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A Little Lunch Music, 10/5/2017: Jeremy Samolesky to Perform Music from Romantic Period

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On Thursday, October 5, from noon to 1:00 pm, the series will present a free concert by pianist Jeremy Samolesky. The program will feature music by Franz Schubert, Frédéric Chopin, Ludwig van Beethoven, and Johann Sebastian Bach (from the Bach-Busoni editions). Thanks to gifts from Drs. T. and Soma Nagendran and from Anonymous Friends of the Series for helping to make this performance possible.

Thursday’s program will be repeated as a ticketed concert at Auburn University’s Goodwin Hall at 7:30 on October 23. The two Auburn performances will be part of Samolesky’s upcoming tour of six schools in the southeast plus Eastman School of Music at the University of Rochester in New York.

Samolesky will play Franz Schubert’s “Klavierstück No. 2 in E-flat major,” written the last year of the young composer’s life in 1828. Also on the program will be Frédéric Chopin’s mid-1830s composition “Ballade No. 1 in G minor,” Ludwig van Beethoven’s “Sonata in E major, Op. 109” from 1820, and a Ferruccio Busoni arrangement of “Chaconne in D minor” for violin by Johann Sebastian Bach.

In the early-to-mid 1800s, the piano began its final development into its modern form. This came at a time when Romantic-Period composers like Chopin and Franz Liszt were writing almost exclusively for the instrument, ushering in a kind of golden age of the piano.

Samolesky said many of the most famous piano pieces are from that time. The Classical Period had all but ended, its music known for musical ideas developed with symmetry and organized into established forms. The Romantic composers broke from that tradition, writing music that was more intense and dramatic, driven by beautiful melodies.

Even Beethoven, whom Samolesky said took Classical forms about as far as they could go, in the end began to abandon those ideas. The “Sonata in E major” was Beethoven’s 30th piano sonata, and began his movement toward romantic and spiritual themes, said Samolesky.

“He’s expressing a new voice,” Samolesky said of the sonata. “The form is still there, but there’s a profound message within the music,” he said, adding that it is nostalgic and more reflective.

During the life of Johann Sebastian Bach (1685-1750), the piano was in its infancy. Bach’s keyboard works included music only for harpsichord and organ. But as the piano became more popular, so did Bach’s music. For instance, Samolesky said Liszt arranged of all of Bach’s organ sonatas for piano four-hand.

The Steinway company was founded in 1853 building concert pianos. In the decades that followed, other companies began mass-producing them. More and more, the piano became common in Western homes. Samolesky said with no radio yet to broadcast performances, these arrangements were a way people could enjoy Bach’s music at home.

Busoni, who lived around the turn of the 20th century, was a very famous concert pianist, said Samolesky. “His music was full of extreme virtuosity,” he added. He said pianists like Busoni were literally rock stars of that generation. Also a composer and arranger, Busoni is possibly best-known for his editions of Bach’s music arranged for the piano.

The instruments Bach had to work with, such as the violin and harpsichord, were mostly smaller and limited in their abilities compared to the modern piano. The pianist said for this reason, many might think of Bach’s music as quiet and perhaps unable to express the full range of human emotion. But he said he believes that with access to the modern piano, Bach would have used its full capability. And Busoni would have agreed, judging by his version of the Chaconne.

Samolesky believes that Busoni’s interpretation of the solo violin piece is as romantic in its expression as the masterpieces of Chopin and Liszt. Though Samolesky said Busoni kept the notes and harmonies true to Bach’s original, he uses the full physical and emotional range of the piano to build to a victorious finale.

Chopin’s ballades are his hits, said Samolesky. “They have everything in them,” he said, adding that they are a storytelling journey, with many different moods and characters. Samolesky said that most of the pieces on Thursday’s program display the very Romantic notion of struggle toward redemption at the end. But Chopin’s “Ballade No. 1” is the exception. He said it has the struggle, but “comes crashing down onto a minor chord.”

Samolesky said he enjoys playing the entirety of piano repertoire. But returning to the more famous and dramatic Romantic music is helpful. “I’ve taught most of these pieces, and put together a program of some of my all-time favorites,” he said. He added, “You get a lot of emotional and physical satisfaction from playing Romantic music.”

A Little Lunch Music 9/28/2017: Cello-Piano Duo Will Perform Shostakovich Concerto

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On Thursday, September 28 from noon to 1:00 pm, the series will present a free concert by cellist Laura Usiskin with pianist Ting Li. The program will feature music by Dmitri Shostakovich, Igor Stravinsky, and Johann Sebastian Bach. Thanks to gifts from anonymous friends of the series for helping to make this performance possible.

Click here for the event page with the full calendar for the fall 2017 series.

A Columbia-, Juilliard-, and Yale-educated Chicago native and former Montgomery Symphony Fellow, Usiskin is now based in Birmingham. She teaches at area colleges, is involved in chamber-music projects, and travels to serve as principal cellist with Orchestra Iowa in Cedar Rapids.

In October, she will perform Dmitri Shostokovich’s Cello Concerto No. 1 with Orchestra Iowa. Thursday at the museum, she will preview a cello-piano arrangement of it with Li, along with music by Igor Stravinsky.

During Shostokovich’s time, the Soviet Union was a dangerous place for artists and composers. The communist party leaders wanted art and music to be positive and uplifting with nothing that challenged the idea off a strong, stable nation. The composer’s Fifth Symphony, for instance, was celebrated by the party, said Usiskin.

Though Usiskin said the Cello Concerto No. 1 on Thursday’s program is likable, accessible, and cool to listen to, it is not altogether uplifting. She said a former teacher called it The Beast because of its ferocious moments and its massive, monumental feeling. The piece has parts she described as icy, freezing, and “too cold unto death.”

There were three times in Shostokovich’s life when he thought his government would imprison him, or worse. Usiskin said the time right after he composed this concerto was one of those times. And although he did, in fact, see friends and colleagues taken away, nothing happened to him. “He managed to stay in their good graces, but barely,” she said, adding, “There was that tension throughout his compositional life.”

The concerto has four movements, but is played as a continuous piece. The third movement is a seven-minute cadenza, a section performed freely without any other players. “The orchestra fades away, and then it’s just gone,” said Usiskin. She said the movement’s overall theme is quiet and low, but it has a big climax. “The great thing is there’s this wonderful freedom,” she added, “but you have to do everything.”

But Usiskin said the cello is well-suited to solos. She said it has the ability to be played very loudly and very softly, very low and very high. “It can imitate a lot of the orchestra, in a way, while also creating the lonely sense of one person playing,” she added.

Bach composed his six suites for cello in the early 1700s. Usiskin said those were the first major solo pieces for cello. After that, she said it didn’t really catch on until the 20th and 21st century. She said Shostokovich, who wrote this concerto in 1959, wrote well for the instrument’s range of emotion.

Usiskin said the composer had a close relationship with Mstislav Rostropovich, a Soviet virtuoso known for being one of the greatest cellists of the 20th century.

Usiskin has performed throughout North America and Europe in such venues as Alice Tully Hall, Weill Hall, Palazzo Chigi Saracini, Barge Music, and others. She has held orchestral positions with the New Haven Symphony and Jacksonville Symphony, in addition to those with Montgomery and Iowa. Her website is www.laurausiskin.com.

Li earned her Bachelor’s degree, double-majoring in piano performance and vocal performance at Sichuan Conservatory of Music in China. In 2009, she was awarded full scholarship to attend New Mexico State University’s Master’s degree program. She became the first Asian pianist to win the Music Teachers National Association southwest-region piano competition. In 2012, she was admitted to the Collaborative Piano program of the Cleveland Institute of Music.

A Little Lunch Music 9/21/2017: Auburn Native Returns to Sing Art Song, Opera, and More

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On Thursday, September 21 from noon to 1:00 pm, the series will present a free concert by soprano Kathleen Buccleugh with pianist Laurie Middaugh. The program will feature music by Joaquín Rodrigo, Gabriel Fauré, Richard Strauss, Wolfgang Amadeus Mozart, Leonard Bernstein, and selections from musical theater and popular music. Thanks to gifts from anonymous friends of the series for helping to make this performance possible.

Click here for our calendar event page with more information about the artists.

Buccleugh (pronounced like Buckley) said a recent search into her music collection resulted in a program covering a wide range of styles. Thursday’s music will feature art songs by Gabriel Fauré, Joaquín Rodrigo, and Richard Strauss. She will sing a Mozart aria, selections from music theater, and a song by Joni Mitchell. “I wanted to show as much diversity of repertoire that I could,” she said.

French composer Gabriel Fauré’s song cycle 5 Mélodies is nicknamed “de Venise,” because his ideas for the songs were developed during a vacation to Venice. Buccleugh said the music is full of lush harmonies, and the melodies are about as romantic as you can get. “It’s just pouring romance musically and with the words.” she said.

The duo will present Cuatro madrigales amatorios by Joaquín Rodrigo, four songs that set a darker mood. Written in 1947, the composer used sixteenth-century poems. The songs highlight an intense and sometimes painful side of love.

Buccleugh will sing three Richard Strauss songs including “Morgen!” translated “Morning!” a song she said she has wanted to do since she was a student at Auburn High.

The aria “In uomini, in soldati” is sung by the character Despina in Wolfgang Amadeus Mozart’s opera Così fan tutte. It is a role Buccleugh has played before and will revisit next month in her debut with the Mobile Opera. She has also sung roles with Utah Festival Opera, St. Petersburg Opera, Opera Birmingham, New Rochelle Opera and others.

Buccleugh said singing Mozart is a privilege because his melodies are so beautiful. She said while his musical phrases are exquisite and speak for themselves, that doesn’t mean the text should suffer. “That’s my job as an opera singer, to balance telling the story with serving the music,” she said.

Buccleugh said working in a recital format like this allows her to have fun switching between different styles. She will sing “Will He Like Me?” by Jerry Bock and Sheldon Harnick from the musical, She Loves Me. She said the style allows her some looseness when she interprets the music, even with the option of sometimes speaking rather than singing lyrics. “You can’t sing it like Mozart opera,” she said.

Though Buccleugh said she didn’t have in mind a particular theme for Thursday’s recital, she said love is the theme. But she added that love, in some form or other, is almost always the theme, when it comes to a concert of songs.

These selections show many kinds of love, said Buccleugh. Fauré and Rodrigo’s songs present romantic love in its happy, painful, and sexual expressions. She said Mozart’s Despina sings of a kind of disposable love, fickle and playful.

A song by Leonard Bernstein, “Glitter and Be Gay,” from his operetta Candide, sings of a love of possessions. Buccleugh paraphrased the song, “Times are hard, but I’m being covered in jewels and lavish clothing, so things could be worse.”

soprano Kathleen Buccleugh

soprano Kathleen Farrar Buccleugh

baritone Matthew Hoch

A Little Lunch Music 9/14: AU Faculty Will Tackle Schubert’s Final Song Cycle

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On Thursday from noon to 1 p.m., the series will present a free concert featuring baritone singer Matthew Hoch with pianist Jeremy Samolesky in the Grand Gallery. The duo will perform music by Franz Schubert. Gifts from anonymous friends of the series are helping to make this performance possible.

Click here for the full schedule for A Little Lunch Music and more about the performers.

In addition to a solo piano piece by Schubert, the duo will perform the composer’s final song cycle. Titled “Shwanengesang” and translated “Swan Song,” the publisher released it a few months after Schubert’s death in 1828.

In 2016, Hoch and Samolesky performed Schubert’s first song cycle “Die schöne Müllerin.” Next year, Hoch said they will learn the composer’s second, “Winterreise,” finishing out the composer’s canon of song cycles. “Jeremy and I view this as a rite of passage,” said Hoch.

Hoch said that Samolesky is a fantastic performer of Romantic music, which he added can be difficult to interpret. He said it has an expressive quality that requires a certain looseness that Samolesky can really pull off. “He just has a great way of communicating a piece to an audience so that it makes sense,” said Hoch.

Hoch said he entered music school in college as a saxophonist, but soon became jealous of the singers’ repertoire. He said as a freshman, he heard a concert by famous Dutch soprano Elly Ameling during her farewell tour. “She sang an all-Schubert recital and I was hooked,” he said. Soon after, he switched to study vocal performance.

“Schubert for me is kind of like Shakespeare might be for the English teacher,” said Hoch. “I just find a richness there that I’m never going to get to the bottom of,” he added.

“Schwanengesang” is a collection of fourteen songs that were unpublished when Schubert died at age 31. Hoch said this has caused some debate on the subject of whether it can, in fact, be called a song cycle. Often, a song cycle is a composer’s musical setting of a collection of the work of one poet. This is true of Schubert’s other two cycles, but “Schwanengesang” includes the poems of three poets.

The song cycle’s poets are Ludwig Rellstab, Heinrich Heine, and Johann Gabriel Seidl. Hoch said though there are different poets, the songs are connected by thematic material. He said many of them are in the voice of a man separated from his beloved. Secondly, the idea of a type of character Hoch calls “the wanderer,” common in Romantic German poetry, appears frequently. He also noted the recurrence of melodic ideas.

Rellstab’s work makes up the first seven songs. This group includes the song titled “Ständchen,” translated “Serenade,” which Hoch said is one of Schubert’s most famous melodies. After Rellstab’s poems, Heine’s work makes up the next six songs. Then the final song is the only setting of Seidl’s poetry. “It’s kind of obvious that the publisher put that in to give it some cyclical unity,” Hoch said.

Hoch defends the publisher’s decision to add the third poet. In his program notes, Hoch uses “sinister” to describe the cycle’s second-to-last song, “Der Doppëlganger,” translated “The Wraith.” He described this setting of Heine’s poetry as delivering “a recitative of thrilling terror.”

In contrast, Hoch wrote that the final song with Seidl’s poem “elegantly reflects a more joyful side of the composer’s spirit.” Hoch said it gives listeners a reprieve from the adventurous harmonic language and dark imagery of “Der Doppëlganger.” He said it nicely ties together the full song cycle, even bringing back thematic ideas from the Rellstab poems.

baritone Matthew Hoch

photo credit: Lesley Foote

Installation of Leo Twiggs at Auburn

Museum Live: Sept. 8, 2017

By | Art, engage | discuss | create, History, Leo Twiggs: Requiem for Mother Emanuel, News, Visiting Artist | No Comments

“Immanuel: A Symposium” was recorded and streamed live at JCSM on the afternoon before the opening of “Leo Twiggs: Requiem for Mother Emanuel.” The symposium provided the opportunity to discuss the African American church, and its historical and contemporary role as both sanctuary and location for civic and political activism.

“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

Please note that this lecture is sold out. A limited amount of seating will be available in the Museum Cafe for a live-stream of the program.

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.

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.

pianist Mary Slaton

A Little Lunch Music 9/7/2017: Mary Slaton Will Open Fall Season

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On Thursday, September 7, from noon to 1 p.m., we will present a free concert as part of our weekly A Little Lunch Music series. The event will feature pianist Mary Slaton in the Grand Gallery, performing her arrangements of popular music going back as far as the 1940s.

Gifts from anonymous friends of the series are helping to make this performance possible.

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

As the museum reopens after renovations, Slaton will kick off the series’ fall schedule. The pianist has had her own re-construction over the summer, having endured a serious injury last March. She said she broke both bones in her forearm and damaged her wrist. For ten weeks, her hand was immobile.

For decades, Slaton has performed and taught piano. She said she specializes in popular music from the 1940s to the 1970s, but her repertoire includes music from the 1930s to present day.

Musician Patrick McCurry coordinates the weekly series. “I was worried when she said she got hurt,” he said. He has heard Slaton many times, sometimes playing saxophone in her trio. He said when he called to book her for the date, she was still unable to play.

But McCurry said Slaton agreed to perform, saying she would use it as a recovery goal. “She plays these rich, lush chords in her arrangements,” said McCurry, adding that piano music like that requires nimble fingers and hands that can stretch far.

But Slaton said practicing turned out to be a good companion to physical therapy. She said the stretching and exercise it requires helped a lot, and she is now able to perform again. “There are certain chords that I still can’t play,” said Slaton. But she added that she is close to a full recovery, and is ready to play Thursday.

Slaton said she built her arsenal of songs from the gigs she played. “When I started playing, a lot of it happened because people would request songs,” she said. If she didn’t know the song, she would say, “Hum a few bars,” and fake it. Then later she would find the music or the recording and learn the tune.

Slaton said when she was playing the most, in the 1970s and 80s in Memphis and then Atlanta, she would try to keep up with the music that was playing on the radio. After that, the requests at her gigs were mostly from those earlier decades.

“I like the oldies,” she said, adding that she is still learning new songs people want to hear.

Slaton worked briefly for a pest control company in Atlanta and for the IRS in Memphis, the worst job she said has ever had. But her lifetime career has been music. After graduating from the University of Montevallo, she taught piano, chorus, and band at Beauregard School and in Tuskegee before moving to Memphis.

As a single mom with a young son, Slaton was earning her Master’s degree at Memphis State University and playing at the Hilton and Hyatt hotels. She would need babysitters when she played at night, and said she once hired Kerrie McCarver, who would become Jerry Lee Lewis’s sixth wife.

Slaton moved to Atlanta to be closer to family, and played for years there at venues like the Omni Hotel, the Hilton, the Atlanta Country Club, and others.

Now living in Opelika since 1995, she is near the Lazenby family farm where she grew up in Beauregard. She has appeared at venues like the now-closed Terra Cotta, the Saugahatchee Country Club, and the Marriott Hotel and Conference Center at Grand National among others. She teaches a private studio and plays at churches and events when called on.

Slaton said being in the music business for so long, she has met a lot of famous and colorful characters. She said people ask her, “Why don’t you write a book,” and she answers, “I’m afraid my son would read it.”

pianist Mary Slaton

On September 7, pianist Mary Slaton will return to present classic songs from 1940s and later.

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.

FILM@JCSM: The Artist’s of Camera Lucida

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This video contains an excerpt of the artist’s work.

On Thursday, November 3rd, Rick Silva will be participating in the Jule Collins Smith Museum of Fine Art’s first video art exhibition, Camera Lucida. Rick’s work is in the form of short, computer-generated videos featuring different types of birds. Silva has a series entitled “The Silva Field Guide to Birds of the Parallel Future.” These videos include clips of colorful and unique birds flying and existing within the frame of approximately thirty-second long videos. Dennis Harper, the curator at collections and exhibits at the museum, explains that “Visitors will encounter [the exhibit] as a sort of electronic flock soaring across a field of six wall-mounted monitors. This makes for a more monumental, immersive, and communal experience than when viewed in small frames on a mobile device or desktop computer. It’s very compelling to see the assortment of fantastical creatures looping in motion simultaneously.” Parts of this exhibit can be viewed on Silva’s website, silvafieldguide.com.

Rick Silva is an artist whose recent videos, websites and images explore notions of landscape and wilderness in the 21st century. He received an MFA from The University of Colorado in 2007, and has since shown extensively nationally and internationally, with recent solo exhibitions at TRANSFER Gallery in New York, Wil Aballe Art Projects in Vancouver, New Shelter Plan in Copenhagen, and Ditch Projects in Oregon. His projects are included in multiple permanent collections such as The Whitney Museum of American Art and the Borusan Contemporary Collection. WIRED called Silva’s videos “glitchy, curious things; some mesmerizing, some arresting.” He lives and works in Eugene Oregon where he is a professor of Art & Technology at the University of Oregon.

 

Written by Leslie Rewis, a Graduate Teaching Assistant in the English Department at Auburn University.

Film@JCSM: The Artists of Camera Lucida

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Film@JCSM: The Artists of Camera Lucida

On Thursday, September 29th, Rob Carter will be the second artist participating in the Jule Collins Smith Museum of Fine Art’s first video art exhibition, Camera Lucida. Carter’s work is in the form of short videos that he creates by using various cityscapes, both real and imagined, to explore ideas about environmental and architectural change. His video “Metropolis” shows the history of Charlotte, North Carolina. Using real images of Charlotte, Carter adds in various skyscrapers and sports arenas, effectively creating what could be the future urban structure with a dystopic twist. In his “Foobel (an alternative history)” video, sports arenas grow larger and larger, taking up most of the natural space around them, until a sports mega dome envelops the screen. According to Carter’s vimeo.com description, the video is a “satire of the need for bigger and bigger stages of any popular type of theatre at the expense of everything else.” Carter’s “Sun City” features the town of Benidorm, Spain and uses stop-motion animation to pay homage to the sun and the energy it gives the city.

This video contains an excerpt of the artist’s work, Metropolis by Rob Carter.

Rob Carter was originally from Britain but now lives in Richmond, Virginia. He has shown his work internationally, with solo exhibitions at Art In General in New York, Galerie Stefan Röpke in Cologne, Station Independent Projects in New York, Galeria Arnés y Ropke in Madrid and Fondazione Pastificio Cerere in Rome. He has also exhibited at Centre Pompidou-Metz in France, Hiroshima City Museum of Contemporary Art in Japan, The Field Museum in Chicago, Institute of Contemporary Art in Philadelphia and Museum of Arts and Design in New York. Carter has been awarded a Workspace residency with the Lower Manhattan Cultural Council (2011–12) and a New York Foundation for the Arts Fellowship (2010). He recently returned from a productive three-month residency at Bemis Center for Contemporary Art in Omaha, Nebraska. The respondent for this event will be Professor Magdalena Garmaz, chair of the Environmental Design program at Auburn University.

 

Written by Leslie Rewis, a Graduate Teaching Assistant in the English Department at Auburn University.

Camera Lucida: Jillian Mayer Visits JCSM

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Internationally Acclaimed Artist Discusses Her Work

Jillian Mayer, one of the artist’s featured in Camera Lucida visited Auburn’s art museum to present her work to students and the community. She discusses what it means to her to have her work displayed here in Auburn, as well as her reaction when her most well known work, “I AM Your Grandma,” reached over three million views on YouTube.

Mayer’s work is in the form of common viral videos that swarm the internet daily. She has presented her work at galleries and museums internationally such as MoMA, MoCA:NoMi, BAM, Bass Museum, the Contemporary Museum of Montreal with the Montreal Biennial (2014) and film festivals such as Sundance, SXSW, and the New York Film Festival. Mayer’s recent awards include the Creative Capital Fellowship for 2015 as well as the South Florida Cultural Consortium’s Visual/Media Artists Fellowship in 2011 and in 2014.

Produced by Tracy Awino, Auburn University journalism senior

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Upcoming Events

Sat 21

DIY@JCSM: Plein Air Meetup

October 21 @ 8:00 am - 12:00 pm
Sun 22

2017 Italian Film Festival

October 22 @ 1:30 pm - 3:30 pm
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JCSM Highlight Tours

October 22 @ 3:00 pm - 4:00 pm