This exhibit takes a closer examination of the image of ancient gods, kings, and the common man. Their depictions contain a visual language, once easily understood throughout the ancient world.
Part of the Oxford Arts Crawl
Exhibition support from the Friends of the Museum.
Opening Reception: Thursday, October 6, 2016, 7–9:00 p.m.
A series of stunning color and early black-and-white photographs, some never exhibited before, by the world-renowned, Memphis-born photographer. Guest Curated by novelist Megan Abbott.
Sail Shapes, 1964
Marie Hull combines her mastery of landscape painting with a unique and powerful synthesis of color and form. These daring works show her boundless sense of exploration and experimentation and continue to have profound impact on art in the South and beyond.
Poetry Reading: March 3, 2016, 3:30–4:30 p.m.
Poetry reading with Jericho Brown, Chiyuma Elliott, Derrick Harriell, and Katie Peterson.
Opening Reception: March 3, 2016, 4:30–6:00 p.m.
Part of the 2016 Conference of the Book
We began with Langston Hughes’s 1921 award-winning poem “The Negro Speaks of Rivers,” and asked people to write something in response. We invited poets of very different styles and sensibilities: F. Douglas Brown (Los Angeles), Jericho Brown (Atlanta), Katie Ford (Los Angeles), Rachel Eliza Griffiths (Brooklyn), Derrick Harriell (Oxford, MS), Dong Li (Nanjing, China and Stuttgart, Germany), Sandra Lim (Cambridge, MA), and Michael C. Peterson (Cincinnati). We wanted to see what each of these writers would make. We also asked the artist Young Suh (El Cerrito, CA) to visually respond to all of these poems. What you see in the gallery is the result of that collaboration—a literary and visual call and response.
Chiyuma Elliott, University of California, Berkeley
Katie Peterson, University of California, Davis
Skylights, Caryl Bryer Fallert-Gentry
For as long as I can remember, I have expressed myself through artwork. My formal training was primarily in design, drawing, and studio painting. After many years of painting, sewing, and experimenting with other media, I discovered that fabric, as a fine art medium, best expressed my personal vision. Since 1982, I have been a quilt maker, i.e., my work is constructed from layers of fabric, stitched together with batting or other filler between the layers.
I love the tactile qualities of cloth, and the unlimited color range made possible by hand dyeing, and other surface design techniques. For twenty years, virtually all of my quilts begin with white, 100% cotton fabric. The fabric was dyed, painted and printed to create the palette of colors and visual texture used in piecing and appliquéing my images. In 2004 I began licensing some of my original painted and dyed designs to Benartex, for use in commercially screened fabrics, and many of the quilts since then have included these fabrics. I am also making a series of quilts from images scanned and manipulated in the computer and printed directly on fabric with archival ink jet inks.
The focus of my work is on the qualities of color, line, and texture, which will engage the spirit and emotions of the viewer, evoking a sense of mystery, excitement, or joy. Illusions of movement, depth, and luminosity are common to most of my work. The inner glow is created by hand dyeing or painting my fabrics in gradual progressions from light to dark.
Both my geometric color studies, and my more organic, curved seam abstracts are inspired by visual impressions, collected in my travels, in my everyday life, and in my imagination. Although some of my quilts include pictorial images, my work is most often about seeing, experiencing, and imagining, rather than pictorial representation of any specific object or species. When recognizable objects appear, they represent the emotions and flights of fantasy evoked by those objects. My intention is to focus on positive energy and depict that in my work.
I intend for my quilts to be seen and enjoyed by others. It is my hope that they will lift the spirits and delight the eyes of those who see them. I am constantly learning and my work evolves as I find new images in my imagination and develop the techniques to create them in cloth. As a teacher I believe that the magic of art lies in our heads and in our hearts. I love sharing my techniques with others so they can share their magic with me.
Image courtesy Kate Freeman Clark Art Gallery
Works from one of the 20th Century’s greatest landscape and plein-air painters.
Reception: Tuesday, August 25, 2015
6:00 –8:00 p.m.
Part of the Oxford Arts Crawl
Exhibition support from the Friends of the Museum.
Peri Schwartz grew up in Far Rockaway, NY. She studied at Boston University’s School of Fine Arts and received an MFA at Queens College. She lives and works in New Rochelle, NY. In paintings, prints and drawings she focuses on composition and the interplay of color, light and space. Her work is in museum collections in the US and Europe. This exhibition will highlight her talents in several media.
perischwartz.com
pagebondgallery.com/artists/details/peri-schwartz
meadmusings.wordpress.com
Cloud Morphology
Part of the annual membership party
Intervals and Disturbances reflects the sensibility that an object stands as a momentary physical manifestation of an ongoing process. They provide evidence of unseen forces, and they point to the distinction between the human and the non-human. Throughout the natural world, unexpected complexity emerges from simple, persistent processes. When the order of things is not readily apparent, complexity is often mistaken for chaos. In the rush to comprehend we often miss the wonderful unseen forces at work. The response is to play in these boundaries between the simple and the complex, between the complex and the overwhelming.
Reception: Tuesday, May 26, 2015
Andrzej Maciejewski Artist Statement:
This series is a study of form, a collection of diverse shapes and textures. I have created many such collections and I often choose mundane objects, like in this case potatoes. This gives me the freedom to look at them in an abstract way or to interpret them on my own, without being limited by the overwhelming context, which often happens when you choose objects that are too obviously important or unusual. What drew me to potatoes in particular, was their commonly unappreciated diversity created by nature, not by human artfulness. For my potatoes, I chose to make portraits rather than simply still-lifes and I gave them names—not in order to suggest that they look like people, but simply to emphasize their individual uniqueness (names individualize, like numbers standardize). I used the large format camera and I printed them much larger than the life-size to show them like they were looked at through the magnifying glass—with attention to all the tiny, but meaningful details. Excluding the color factor by shooting them in black & white let me focus on shape, texture and light. The VIP in the title may be translated as Very Interesting Potatoes, or in many other ways.
part of the Oxford Arts Crawl
Reception: Tuesday, March 24, 2015
This exhibit features figure paintings by Martin Arnold. As an artist, Arnold strives to create “a psychological mirror” with his almost life-sized oil paintings.
part of the Oxford Arts Crawl
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