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Department of Art

Sep 2 2014 - 12:44pm

01_nyabf_2010

Print / Book Arts Professor Cynthia Marsh will be presenting at the 2014 New York Art Book Fair on Saturday, September 27th.

NYABF is organized by Printed Matter and sponsored by the Museum of Modern Art. Marsh will be presenting as part of the NYABF Criticism Panel discussing the work of contemporary book artist Phil Zimmermann. The New York Book Fair will take place at MOMA PS1 in Queens, NY.

http://momaps1.org/nyabf

Sep 2 2014 - 8:43am

Smallworks 3 Graphic

Small work allows the experience of getting up close and personal with the artwork. The size of the artwork forces one to move closer in and really look at the artwork – therefore creating greater intimacy.

“Smaller beckons: get close, touch, relate – they inspire a reduction of the psychic distance between one thing and another; between people and things” - from book/philosophy: “Wabi Sabi”

The Jeffrey Leder Gallery will begin our exhibit season with a dynamic exhibit: “Small Works 3 NYC“. The exhibit will occupy 2 floors of the townhouse. We are located in LIC, New York City: 8 minutes from Manhattan, around the corner from MoMA PS1 Museum, 2 blocks from the Sculpture Center and 8 Blocks from the Noguchi Musuem.

Professor Byant’s Artist Statement:

From the mudras found in traditional Hinduism and Buddism to Christ’s raised hand in benediction, hands have mirrored human emotion and intention throughout the history of art. I’m interested in how such gestures lend themselves to metaphor and are imbued with a powerful presence. In my current body of work, Italian Gestures, I continued this exploration of the expressive nature of gestures by photographing fragments of the sculptures I found in museums and churches in Italy on a recent trip. 

This work employs the 19th century wet-plate collodion process. Invented in 1851, this process produces what is known as a tintype, a positive one-of-a-kind image on a metal plate. In this series, I explored the integration of this antique process with both darkroom and digital technology. I exposed the hand fragments digitally. After returning from my trip, I created 4”x5” inter-positives which I placed in my enlarger to expose 4” x 5” wet-plate collodion tintypes. I am especially interested in the kind of alchemy that occurs as the 19th-century processes collide with 21st-century technology.

Sep 2 2014 - 8:39am

APSU Art

The Framemaker is very proud to present drawings by the award-winning artist Olen Bryant. Bryant’s opening corresponds to Clarksville’s First Thursday Art Walk on Thursday, September 4. A reception will be held from 5 p.m. To 8 p.m., and the exhibit will remain at The Framemaker through the month of September during normal business hours (M-F, 10 a.m.- 5 p.m.).

Olen Bryant was born in Cookeville, Tenn. He attended Murray State University, served in the United States Army, and continued his education at the prestigious Cranbrook Academy of Art. Bryant has taught in numerous school systems, including Austin Peay State University, where served as Professor of Art from 1964 to 1991. Bryant’s work has inspired generations of sculptors and artists. He is truly one of Tennessee’s artistic treasures.

Olen’s sculptural forms are easily recognizable expressions of the human figure. In addition to sculptures, Bryant has an extensive collection of sketches, which will be on exhibit.

The Framemaker is located at the corner of North Second Street and Georgia Avenue, across from The Clarksville Academy.

Aug 26 2014 - 1:00pm
Billy Renkl, "Soil Survey", 2014

Billy Renkl, “Soil Survey”, 2014

 

Kell Black, "And The Spiders From Mars", 2014

Kell Black, “And The Spiders From Mars”, 2014

Cumberland Gallery presents artists Tom Pfannerstill, Johan Hagaman, Billy Renkl, and Kell Black in Rock, Paper, Scissors & Wood. Works range from realist painting on sculpted wood to figurative concrete work to intricately cut paper. This exhibition is especially relevant to Southern art, as the artists hail from Tennessee and Kentucky. The works reflect a coupling of artistic vision with attention to detail and traditional materials and processes.

When Tom Pfannerstill encounters a discarded, smashed, dirty, lonely little bit of consumer ephemera on the street, he collects it and recreates its varied details in carved wood and paint. Placing the waste of human existence on the white walls of the gallery may seem a tad unconventional but a closer look at these carefully rendered pieces not only confounds us with their implicit accuracy but also surprises us with our own sentimentality over the refuse of our society. This leads to questions about the psychological comfort we find in consumer culture. Tom Pfannerstill has been awarded prestigious fellowships, including one from The Kentucky Arts Council in 2001. His work has been exhibited throughout the United States and is part of collections of the Flint Institute of Arts in Michigan, Bellarmine College in Kentucky, and the Evansville Museum of Arts and Sciences in Indiana. He currently lives and works in Kentucky.

Billy Renkl’s chosen medium are snippets of didactic texts, diagrams, maps, and the candy colored surfaces of postcards from a bygone era. These collected bits and pieces allow for meaning and metaphor in their peculiar beauty and often accidental æsthetic. Of his collages Renkl states, “In many of these works my focus on information graphics is combined with my interest in the ways that abstraction has been used to mediate the natural world.” Billy Renkl grew up in Birmingham, AL attending Auburn University and the University of South Carolina. He currently teaches at Austin Peay State University in Clarksville, Tennessee. Aside from his many solo exhibitions throughout the US, his work has been featured with SouthWest Airlines, How Magazine, Vanderbilt University, Klutz Inc., Strategy & Business, The River Styx, Poems and Plays, and Rigby Publishing.

Johan Hagaman’s intuitively formed figures gently confront us with the hybrid life of plant, woman, and object. The lovely, subdued hues of milk paint across the deceptively soft appearance of molded concrete speak quietly of dreamy figures floating in the air, suspended by vines and bursting with life. Hagaman says of these sculptures, “Identity is a recurring theme in my work. I’m interested in psychology – especially the psychology of seeing: of perceiving, of viewing things from different perspectives, of paying attention in a world fraught with distractions, of beholding wonder, of imagining; and how all these different ways of seeing determine how we shape and are shaped by our world.” Hagaman was born in Southern Indiana, graduating from Indiana University. Her work is exhibited in many galleries throughout the country, and is included in many public and private collections and museums such as the Tennessee State Museum and Evansville Museum of Arts and Sciences. She is also the recipient of the Tennessee Individual Artist Fellowship for 2005. Johan lives and works in Nashville, Tennessee.

Kell Black’s subjects are made up of seemingly useless but beautiful things – dandelions, twigs, spiders, moths, and maple whirligigs – all iconic of Southern summers. Each of these fragments of nature are delicately rendered with scissors from a sheet of paper; edges curl and fray, popping up from their two dimensional surface in luscious mountains and valleys. Black says of his work, “A pencil can trace the most delicate of curves, but an artist wielding a scalpel or a knife must constantly make geometric compromises. Tight curves become a series of angular approximations. This leads the artists to realize that not only does nature abhor a vacuum; it also detests a straight line. Nature is nothing but one big curve, and curves are sexy. And really, it if isn’t sexy, it’s just not art.”

Kell Black a professor at Austin Peay State University and has been featured in exhibitions at the Frist Center for the Visual Arts, Maryland Institute of Art and Customs House Museum. He is the recipient of NEA’s Southern Art Federations Individual Grant and has engineered a series of “build your own” books featuring paper cities.

Aug 24 2014 - 4:38pm
APSU Art

Karen Parr-Moody and her daughter, Stella, donate Jimmy Lee Sudduth’s “Bikini Girl” to APSU. (Photo by Taylor Slifko/APSU)

While visiting Austin, Texas, in 2013, Karen Parr-Moody came across a painting by the renowned folk artist Jimmy Lee Sudduth. The dusty image was of a girl in a swimsuit, and it evoked strong childhood memories for Parr-Moody.

            “I really identified with going to my grandfather’s fishing camp every weekend on the Tennessee River,” she said. “It’s rustic and beautiful down there. The ‘Bikini Girl’ just reminded me of growing up and being a little girl.”

            Parr-Moody bought the painting. She’s been collecting folk art since 1993, when her parents bought her one of the celebrated angel pieces by Howard Finster. The Sudduth work added another impressive name to her private collection, but earlier this month, she decided to part with the piece by donating it to Austin Peay State University.

            “What motivated me is when the Crouches gave that big collection to the University,” she said. “I thought what they did was so amazing, so I wanted to do something like that.”

            In 2012, Ned and Jacqueline Crouch donated a collection of 42 folk art carvings, paintings and drawings to Austin Peay. It joined the University’s already impressive folk art collection. For years, APSU has been the home of several statues by the noted self-taught Tennessee artist E.T. Wickham and paintings by William Shackelford. In 2010, the collection received a major boost when Dr. Joe Trahern donated three sculptures – “The Critter,” “The Eagle” and “The Lady with Two Pocketbooks” – by William Edmondson, the first African-American to have a solo show of his work at the Museum of Modern Art in New York City in 1937.

            The Sudduth painting, “Bikini Girl,” will now join that collection. His work has been exhibited in the Museum of American Folk Art in New York and at the Smithsonian Institute. A 1997 article in the New York Times referred to his art as “pictures of improbable chalky luminosity and understated bliss.” Susan Mitchell Crawley, the associate curator of folk art at the High Museum in Atlanta, told the New York Times in 2007 that “his paintings sell for anywhere from several hundred dollars to $5,000.”

            Moody donated the piece to APSU in honor of her two-year-old daughter, Stella. Stella has been visiting art galleries since she was three-weeks-old, and Parr-Moody sees her gift as potentially instilling two passions in her daughter.

            “Hopefully it will foster a love of art, and hopefully it will make her think about giving to the community that gives to you,” Parr-Moody said. “Austin Peay has done a lot for me, just with the free concerts and all the shows.”

            The Sudduth painting also will help make APSU a destination for folk art aficionados.

            “It further enhances our collection,” Michael Dickins, APSU gallery director, said. “The more we can collect, the more we can showcase it. Clarksville really has an excellent opportunity to become a good location for folk art.”

            For more information on Parr-Moody’s donation or the APSU folk art collection, contact Dickins at dickinsm@apsu.edu.