conglomeration of skyscrapers and sports arenas. Created by video-recording printed images on paper, cut and folded progressively into elaborate compositions, Carter’s videos comment on the politics of hubris and humanity’s relationship with the natural world.

 

 

Courtesy of Catharine Clark Gallery, San Francisco, CA

This video contains an excerpt from Metropolis, 2008.

Take home a little bit of “Hiroshige” from the Shop!

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Walk into the Museum Shop, and take some of the art history home with you! Several items compliment the exhibition, Along the Eastern Road: Hiroshige’s Fifty-Three Stations of the Tokaido. 

 

You’ll find a wide selection of hand crafted and out of the ordinary items for you, your friends, and the home. By becoming a museum member, you are eligible for select discounts. Gift certificates and complimentary gift wrapping are available.

The Museum Shop is open during the museum’s regular business hours: Tuesday through Saturday from 10 am to 4:30 pm, with extended hours Thursdays until 8 pm and Sundays from 1 pm to 4 pm.

Call 334.844.1484 for more information.

Oh Snap! Get Your Photo Booth Pics from JCSM’s “Tailgate”

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Our JCSM photo booth captured the fun of the Museum Homecoming Tailgate on Friday, Oct. 2, 2015. Guests showed their team spirit and belief in the transformative power of art.

As you tour and experience Out of the Box: An Juried Outdoor Sculpture Exhibition through October 2016be sure to take lots of pictures and share using #ThisIsSculpture.

For those of you who attended our event, download your picture as a memento from the museum’s Flickr account. Scroll to your picture, click the image, and select the download arrow from the image bank menu on the bottom righthand of the page.

Museum Homecoming Tailgate (10.02.15) Museum Homecoming Tailgate 2016

A conversation with Todd McGrain, sculptor of “The Lost Bird Project”

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During a special visit to JCSM, sculptor Todd McGrain installed his piece, “The Lost Bird Project, ” met with Auburn students, and gave a lecture for the community. “The Lost Bird Project” is on view at JCSM through March 20, 2016.

Watch as he installs the sculpture on the museum grounds and discusses his inspiration behind the piece.

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