BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Knoxville Museum of Art - ECPv6.15.20//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Knoxville Museum of Art X-ORIGINAL-URL:https://knoxart.org X-WR-CALDESC:Events for Knoxville Museum of Art REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20150308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20151101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20160313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20161106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20170312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20171105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20180311T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20181104T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20190310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20191103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20200308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20201101T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20210314T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20211107T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20220313T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20221106T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20230127T100000 DTEND;TZID=America/New_York:20230507T170000 DTSTAMP:20260429T024900 CREATED:20240726T170440Z LAST-MODIFIED:20240726T170440Z UID:10000021-1674813600-1683478800@knoxart.org SUMMARY:Tennessee Triennial: RE-PAIR DESCRIPTION:The inaugural Tennessee Triennial is a unified multi-site\, multi-city exhibition that promotes contemporary visual art as a tool to foster constructive dialogue across communities\, the state\, the country\, and internationally. The 2023 theme and core concept of the inaugural Tennessee Triennial is “RE-PAIR\,” set forth by Consulting Curator María Magdalena Campos-Pons as the guiding curatorial concept for all exhibiting venues participating in the Tennessee Triennial. \n\n\n\nResponding to the Triennial RE-PAIR theme about art designed “To heal\, suture\, and recompose fractured bodies”\, “re-pair\, patch\, rebuild spirits\, bodies\, cities\, political institutions\, economic relationships\,” the Knoxville Museum of Art presents works emphasizing the transformative power of art to propose new solutions to recent global discord. \n\n\n\nThe KMA’s Triennial presentation features a thought-provoking selection of objects created by a diverse\, intergenerational slate of 13 international artists from across the U.S.: Willie Cole\, Bessie Harvey\, Lonnie Holley\, Katie Hargrave & Meredith Laura Lynn\, Kahlil Robert Irving\, Suzanne Jackson\, Mary Laube\, Annabeth Marks\, Rosemary Mayer\, Althea Murphy-Price\, Betye Saar\, and Faith Wilding. \n\n\n\nThe exhibited works address a broad range of conceptual concerns ranging from the intersection of the personal and the political\, to environmental\, cultural\, and spiritual. They express artists’ deep interest in material as a means of interpreting and amplifying these concerns. They are touched and pressed\, deconstructed\, constructed and made anew. They embody histories that sensitively embrace contradiction and complication\, and that challenge diverse audiences to look both forward and backwards towards “new sites of encounters with yet undefined edges\, borders and territories” in search of RE-PAIR. \n\n\n\nA major statewide contemporary art event organized by Tri-Star Arts. Consulting Curator: María Magdalena Campos-Pons. \n\n\n\n\n\n2023 Theme – RE-PAIR \nRecent Press in ARTnews \n2023 VENUES \nWESTMemphis Brooks Museum of Art\, Memphis River Parks Partnership\, Tone Memphis\, UrbanArt Commission \nMIDDLECheekwood\, Engine for Art\, Democracy and Justice\, Fisk University Galleries\, Frist Art Museum\, Parthenon Museum\, Vanderbilt University Fine Arts Gallery \nEASTBig Ears Festival\, Hunter Museum of American Art\, Institute of Contemporary Art at the University of Tennessee at Chattanooga\, Stove Works\, Tri-Star Arts at Candoro Marble Building \n  \n\n  URL:https://knoxart.org/event/tennessee-triennial-re-pair/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/redo-1-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20221216T100000 DTEND;TZID=America/New_York:20230430T170000 DTSTAMP:20260429T024900 CREATED:20231003T192021Z LAST-MODIFIED:20240924T172425Z UID:10000022-1671184800-1682874000@knoxart.org SUMMARY:Landfall Press: Five Decades of Printmaking DESCRIPTION:Landfall Press: Five Decades of Printmaking celebrates the fiftieth anniversary of one of the country’s most renowned printers-publishers. Landfall Press’s history is marked by groundbreaking collaboration with a host of distinguished international artists. Some of the featured artists are leading printmakers while others work primarily in other media\, but became interested in collaborating with master printers in order to realize their ideas in print-based works.As a result\, participating artists discovered new creative avenues within the vast array of printmaking techniques offered by Landfall Press.The artists\, in turn\, contributed to the collaborative process new ideas and expressive possibilities from other media that have helped reshape and invigorate printmaking. \nCulled from the holdings at Landfall Press\, the featured selection of 50 prints represents the creative achievements of more than 40 distinguished international artists who have collaborated with Landfall since it opened in 1970\, and emphasizes the dynamic range of innovative printmaking approaches for which the legendary workshop is known. Traditional notions of prints as small flat sheets are challenged by featured works taking the form of LP-format prints by Terry Allen\, clustered intaglios by Pat Steir\, and mixed media compositions by Christo that are enhanced by the addition of three-dimensional objects mimicking his monumental architectural wrappings. Other key artists represented in the exhibition include Judy Chicago\, Sol Lewitt\, Jiha Moon\, Nicky Nodjoumi\, Claes Oldenburg\, Ed Paschke\, Martin Puryear\, Nusra Qureshi\, Pat Steir\, Kara Walker\, and William T. Wiley.Together the selected works comprise an inspiring statement about the wealth of experimentation and range of innovation within the world of contemporary printmaking\, and the central role of Landfall Press in its exciting evolution. \nMany of the works featured in Five Decades of Printmaking are lithographs\, created through a process based on the principle that oil and water repel each other. In the most traditional form of lithography\, invented in 1796\, the artist draws on a slab of limestone with a greasy crayon. During the printing process\, the printer wets the stone and then applies oily ink. The non-image areas absorb the water while the image areas created with the greasy crayon attract the ink. A piece of paper is placed over the stone\, and then run through a printing press under high pressure\, creating an impression\, or copy\, of the image on the stone. This process is repeated to produce multiple prints. In color lithography\, the printer uses a separate stone for each color\, running the same piece of paper through the press several times to create the final\, full-color image. Today\, lithographers can print from zinc or aluminum plates rather than stones.Instead of working directly on the printing surface\, artists can draw an image on a thin plastic sheet and transfer their image onto a sensitized plate through a photographic process. \nThe Knoxville Museum of Art is one of a handful of national museum venues selected to host this groundbreaking show on the strength of its extensive print holdings and its proximity to and partnership with the University of Tennessee School of Art’s top-ranked printmaking program\, and close ties to major print collectors and Landfall patrons Helen and Russell Novak\, of Chicago\, who gifted the KMA 38 contemporary prints that were featured in the KMA-organized 2018 exhibition Press Ahead: Contemporary Prints Gifted by Helen and Russell Novak. \n\n  \nABOUT LANDFALL PRESS —\nFounded in 1970 by Jack H. Lemon\, Landfall Press played a key role in expanding the geography of the American postwar print renaissance. In the late 1950s and 1960s\, new printmaking workshops\, including Universal Limited Art Editions\, Tamarind Lithography Workshop\, and Gemini G.E.L.\, opened on the East and West Coasts. Jack Lemon helped bring this printmaking revival to the Midwest. He learned lithography at the Kansas City Art Institute\, then later established and directed lithography workshops there in 1965 and at the Nova Scotia College of Art and Design in 1968. He opened Landfall Press in Chicago\, effectively creating a new hub for printmaking that attracted artists from around the country. \nLandfall Press is known for its commitment to innovation and exacting technical standards. It specializes in lithography but has also produced etchings\, woodcuts\, books\, and multiples that have often redefined what a print can be. As a publisher\, Lemon has collaborated with a diverse range of international artists\, introducing many of them to the process of printmaking. Landfall operated out of Chicago for thirty-five years and\, in 2004\, relocated to Santa Fe\, New Mexico\, where it continues to serve new generations. \nIn recognition of Landfall Press’s monumental contributions to international printmaking\, the Milwaukee Art Museum in 1992 acquired the Landfall Press Archive\, which consists of impressions of Landfall’s publications and the objects and materials that went into making the completed prints. In 1996\, the Museum organized a traveling exhibition and produced a catalogue in honor of Landfall’s twenty-fifth anniversary. The Art Institute of Chicago presented its own celebration of the milestone in 1995\, and\, in 1997\, the Museum of Modern Art in New York opened A Singular Vision: Prints from Landfall Press. \nThe works in the exhibition are on loan from Jack H. Lemon. \n\nThis project is supported\, in whole or in part\, by the federal award number SLFRP5534 awarded to the State of Tennessee by the U.S. Department of the Treasury. URL:https://knoxart.org/event/landfall-press-five-decades-of-printmaking/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Laget-Off-The-Grid-scaled.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20221125T080000 DTEND;TZID=America/New_York:20230108T170000 DTSTAMP:20260429T024900 CREATED:20240726T170220Z LAST-MODIFIED:20240729T194255Z UID:10000024-1669363200-1673197200@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2022 DESCRIPTION:The ETRSAE showcases the strength and diversity of art education programs in East Tennessee\, celebrates talented middle and high school students\, and supports arts education.  This annual exhibition provides the opportunity for students to participate in a juried exhibition and to have their artworks displayed in a professional art museum environment.  We are so delighted by the quality of the artworks\, the dedication of the teachers\, and the commitment of the museum staff to establish a museum/school tradition for our community. \nPublic\, private\, and home schools grades 6–12 in 32 East Tennessee counties were invited to submit up to 15 artworks per teacher. Categories for the competition include ceramic\, drawing\, digital imagery/video production\, mixed media\, painting\, computer graphics\, sculpture\, photography\, and printmaking. Each participating school is represented by one work of art. \nThe Best-in-Show winner receives a Purchase Award of $500\, and the artwork becomes a permanent part of the collection of Mr. James Dodson\, on loan to the Knoxville Museum of Art’s Education Collection.  The Best-in-Middle School winner receives $250.  The teachers of the winning student will receive $100.  Each student in the exhibition receives a certificate of participation and the “Best” in each of the 10 categories the winners receive a museum family membership. \nIMAGE HEADER: Best in Show\, Magnolia Evans\, 12th Grade\, Paranoid\, Painting-Oil Paint and Wood Panel\, Farragut High School\, Angela McCarter\, Art Teacher\nThe 17th Annual East Tennessee Regional Student Art Exhibition is presented by the Knoxville Museum of Art. URL:https://knoxart.org/event/etrsae-2022/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Best-in-Show-Magnolia-Evans-12th-Grade-Paranoid-Painting-Oil-Paint-and-Wood-Panel-Farragut-High-School-Angela-McCarter-Art-Teacher-scaled-1-e1641502961183.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20220812T100000 DTEND;TZID=America/New_York:20221106T173000 DTSTAMP:20260429T024900 CREATED:20240726T170220Z LAST-MODIFIED:20240726T170220Z UID:10000025-1660298400-1667755800@knoxart.org SUMMARY:Radcliffe Bailey: Passages DESCRIPTION:“I’ve always felt like the only way I can heal myself is to go back through memory\, learn from memory.” -Radcliffe Bailey \nAncestral memory and cultural identity represent core themes fueling the artistic practice of Atlanta-based Radcliffe Bailey (born 1968). Bridging continents and cultural contexts\, the artist’s compelling narratives interweave individual experience and personal history within the collective trajectory of the African diaspora. Using an intuitive and labor-intensive approach\, he combines found objects\, painted motifs\, and photographic imagery to create engaging compositions inspired by the Middle Passage\, the Great Migration\, and other key stages in the history of his ancestors. Featuring nearly 30 recent works\, Radcliffe Bailey: Passages reflects the artist’s ongoing artistic meditation on these difficult journeys\, and their reverberations in present times. \nBailey’s creative drive finds full expression in a variety of forms\, including installations\, sculptures\, paintings\, works on paper\, and combinations thereof.  Many of his works represent a thoughtful conglomeration of new and salvaged materials and imagery made possible by the artist’s command of various construction methods and studio techniques. Surface treatments range from distressed metal or wood to coatings of sparkling black sand\, rust\, and other substances applied to historically charged found objects. The artist typically develops multiple compositions at any given time\, giving shape to larger interconnected narratives along the way. Each work gradually unfolds to reveal underlying elements\, textural nuances\, and thematic interconnections. References to travel\, displacement\, and crossing boundaries are especially prominent. Door of No Return (2019) presents a life-sized collaged photograph of the infamous threshold at Senegal’s Gorée Island through which ancestral Africans stepped off home soil for the final time before boarding slave ships. This luminous doorway stands in stark contrast to its glittering black backdrop\, which conjures visions of Caribbean black sand beaches and sea navigation by night. Windward Coast – West Coast Slave Trade (2009-2018) takes the form of roiling waves of piano keys out of which a glitter covered human head emerges. While alluding to traumatic passages by sea during which countless slaves perished\, the installation’s material components call attention to music as a limitless arena of innovation and accomplishment for descendants of survivors and as a vehicle through which their ancestors’ voices persist. Comprised of a single oar within a tall bottle\, the glass sculpture Stir (2016) is a poetic meditation on travel by water whose title signals broader concepts of inspiration and provocation. Palmyra\, VA (2021) and Coles (2021) feature sections of miniature train track mounted to sculptural objects as a tribute to the Underground Railroad and to Bailey’s train engineer father. The tracks’ vertical orientation also suggests ladders promising access to new opportunities\, higher ground\, and spiritual deliverance. In recent mixed media paintings Charleston (2021) and En Route (2021)\, Bailey pairs shipping tarpaulins with blocks of tabby concrete\, an early building material used in the coastal South produced largely by slave laborers. Hard-edged and puddled color shapes are intermingled with text and imagery pulled from antique maps\, family trees\, travel logs\, and Haitian vévé spiritual diagrams used to navigate journeys both physical and spiritual. Reminiscent of quilts\, the patchwork structure of paint and collage serves to reinforce prevailing themes of geographical displacement\, lost lineages\, and shattered histories. \nThe selection featured in Passages reflects the broad scope of Radcliffe Bailey’s studio practice\, and the multiple levels on which the artist’s works convey meaning. His hybrid creations offer diverse points of entry into compelling narratives that are personal yet far-reaching. Evocative and physically complex\, they appear as if talismans\, shrines\, reliquaries\, guideposts\, and portals offering direction and prompting reflection. Open-ended and wide-ranging\, they remain enigmatic despite the presence of layered imagery implying a variety of possible interpretations. Each stands as a testament to the persistence of identity and memory\, and as an enduring message whose affirmative spirit promises to transcend the painful legacy of cultural erasure. \nABOUT THE ARTIST\n \nBorn 1968 in Bridgeton\, New Jersey\, Radcliffe Bailey was raised in Atlanta\, where he lives and works today. Forthcoming public art installations include work commissioned by the City of Atlanta\, as part of the Renew Atlanta Public Art Program; the Freedom Cornerstone\, commissioned by the City of Greensboro\, North Carolina; and a commission by Philadelphia Contemporary. Recent solo exhibitions include Ascents and Echoes and Travelogue at Jack Shainman Gallery\, New York; Pensive\, SCAD Museum of Art\, Savannah\, which travelled to the Gibbes Museum of Art\, Charleston; Radcliffe Bailey: Recent Works\, Contemporary Arts Center\, New Orleans; and Memory as Medicine at the High Museum of Art\, Atlanta. Bailey’s work is included in the collections of the Metropolitan Museum of Art\, New York; the Smithsonian Institution\, Washington\, D.C.; the Art Institute of Chicago; the Museum of Fine Arts\, Houston; the Nelson-Atkins Museum of Art\, Kansas City\, Missouri; the Denver Art Museum; and the High Museum of Art\, among many others. \nRadcliffe Bailey: Passages is organized by the Knoxville Museum of Art in conjunction with Jack Shainman Gallery\, New York.\n \n\nThank you to our sponsors! \n \n \nArts & Culture Alliance\nNational Endowment for the Arts\nTennessee Arts Commission\nCity of Knoxville\nKnox County \nThis project is supported\, in whole or in part\, by the federal award number SLFRP5534 awarded to the State of Tennessee by the U.S. Department of the Treasury. URL:https://knoxart.org/event/radcliffe-bailey-passages/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Radcliffe-Bailey-Passages-01-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20220513T100000 DTEND;TZID=America/New_York:20230814T170000 DTSTAMP:20260429T024900 CREATED:20240726T170440Z LAST-MODIFIED:20240726T170440Z UID:10000026-1652436000-1692032400@knoxart.org SUMMARY:Currents: Women Artists from the KMA Collection DESCRIPTION:This exhibition\, a special edition of the KMA’s permanent installation Currents: Recent Art from East Tennessee and Beyond\, pays tribute to contemporary women artists represented in the collection of the Knoxville Museum of Art. This show and Women Artists: Highlights from the Hunter Museum of American Art (one floor up) document what two important Tennessee cultural organizations are doing to support and empower women artists. \nLike the Hunter\, the KMA has actively sought to acquire outstanding works by women\, who have long lagged behind their male counterparts when it comes to museum-level recognition. The selection on view reflects the broad technical and aesthetic range found in contemporary art by women. A mixed media painting on wooden sections by Alison Moritsugu conveys a monumental landscape\, expansive yet incomplete.  Nancy Rubins elevates graphite drawing into a large sculptural construction apparently shaped by violent forces. British artist Marilène Oliver constructs provocative portraits of her family in the form of acrylic sheets imprinted with digital medical scans.  Patty Chang uses water and mirrors to transform her own image taken in a Belgian church into a complex photographic work fragmented by harsh angles and provocative reflections. In her video Joan of Arc\, Alex McQuilkin responds to Maria Falconetti’s memorable lead role in the legendary 1928 French silent film by Carl Dreyer\, and to the film’s themes of adolescent desire\, faith\, and suffering. These and other selected works call overdue attention to women’s significant role in reshaping the contemporary art landscape. \nThe artists featured in this exhibition are Patty Chang\, Janet Fish\, Marcia Goldenstein\, Michelle Grabner\, EJ Hauser\, Julie Heffernan\, Jean Hess\, Kate Katomski\, Karen LaMonte\, Pam Longobardi\, Lauren Luloff\, Alex McQuilkin\, Alison Mortisugu\, Althea Murphy-Price\, Marilène Oliver\, Amy Pleasant\, Sumi Putman\, Nancy Rubins\, Tommie Rush\, Denise Stewart-Sanabria\, Jemima Stehli\, and Toots Zynsky. \nOrganized by the Knoxville Museum of Art. \nPresenting Sponsor \nThe Frank and Virginia Rogers Foundation \nMasters Sponsor\nThe Guild of the KMA \nSustaining Sponsors\nPandy Anderson\nMarty Begalla\nMary Ellen Brewington & Nell Kedrow\nMolly Joy\nVicki Kinser\nAlexandra Rosen \nBenefactor Sponsors\nMary Hale Corkran\nAllison Lederer\nBrenda Madigan\nTownes Osborn\nHei Park\nKMA in honor of Barbara Apking and Karen Mann \nPatron Sponsors\nMardel Fehrenbach\nLane Hays\nSherri Lee in memory of Sarah Stowers and Glady Faires\nSheena McCall\nGeri Muse in memory of Amanda Muse Neuhoff\nNancy Sharp Voith & Kenneth A. Stark in honor of my artist sister\, M J Sharp \nFriends \nSandi Burdick in memory of Adelia Armstrong Lutz\nBarbara M. Cook\nJudy Doyle in memory of Lynn Irwin\nSusan French\nDana Headden\nCathy Hill in honor of Barbara Bernstein \n\nThis project (was/is) supported\, in whole or in part\, by the federal award number SLFRP5534 awarded to the State of Tennessee by the U.S. Department of the Treasury. URL:https://knoxart.org/event/currents-women-artists-from-the-kma-collection/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2022/02/Grabner-Feature-01-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20220421T100000 DTEND;TZID=America/New_York:20220724T170000 DTSTAMP:20260429T024900 CREATED:20240726T170220Z LAST-MODIFIED:20240726T170220Z UID:10000027-1650535200-1658682000@knoxart.org SUMMARY:Women Artists: Highlights from the Hunter Museum of American Art DESCRIPTION:Since 2000\, the Hunter Museum of American Art in Chattanooga has prioritized the acquisition of works by women artists from around the United States\, who have long lagged behind their male counterparts when it comes to museum-level recognition. Between 2008 and 2018\, works by women constituted just 11 percent of acquisitions and 14 percent of exhibitions at 26 major American museums. Women Artists: Highlights from the Hunter Museum of American Art celebrates work by contemporary American female artists. This exhibit and Currents: Women Artists from the KMA Collection (one floor down) document what two important Tennessee cultural organizations are doing to support and empower women artists. \nThe road to recognition for women’s creative achievements has been long and difficult. The passage of the 19th amendment in 1920 may have guaranteed the right to vote for all women\, but equity in practice took many more years—especially for women of color. The women’s rights movement began gaining strength in the 1960s\, alongside those of civil rights and gay liberation movements. An outgrowth of this was the feminist art movement\, encouraging women artists to rewrite a male-dominated art historical narrative by using unorthodox art materials\, offering alternative exhibition venues\, questioning political and social stereotypes\, and often shunning conventional ideas of beauty. Each artist in this exhibition follows in the footsteps of these pioneers\, bringing previously unheard voices into the mainstream. Highlights include an installation by Lesley Dill featuring floor-to-ceiling banners and hand embroidered text\, a silhouette pop-up book by Kara Walker examining the history of American race relations\, a textile by Vadis Turner questioning inherited gender roles\, and a mixed media installation by Beverly Semmes inspired by composer John Cage’s minimalist music. \nThe artists featured in this exhibition are Elizabeth Catlett\, Lesley Dill \, Lin Emery\, Clementine Hunter\, Julie Moos\, Catharine Newell\, Sisavanh Phouthavong\, Faith Ringgold\, Alison Saar\, Surabhi Saraf\, Miriam Schapiro\, Beverly Semmes\, Lorna Simpson\, Vadis Turner\, Kara Elizabeth Walker\, and Carrie Mae Weems. \nOrganized by the Hunter Museum of American Art\, Chattanooga.\n \nPresenting Sponsor \nThe Frank and Virginia Rogers Foundation \nMasters Sponsor\nThe Guild of the KMA \nSustaining Sponsors\nPandy Anderson\nMarty Begalla\nMary Ellen Brewington & Nell Kedrow\nMolly Joy\nVicki Kinser\nAlexandra Rosen \nBenefactor Sponsors\nMary Hale Corkran\nAllison Lederer\nBrenda Madigan\nTownes Osborn\nHei Park\nKMA in honor of Barbara Apking and Karen Mann \nPatron Sponsors\nMardel Fehrenbach\nLane Hays\nSherri Lee in memory of Sarah Stowers and Glady Faires\nSheena McCall\nGeri Muse in memory of Amanda Muse Neuhoff\nNancy Sharp Voith & Kenneth A. Stark in honor of my artist sister\, M J Sharp \nFriends \nSandi Burdick in memory of Adelia Armstrong Lutz\nBarbara M. Cook\nJudy Doyle in memory of Lynn Irwin\nSusan French\nDana Headden\nCathy Hill in honor of Barbara Bernstein \n\nThis project (was/is) supported\, in whole or in part\, by the federal award number SLFRP5534 awarded to the State of Tennessee by the U.S. Department of the Treasury. URL:https://knoxart.org/event/women-artists-highlights-from-the-hunter-museum-of-american-art/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2022/02/Women-Artists-Highlights-from-the-Hunter-Museum-of-American-Art-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20220128T080000 DTEND;TZID=America/New_York:20220424T170000 DTSTAMP:20260429T024900 CREATED:20240726T170220Z LAST-MODIFIED:20240726T170220Z UID:10000028-1643356800-1650819600@knoxart.org SUMMARY:Global Asias: Contemporary Asian and Asian American Art from the Collections of Jordan D. Schnitzer and His Family Foundation DESCRIPTION:Drawn from the exceptional and diverse collections of Jordan D. Schnitzer and his family foundation\, Global Asias examines the cosmopolitan\, playful\, and subtly subversive characteristics of contemporary Asian and Asian American art. The exhibition highlights the work of fifteen artists of Asian heritage who draw on a rich array of motifs\, techniques\, and cultural motivations to construct diverse “Asias” in a modern global context. \nOrganized by the Palmer Museum of Art in conjunction with the Jordan Schnitzer Family Foundation\, the exhibition is divided into three thematic sections. “Exuberant Forms” features work that has the potential to reshape conventional views of abstract art—its composition\, palette\, materiality as well as its cultural implications\, expanding and complicating the canonical narrative of abstraction. “Moving Stories” brings together powerful prints and mixed-media works that reflect on the experiences of migration\, both within Asia and beyond. The artists in this section map their own diasporic trajectories\, literally and metaphorically\, and the art compels the viewer to move and to respond to the shifting socio-political realities of time and place. “Asias Reinvented” highlights two- and three-dimensional works that transform styles and techniques of traditional Asian arts in alignment with the vibes of the contemporary and the cosmopolitan. Combined\, the works in Global Asias suggest the plurality and fluidity of “Asia” as a cultural construct and creative practice. The exhibition is guest curated by Chang Tan\, Assistant Professor of Art History and Asian Studies at Penn State. \nSupport for the exhibition and related educational and outreach programs has been made possible by a grant from the Jordan Schnitzer Family Foundation. \n \nAdditional support provided by URL:https://knoxart.org/event/global-asias-contemporary-asian-and-asian-american-art-from-the-collections-of-jordan-d-schnitzer-and-his-family-foundation/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Morinoue-Pure-Water-2001-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20211126T100000 DTEND;TZID=America/New_York:20220109T170000 DTSTAMP:20260429T024900 CREATED:20240726T170220Z LAST-MODIFIED:20240729T194223Z UID:10000029-1637920800-1641747600@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2021 DESCRIPTION:Welcome to the 16th Annual East Tennessee Regional Student Art Exhibition\, presented by the Knoxville Museum of Art.  The ETRSAE showcases the strength and diversity of art education programs in East Tennessee\, celebrates talented middle and high school students\, and supports arts education.  This annual exhibition provides the opportunity for students to participate in a juried exhibition and to have their artworks displayed in a professional art museum environment. \nPublic\, private\, and home schools grades 6–12 in 32 East Tennessee counties were invited to submit up to 15 artworks per teacher. Categories for the competition include ceramic\, drawing\, digital imagery/video production\, mixed media\, painting\, computer graphics\, sculpture\, photography\, and printmaking. Each participating school is represented by one work of art. \nThe Best-in-Show winner receives a Purchase Award of $500\, and the artwork becomes a permanent part of the collection of Mr. James Dodson\, on loan to the Knoxville Museum of Art’s Education Collection.  The Best-in-Middle School winner receives $250.  The teachers of the winning student will receive $100.  Each student in the exhibition receives a certificate of participation and the “Best” in each of the 10 categories the winners receive a museum family membership. \nIMAGE HEADER: Best in Show\, Lily Asbury\, 11th Grade\, The Days We’ll Look Back On and Smile\, acrylic paint\, Cocke County High School\, Myra Amason\, Art Teacher\nThe 16th Annual East Tennessee Regional Student Art Exhibition is presented by the Knoxville Museum of Art. URL:https://knoxart.org/event/etrsae-2021/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Edited-Best-of-Show-2020-copy-300x225-1.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210820T000000 DTEND;TZID=America/New_York:20211107T170000 DTSTAMP:20260429T024900 CREATED:20240726T170219Z LAST-MODIFIED:20240726T170219Z UID:10000030-1629417600-1636304400@knoxart.org SUMMARY:Under Construction: Collage from The Mint Museum DESCRIPTION:Featuring nearly 70 works by more than 30 international artists\, Under Construction explores the growth and impact of the collage technique from the 1950s to the present. It explores not only classic collages by Romare Bearden (1911-1988)\, but the technique’s role in inspiring artists and other forms of art during recent decades. Collage\, in which materials from different sources are cut\, torn\, and layered to create new meanings and narratives\, experienced a renaissance after World War II thanks in large part to Bearden. Complementing more than a dozen works by Bearden are examples by Radcliffe Bailey\, Sam Gilliam\, Kojo Griffin\, Robert A. Nelson\, Man Ray\, Kristina Rogers\, Tim Rollins and K.O.S.\, Howardena Pindell\, Robert Rauschenberg\, and James Rosenquist. Organized by the Mint Museum\, Charlotte\, North Carolina. \nPRESENTING SPONSOR\n \nLEADERS\nLexus of Knoxville\nAlexandra Rosen & Donald Cooney \nADDITIONAL\nHei & Stanley Park\nThe City of Knoxville\nTennessee Arts Commission URL:https://knoxart.org/event/under-construction-collage-from-the-mint-museum/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/The-Invisible-Life-of-Small-Things_Iruka-Maria-Toro-300x214-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210521T130000 DTEND;TZID=America/New_York:20210801T170000 DTSTAMP:20260429T024900 CREATED:20240726T170219Z LAST-MODIFIED:20240726T170219Z UID:10000031-1621602000-1627837200@knoxart.org SUMMARY:A View of the City: Knoxville DESCRIPTION:Click here for Gallery Guide \nA View of the City features more than 20 paintings and works on paper of Knoxville and vicinity by artists from East Tennessee and beyond representing the city and outlying areas during and after the 1940s.  This diverse selection offers a complex and compelling portrait of our area over the course of a vital period in its development. \nJoseph Delaney (Knoxville 1904-1991 Knoxville) Vine and Central\, Knoxville\, Tennessee\, 1940 Oil\, pastel\, and charcoal on canvas\, 30 x 24 inches Knoxville Museum of Art\, 2018 purchase with funds provided by KMA Collectors Circle\, Rachael Patterson Young Art Acquisition Reserve\, Nancy and Charlie Wagner\, and Richard Jansen \nHenri Cartier-Bresson (Chanteloup-en-Brie\, France 1908-2004 Céreste\, France) Knoxville\, Tennessee\, 1947 Gelatin silver print\, 12 x 16 inches Knoxville Museum of Art\, 2019 purchase with funds provided by June and Rob Heller\, Jim Martin\, James L. Clayton\, Hei Park\, John Cotham\, Jayne and Myron Ely\, Dorothy and Caesar Stair\, Ebbie Sandberg\, John Trotter\, KMA Guild\, Mardel Fehrenbach\, Kitsy and Louis Hartley\, Sylvia and Jan Peters\, Mary Rayson\, Alexandra Rosen\, John Z.C. Thomas\, and Lisa Carroll \nCharles Griffin Farr (Birmingham\, Alabama 1908-1997 San Francisco) Street in Knoxville\, 1947 Oil on canvas\, 24 x 30 inches Timothy Farr Davis \nPRESENTING SPONSOR\nThe Frank and Virginia Rogers Foundation \nLEADER SPONSOR\nUBS Financial Services \nADDITIONAL SPONSORS\nBrewington Family\nAmanda and Jason Hall\nApril and Stephen Harris\nNancy and Stephen Land\nCarole and Bob Martin\nPetrone-Speight Family\nDebbie and Ron Watkins URL:https://knoxart.org/event/a-view-of-the-city-knoxville/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Birdwell-Face-of-the-City-hi-res-300x232-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210521T100000 DTEND;TZID=America/New_York:20210801T170000 DTSTAMP:20260429T024900 CREATED:20240726T170219Z LAST-MODIFIED:20260413T141737Z UID:10000032-1621591200-1627837200@knoxart.org SUMMARY:Undercurrents: Recent Acquisitions of Contemporary Art DESCRIPTION:For Currents Gallery Guide\, click here \nMore than 20 paintings and works on paper representing the exciting growth in the KMA’s contemporary collection through museum purchases and donations from artists and collectors far and wide. \nKatherine Bernhardt (Clayton\, Missouri 1975; lives and works in Brooklyn) Nicki Minaj\, 2010 Acrylic on canvas\, 48 x 36 inches Knoxville Museum of Art\, 2019 gift of Elin and Michael Nierenberg \nJosh Smith (Okinawa\, Japan 1976; lives and works in New York) Untitled\, 2010 Oil on canvas\, 30 x 24 inches Knoxville Museum of Art\, 2019 gift of Elin and Michael Nierenberg \nJered Sprecher (Lincoln Nebraska 1976; lives and works in Knoxville) Technology of Dirt\, 2018 Oil on linen\, 47 x 40 inches Knoxville Museum of Art\, 2020 bequest of Daniel F. McGehee \nDenise Stewart-Sanabria (Worcester\, Massachusetts 1956; lives and works in Knoxville) 18th Century French Pastoral Toile Culture Shock\, 2016 Oil on canvas\, 36 x 72 inches Knoxville Museum of Art\, 2017 purchase with funds provided by anonymous friends and Stuart Worden \nPRESENTING SPONSOR\nThe Frank and Virginia Rogers Foundation \nLEADER SPONSOR\nUBS Financial Services \nADDITIONAL SPONSORS\nBrewington Family\nAmanda and Jason Hall\nApril and Stephen Harris\nNancy and Stephen Land\nCarole and Bob Martin\nPetrone-Speight Family\nDebbie and Ron Watkins URL:https://knoxart.org/event/undercurrents-recent-acquisitions-of-contemporary-art/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Bernhardt-Nicki-Minaj-225x300-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20210129T130000 DTEND;TZID=America/New_York:20210502T170000 DTSTAMP:20260429T024901 CREATED:20240726T170219Z LAST-MODIFIED:20240726T170219Z UID:10000033-1611925200-1619974800@knoxart.org SUMMARY:A Lasting Imprint: Rendering Rhythm and Motion in the Art of Black Mountain College DESCRIPTION:Click here for Gallery Guide\n  \nA Lasting Imprint: Rendering Rhythm and Motion in the Art of Black Mountain College \nMovement and music—both time-based activities—can be difficult to express in static media such as painting\, drawing\, and photography\, yet many artists feel called to explore them. Movement serves as inspiration—either to capture it or to create it in entirely different media. Similarly\, music is driven by rhythm\, patterns\, and variations that are enticing departures for visual artists. In few places did movement\, music\, visual arts\, and myriad other disciplines intermingle to such impact as they did at Black Mountain College\, an experiment in higher education in the mountains of Western North Carolina that existed from 1933 to 1957. For many artists\, their introduction to interdisciplinarity at the college resulted in a continued curiosity around those ideas throughout their careers. The works here\, selected from the Asheville Art Museum’s Black Mountain College Collection of works\, highlight approaches to rendering a lasting imprint of the ephemeral. \nArtists such as Barbara Morgan and Clemens Kalischer are concerned with the motion of the human form\, evoking a sense of elongated or contracted muscles\, or of limbs moving through space. Others\, like Lorna Blaine Halper or Sewell Silman\, approach the challenge through abstraction\, foregoing representation yet communicating an atmosphere of dynamic change. Marianne Preger-Simon’s drawings of her fellow dancers at Black Mountain College from summer 1953 are not only portraits but also a dance of pencil on paper\, created in the spirit of BMC professor Josef Albers’s line studies as she simultaneously worked with choreographer Merce Cunningham. Each of these artists ultimately reflects on the temporal nature of movement and music. \nJosef Albers\, Formulation: Articultion Foliol\, Folder 14\, 1972. Screenprint on paper\, 15 x 40 inches\, Black Mountain College Collection Gift of Josef and Anni Albers Foundation \nSponsored By:\n\n \n \n \n \n \n \n for sponsoring free admission during April 2021. URL:https://knoxart.org/event/a-lasting-imprint-rendering-rhythm-and-motion-in-the-art-of-black-mountain-college/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/2009.27.04.41-269x300-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20201127T130000 DTEND;TZID=America/New_York:20210110T170000 DTSTAMP:20260429T024901 CREATED:20240726T170219Z LAST-MODIFIED:20240729T194306Z UID:10000034-1606482000-1610298000@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2020 DESCRIPTION:This collaborative project with the East Tennessee Art Education Association is designed to gather the best student work grades 6-12 from a 32-county region; award winners are eligible for $1\,000\,000 in scholarships to national art schools.  Organized by the KMA. \n \n  \nClick here for a Virtual Gallery of the Student Art Exhibition\n  \n2020 “Best of” Winners\nBest in Show \nLily Asbury\, 11th Grade \nThe Days We’ll Look Back On and Smile \nAcrylic Paint \nCocke County High School \nMyra Amason\, Art Teacher \n  \nBest in Ceramic \nAvery Flatford\, 11th Grade \nMr. Tentacles \nClay Raku Fired \nFarragut High School \nWendie Love\, Art Teacher \n  \nBest in Computer Graphic \nKendall Livingston\, 10th Grade \nUnder rated \nPrint \nMaryville High School \nDr. Jeanie Parker\, Art Teacher \n  \nBest in Drawing \nImelia Markus-Brock\, 9th Grade \nEye Spy \nCharcoal \nOak Ridge High School \nGisela Schrock\, Art Teacher \n  \nBest in Mixed Media \nRainee Mitchell\, 10th Grade \nBeautiful Mind \nCardboard\, Glue\, Ink\, Magazine\, Paint \nOak Ridge High School \nJoseph Moseley\, Art Teacher \n  \nBest In Painting \nAurora Baez\, 8th Grade \nOrchids \nAcrylic Paint \nBearden Middle School \nKimberly Bishop\, Art Teacher \n  \nBest in Printmaking \nTristan Howard\, 7th Grade \nAtlantic Puffin \nLinoleum Block Print \nThe McCallie School \nSuzanne Mortimer\, Art Teacher \n  \nBest in Sculpture \nBrian Barbo\, 12th Grade \nIngrain \nWood\, Metal and Found Objects \nHardin Valley Academy \nBenjamin Eng\, Art Teacher \n  \nBest in Show-Middle School \nBella Zigrossi\, 8th Grade \nCarnival \nWool Roving Picks on Styrofoam Form \nSaint Joseph School \nGae Sharp\, Art Teacher \n  \nBest in Video Production \nLewis Walton\, 12th Grade \nLOVE \nVideo Production \nWest High School \nKat Furnari\, Art Teacher \n  \nBest Photography \nKayleigh Brownlee\, 8th Grade \nMy Creation in the Leaves \nChromebook and Origami \nBearden Middle School \nKimberly Bishop\, Art Teacher \n  \n  \n  \nExhibition Resources:\nStudent Art Poster 2020 \n2020 Student Art Exhibition Overview \nEast Tennessee Regional Student Art Exhibition Entry Form \nStudent Art Exhibition PDF \n  \n  URL:https://knoxart.org/event/etrsae-2020/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Best-of-Show-2019-lr-cropped-300x250-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20201023T100000 DTEND;TZID=America/New_York:20201129T170000 DTSTAMP:20260429T024901 CREATED:20240726T170219Z LAST-MODIFIED:20240726T170219Z UID:10000035-1603447200-1606669200@knoxart.org SUMMARY:Homegrown DESCRIPTION:Katie MacDonald and Kyle Schumann \nHomegrown\, 2020 \nPlant fibers (including forestry waste and invasive plant species) and biobased binder \n10 x 10 x 6 feet \n  \nHomegrown imagines architectural applications for Tennessee’s native and nonnative plant species. Four walls composed of various invasives (including bamboos and tree species) and forestry waste form an exterior room. \n  \nThe room’s walls are constructed using a novel pneumatic forming system developed by the designers. Using a hybrid workflow\, the installation was modeled digitally and then constructed physically using a single reusable inflatable mold. The resultant surfaces\, each unique in geometry\, are alternately thin and dense or thick and porous\, allowing light to filter through the structure. The exterior is flat and angular\, reflecting conventional architectural production\, while the interior is undulating\, suggesting possibilities for further customization and the creation of integrated\, sculpted furniture. In a nod to traditional American framing\, the panels are faced in pine needles and rest on a base of dimensional lumber. \n  \nFunded by the University of Tennessee College of Architecture and Design through the Tennessee Architecture Fellowship. \n  \n  \nArtists: \nKatie MacDonald and Kyle Schumann are artists and designers whose work critiques conventional building practices\, which face new lifecycle questions and overextended supply chains amid the current environmental crisis. Such work explores how digital tools can help reconcile the intentions of the designer with the irregularity of natural materials and processes to reframe authorship. MacDonald and Schumann are Assistant Professors of Architecture at the University of Virginia and Cofounders of After Architecture\, a practice named to convey the built environment’s impact on cultures and ecologies. Recent projects include an installation at the Oslo Architecture Triennale 2019 and a memorial in Washington D.C. Their installation at the Knoxville Museum of Art\, Homegrown\, is the culmination of the Tennessee Architecture Fellowship at the University of Tennessee Knoxville’s College of Architecture + Design\, which they jointly held from 2019-2020. \nExhibition will be in the KMA South Garden. \nMore information about After Architecture here \nhttps://after-architecture.com/ \n  \n \n  URL:https://knoxart.org/event/homegrown/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Homegrown3-300x200-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200701T000000 DTEND;TZID=America/New_York:20210201T000000 DTSTAMP:20260429T024901 CREATED:20240726T170219Z LAST-MODIFIED:20240726T170219Z UID:10000023-1593561600-1612137600@knoxart.org SUMMARY:Sculptural Objects from the KMA Collection DESCRIPTION:This special display inaugurates the KMA’s newly renovated Sarah Jane Hardrath Kramer Education Center\, a multi-purpose space named in honor of the KMA’s first director of education. We are taking advantage of current COVID-19 restrictions on large gatherings to use this event and classroom space to display a diverse selection of sculptural works\, many small in scale\, from the KMA collection. Some were acquired years ago and have been displayed many times\, while others have rarely been shown or were recently acquired. Figurative works by Tennessee artists Bessie Harvey\, Richard Jolley\, and Red Grooms explore human life in all its struggles\, timeless beauty\, and satirical moments. Small objects by Henry Moore and John Himmelfarb reflect contrasting approaches to bronze. John Jordan\, Jen McCurdy\, and Brad Sells each explore the vessel as a sculptural form from distinct vantage points. Together\, this selection reflects a broad cross-section of modern and contemporary art from East Tennessee and beyond as expressed in a variety of materials and techniques. \nSculptural Objects Gallery Guide URL:https://knoxart.org/event/sculptural-objects-from-the-kma-collection/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Grooms-Red-Hot-dog-Vendor-No.-3-1997.07.01-1800px-1800x763-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20200207T100000 DTEND;TZID=America/New_York:20201025T170000 DTSTAMP:20260429T024901 CREATED:20240726T170218Z LAST-MODIFIED:20240726T170218Z UID:10000036-1581069600-1603645200@knoxart.org SUMMARY:Beauford Delaney and James Baldwin: Through the Unusual Door DESCRIPTION:The Knoxville Museum of Art presents Beauford Delaney and James Baldwin: Through the Unusual Door February 7-October 25\, 2020.  This exhibition of 50+ paintings\, works on paper\, and unpublished archival material examines the 38-year relationship between painter Beauford Delaney (Knoxville 1901-1979 Paris) and writer James Baldwin (New York 1924-1987 Saint-Paul-de-Vence\, France) and the ways their ongoing intellectual exchange shaped one another’s creative output and worldview.  Through the Unusual Door seeks to identify and disentangle the skein of influences that grew over and around a rich\, complex lifetime relationship with a selection of Delaney’s works that reflect the powerful presence of Baldwin in Delaney’s life.  The exhibition draws from the KMA’s extensive Delaney holdings\, public and private collections around the country\, and rarely displayed papers held by the Delaney estate. KMA curator Stephen Wicks is organizing the exhibition\, which is accompanied by a color-illustrated catalogue published by the University of Tennessee Press.    Beauford Delaney and James Baldwin: Through the Unusual Door is made possible by generous underwriting from the Henry Luce Foundation\, the National Endowment for the Arts\, the Guild of the Knoxville Museum of Art\, and the Art Dealers Association of America Foundation. \nThe Knoxville Museum of Art celebrates the rich and diverse visual culture of East Tennessee.  The museum is proud to hold the world’s largest public collection of work by Knoxville native Beauford Delaney\, who overcame poverty\, racial discrimination\, and mental illness to achieve international renown. The young Delaney’s precocious talent was recognized by Lloyd Branson\, Knoxville’s first full-time professional artist\, who mentored Beauford and his brother Joseph. By 1929\, Beauford Delaney had settled in New York where he attracted a distinguished circle of cultural luminaries that included Georgia O’Keeffe and Henry Miller\, but it was the much younger James Baldwin who had the most significant impact on the artist. Baldwin found in Delaney a father figure\, muse\, and model of perseverance as a gay man of color. Delaney found in Baldwin a powerful intellectual and spiritual anchor who inspired some of his finest works. Encouraged by Baldwin\, Delaney left New York in 1953 and settled in Paris\, where he lived until his death in 1979 and where artist and writer continued their long and mutually beneficial relationship. Through the Unusual Door presents the story of Baldwin and Delaney in a way that inspires reconsideration of their life circumstances and raises important questions about the nature of the racial and sexual identity barriers they faced. \nThe exhibition title Through the Unusual Door comes from a passage in Baldwin’s volume of collected essays The Price of the Ticket (1985) describing the author’s reaction to his initial encounter with Delaney in the doorway of the artist’s Greenwich Village studio: “Lord\, I was to hear Beauford sing\, later\, and for many years\, open the unusual door… I walked through that door into Beauford’s colors.” This first meeting encapsulates Delaney’s transformational effect on Baldwin’s view of himself and the world he lived in\, and set the tone for the painter’s role in the author’s life as a father figure and mentor. Baldwin\, in turn\, inspired Delaney with his fearless social conscience and commitment to civil rights causes. They helped each other to move beyond the pain and oppression imposed on them by the world. \nWhile no other figure in Beauford Delaney’s extensive social orbit approaches James Baldwin in the extent and duration of influence\, none of the major exhibitions of Delaney’s work have explored in any depth the creative exchange between the two.  Previous scholarship has almost exclusively emphasized the artist’s stylistic evolution from the 1940s to the 1960s as a function of his move from New York to Paris and/or his worsening mental health. Through the Unusual Door posits the idea that this profound stylistic change was in part inspired by the intellectual and personal relationship between Delaney and Baldwin. Ordinary daily observations–reflections in puddles in the streets of Greenwich village or the quality of light filtered through the window of Delaney’s studio in the Paris suburb of Clamart–sparked extraordinary creative exchanges between the two. The exhibition incorporates previously unpublished archival materials and artworks that promise to extend the understanding of Delaney’s aesthetic agenda and range and reveal the extent of his ties to Baldwin. \nThe exhibition is accompanied by a color-illustrated catalogue\, published by the University of Tennessee Press\, documenting this groundbreaking gathering of images. The slate of essayists includes Mary Campbell\, Assistant Professor of Art History at the University of Tennessee\, whose research currently focuses on James Baldwin and Beauford Delaney within the context of the civil rights movement; Glenn Ligon\, an internationally acclaimed New York-based artist with intimate knowledge of Baldwin’s writings\, Delaney’s art\, and American history and society; Levi Prombaum\, a curatorial assistant at the Solomon R. Guggenheim Museum who did his doctoral research at University College London on Delaney’s portraits of James Baldwin; and Stephen Wicks\, the Knoxville Museum of Art’s Barbara W. and Bernard E. Bernstein Curator\, who has guided the KMA’s curatorial department for over 25 years and was instrumental in building the world’s largest and most comprehensive public collection of Beauford Delaney’s art at the KMA. \nAcquiring and showing the work of Knoxville native Beauford Delaney has been a longstanding institutional priority for the Knoxville Museum of Art. In the summer of 2017 the museum organized Gathering Light: Works by Beauford Delaney from the KMA Collection\, the first-ever showing of its own holdings. Gathering Light kicked off a multi-year\, community-wide initiative to honor the legacy of Beauford and his brother\, Joseph\, under the rubric of the Delaney Project\, a consortium of organizations and individuals dedicated to making the Delaney brothers better known in their hometown. The KMA\, The Knoxville (TN) Chapter of The Links\, Incorporated\, the East Tennessee Historical Society\, Beck Cultural Exchange Center\,  Marble City Opera\, and the University of Tennessee Humanities Center are just a few of the organizations involved in presenting the Delaney brothers to the local community and to the world.  The KMA expects Through the Unusual Door to make a significant contribution to Delaney scholarship\, raise the museum’s institutional profile nationally\, promote the artist’s legacy in his hometown\, and enhance Knoxville’s standing as a center for Beauford Delaney studies. \nAll images © Estate of Beauford Delaney by permission of Derek L. Spratley\, Esquire\, Court Appointed Administrator \nGallery Guide and Time Line\n\nClick here to enlarge the Delaney Gallery Guide \n  \n\nClick here to enlarge the timeline \nExhibition Links\nTo purchase a catalog of  Beauford Delaney and James Baldwin: Through the Unusual Door\, please contact The University of Tennessee Press at 1-800-621-2736 or utpress.org. \nFor a digital version of the catalog\, please click here. \n \nFour-part series of Through the Unusual Door \nBelow is an in-depth journey into the heart of the KMA’s current exhibition Beauford Delaney and James Baldwin: Through the Unusual Door. While the museum has been closed the KMA and Community Television (CTV) partnered in producing a four-part virtual tour of this special exhibition led by curator Stephen Wicks that is now available for viewing. \nEpisode One\, Portraits and New York \n\nEpisode Two\, Clamart\, The Lure of Music \n\nEpisode Three\, The Call of Civil Rights\, Transnationalism \n\nEpisode Four\, St.-Paul-de-Vence\, Archival Items \n\n  \n~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ \n  \nCocktails & Conversation\n\nA virtual lecture with UT Associate Professor of American Art History Mary Campbell \n\nAn exploration of the works related to Civil Rights leader Rosa Parks in the exhibition Beauford Delaney and James Baldwin: Through the Unusual Door.\nProfessor Campbell entertains the idea of Parks as a type of self-portrait of Delaney and a way for him to express his inner thoughts. \nClick below for a list of collaborative events by Knoxville organizations for the Delaney Project:\nThe Delaney Project List of Collaborative Events \n  \n  URL:https://knoxart.org/event/beauford-delaney-and-james-baldwin-through-the-unusual-door/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/20190528_KMA_delaney0259-1-L-300x226-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20191129T100000 DTEND;TZID=America/New_York:20200112T170000 DTSTAMP:20260429T024901 CREATED:20240726T170218Z LAST-MODIFIED:20240729T194319Z UID:10000037-1575021600-1578848400@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2019 DESCRIPTION:Now in its 14th year\, the East Tennessee Regional Student Art Exhibition offers middle and high school students from around East Tennessee the opportunity to participate in a juried exhibition and to display their talents and be honored for their accomplishments in a professional art museum environment. This collaborative project with the East Tennessee Art Education Association is designed to gather the best student work grades 6-12 from a 32-county region; award winners are eligible for $1\,000\,000 in scholarships to national art schools. \nStudents\, family\, friends\, and the public are invited to a reception and awards ceremony Tuesday\, December 10 from 6 to 8pm at the Knoxville Museum of Art. The event is free and open to the public. \nThe East Tennessee Regional Student Art Exhibition is open to students in grades 6-12 attending public\, private\, or home schools in 32 counties across East Tennessee. Approximately 316 works of the more than 840 entries in this highly competitive show made it through a rigorous jury process. The best-in-show winner will receive a purchase award of $500\, and the artwork will become a permanent part of the collection of Mr. James Dodson\, on loan to the Knoxville Museum of Art’s Education Collection. \nSince 2005\, the East Tennessee Regional Student Art Exhibition has presented the work of nearly 4\,000 students who have competed for a total of $7 million in scholarships made available to eligible juniors and seniors by colleges and universities from around the nation. \nOrganized by the KMA. \nSponsored By:\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \nAlso sponsored by:\nAnn & Steve Bailey \n  URL:https://knoxart.org/event/etrsae-2019/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Best-in-Show.-300x225-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190823T000000 DTEND;TZID=America/New_York:20191110T000000 DTSTAMP:20260429T024901 CREATED:20240726T170218Z LAST-MODIFIED:20240726T170218Z UID:10000038-1566518400-1573344000@knoxart.org SUMMARY:Whistler & Company: The Etching Revival DESCRIPTION:Expatriate American artist\, James Abbot McNeill Whistler (1834-1903) played an essential role in the etching revival of the 19th and early 20th centuries.  The exhibition Whistler & Company includes nearly a dozen works by Whistler accompanied by more than 50 etchings by some of his most accomplished American and European contemporaries.  Whistler’s gritty images of the River Thames\, views of Venice\, and Parisian scenes revived\, at least in part\, the art of etching in the 19th century. Works from Whistler’s ‘Thames Set’ and ‘French Set’ are featured in the exhibition. Other artists who participated in the etching revival include Francis Seymour Haden\, James McBey\, Edwin Edwards\, David Young Cameron\, Muirhead Bone\, Mortimer Menpes\, Charles Meryon\, Maxime Lalanne\, Joseph Pennell\, and Frank Duveneck\, among others. \nThe etching revival of the second half of the 19th century took hold in France\, England and the United States. Artists set out to reestablish etching—the art of incising lines with an etching needle into a thin copper plate which was then inked and pressed into paper with the help of a printing press to create impressions—as an art form that could stand on its own. Inspired by Rembrandt\, and the old masters\, practitioners created remarkable original and expressive compositions that gained popularity with refined collectors and the broader public. \n  \nWhistler & Company: The Etching Revival is organized by the Reading Public Museum\, Reading\, Pennsylvania \nSponsored By:\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n  URL:https://knoxart.org/event/whistler-company-the-etching-revival/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/1949.73.2.1_CROPPED-300x251-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190510T100000 DTEND;TZID=America/New_York:20190804T170000 DTSTAMP:20260429T024901 CREATED:20240726T170218Z LAST-MODIFIED:20240726T170218Z UID:10000039-1557482400-1564938000@knoxart.org SUMMARY:Design By Time DESCRIPTION:Design by Time is the first exhibition to identify and bring together works from known and emerging designers\, in the U.S. and abroad\, whose interest is in expressing the notion of the dynamic passage of time and how it can be expressed by a variety of design objects including textiles\, carpets\, ceramics\, lighting fixtures\, vessels\, clocks\, and furniture. \nTwenty-two studios and designers whose work is presented in this exhibition partner with natural markers of time’s passage such as seasons and growth cycles. Chemistry and physical forces\, such as magnetism\, crystallization\, tides\, and the orbiting sun also provide evidence of passing time. With Time Writers\, for instance\, the artist group Edhv affixes pencils to a thin slice of ancient wood excavated in nearby forests. As the wood reacts to the ambient temperature and humidity\, so different from its former underground resting place\, it moves\, nudging the pencils to draw. More sculpture than tool for drawing\, these creature-like constructions are animated by passing time and altered conditions.  Mark Struckenboom immerses a found chandelier in a fluid laced with minerals that cause the growth of crystals\, creating an encrusted relic-like object that seems to have survived from some other time.  Nadia-Anne Ricketts\, innovator behind BeatWoven\, uses specially developed audio technologies to translate the sounds and rhythms of music into pixels; music becomes pattern that is then woven into fabric. The two panels included in the exhibition represent two very different types of music\, providing a visual contrast that correlates to the audio sources: one\, David Bowie\, the other\, classical.  Sebastian Brajkovic’s startling furniture/sculpture appears to have been stretched across time instead of excavated\, pulled from Louis XV’s France into the present day. Its swooping curved extended back and seat visualize the dynamism of time.  Taking it one step further\, the intricate silk-embroidered upholstery transforms from a staid floral to a contemporary barcode-like pattern to indicate the literal stretching of time. \nWhere the shape and form of most designed objects is intended to communicate their physical presence\, the creation of objects that express the dynamic passage of time offers a counterpoint\, a visual expression of life itself. \nDesign by Time is organized by the Department of Exhibitions\, Pratt Institute\, Brooklyn\, New York\, and is curated by Ginger Gregg Duggan and Judith Hoos Fox of c2 curatorsquared. \nSponsored By:\n\n \n \n \n \n \n \n \n \n \n \n \n \n \nAlso Sponsored By:\nAnn & Steve Bailey\, Annie & David Colquitt\, Crissy & Bill Haslam\, June & Rob Heller URL:https://knoxart.org/event/design-by-time/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2019/05/design_by_time_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20190208T000000 DTEND;TZID=America/New_York:20190421T000000 DTSTAMP:20260429T024901 CREATED:20240726T170218Z LAST-MODIFIED:20250902T152309Z UID:10000040-1549584000-1555804800@knoxart.org SUMMARY:Lure of the Object: Art from the June and Rob Heller Collection DESCRIPTION:Lure of the Object celebrates the uncommon aesthetic vision and philanthropic impulse of June and Rob Heller\, who are among Knoxville’s most active\, adventurous\, and generous art collectors. The selection of more than 40 sculptures and paintings attests to the couple’s winding journey as collectors over four decades\, and features a broad range of key works acquired over the years\, many of which are on public display for the first time. Some have been gifted to the KMA\, while others are promised gifts. Although the scope of the collection is broad and diverse\, its holdings are especially strong in the areas of international contemporary glass and modern and contemporary painting. \nBefore settling in Knoxville in 1993\, the Hellers moved frequently as dictated by career assignments to London\, Dallas\, and several other major cities around the world. In each location\, they made a practice of exploring galleries\, art fairs\, museums\, and antique markets with a sense of openness and adventure. Increasingly\, they discovered works of art they could not live without. They were not bound by any set medium\, period\, or theme\, but rather acquired works that provoked a strong emotional response. \nSoon after moving to Knoxville\, they became heavily involved in the city’s art scene. They began patronizing area artists\, and supporting the Knoxville Museum of Art in a variety of ways\, including making lead gifts toward the development of the museum’s North Garden (now named in their honor)\, and donating key works of art from their extensive collection. In particular\, they have served as passionate advocates for and supporters of the KMA’s efforts to build a collection of contemporary sculptural works in which glass is a primary material. Thanks in large part to the couple’s support\, this collection has grown to a point at which it now fills a space on the museum’s lower level as the ongoing exhibition Facets of Modern and Contemporary Glass. \nThe Hellers’ gifts to the KMA collection are among the most significant in the museum’s history\, and Lure of the Object is designed as a fitting and heartfelt tribute to the couple’s extraordinary support of the KMA and its collection\, and their distinguished role as art patrons whose philanthropic spirit promises to inspire a new generation of museum supporters. \nLure of the Object Catalog \nLure of the Object video produced by Jupiter Entertainment \nThe exhibition and its accompanying publication are organized by the KMA with assistance from consulting curator Mary Morris. URL:https://knoxart.org/event/lure-of-the-object-art-from-the-june-and-rob-heller-collection/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/selections_from_the_june_and_robert_heller_collection_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20181123T000000 DTEND;TZID=America/New_York:20190113T000000 DTSTAMP:20260429T024901 CREATED:20240726T170218Z LAST-MODIFIED:20240729T194327Z UID:10000041-1542931200-1547337600@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2018 DESCRIPTION: URL:https://knoxart.org/event/etrsae-2018/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Zheng-Wu-2017-12th-Grade-Baylor-School-Gouache-Overlapped-Providence-Art-Teacher-Betsy-Carmichael-scaled-e1629210468413.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180817T000000 DTEND;TZID=America/New_York:20181104T000000 DTSTAMP:20260429T024901 CREATED:20240726T170218Z LAST-MODIFIED:20240726T170218Z UID:10000042-1534464000-1541289600@knoxart.org SUMMARY:Joseph Delaney: On The Move DESCRIPTION:Joseph Delaney: On the Move \n  \n“I think my brother Beauford and oldest sister Ogust loved all the moving and taking off as I did. I had the galloping spirit of my daddy.” \n  \n\nJoseph Delaney\, in his 1952 essay John Samuel Delaney\n\n  \nKnoxville-born Joseph Delaney (1904-1991) rose from humble beginnings to establish himself as a tireless and prolific painter of Manhattan’s urban scene. Over the span of his 60-year career\, Delaney displayed a remarkable ability to express the city’s vitality using the loose brushwork of gestural abstraction\, which at the time represented the cutting edge of studio practice\, without sacrificing the narrative content many of his contemporaries had abandoned. The works featured in On the Move represent the variety of ways in which he used this hybrid method to infuse his painted scenes with vibrant energy\, and intricate patterns of movement. While capturing the ebb and flow of life on the boulevards and back alleys\, Delaney’s vigorous brushwork also reveals his restless spirit and insatiable creative drive. \n  \nThe son of a circuit preacher\, Joseph Delaney and his family were on the move across East Tennessee almost constantly during his early childhood. The family eventually settled in Knoxville near the intersection of Central and Vine\, an ethnically diverse\, densely packed and lively neighborhood of taverns and bordellos where races and classes in segregated Knoxville rubbed shoulders. (The Delaneys’ former neighborhood\, located approximately under the Interstate 40 viaduct in the Old City\, was completely erased in the urban renewal and highway construction projects of the 1960s\, and the city’s historic African American business district and residential areas were disrupted and scattered.) Joseph and older brother Beauford (1901-1979) learned to draw on Sunday school cards at church and took art lessons with Knoxville’s leading artist\, Lloyd Branson. By the early 1920s\, ambitious\, restless\, free-spirited Joseph\, seeing few opportunities in the segregated South\, jumped a north-bound rain with no set plan or destination. He worked odd jobs and slept on the train or in hobo camps in and around Cincinnati\, Columbus\, Detroit\, Pittsburgh\, and Chicago. By 1930\, he had made his way to New York and pursued training with esteemed Regionalist painter Thomas Hart Benton at the Art Students League alongside a group of classmates that included Jackson Pollock. He began earning much-needed income and gaining exposure as a self-professed street “sketch artist\,” rendering his subjects in lively fashion using quick contours. He was a fixture in Washington Square’s annual outdoor art exhibition\, along with brother Beauford and other emerging artists. Gaining full-time employment in 1934 as an artist for the government sponsored Work Projects Administration\, he assisted with major mural projects and produced a series of watercolors depicting daily life in Lower Manhattan. Even though Delaney’s paid assignment soon ended\, his passion for chronicling the city’s ever-changing character fueled his studio practice for decades\, even after he returned to Knoxville in 1986 as artist-in-residence at the University of Tennessee. \n  \nWhile Delaney remained somewhat leery of what he viewed as imported art fads\, his paintings reveal an adventurous blend of expressive contours\, simplified forms\, pronounced surface textures\, and areas of unblended color far removed from the slick finishes of his teacher Benton. He often juxtaposed carefully described passages with looser areas in which he left inner workings and underlying contours exposed. Delaney infused even his monumental canvases with a sketch-like immediacy\, suggesting fleeting glimpses of life captured quickly on location. By balancing the descriptive realism of Benton with elements of gestural abstraction\, Delaney effectively conveys a vibrant modern world in transition while representing an unvarnished record of his energetic painterly process. \n  \nThe works in On the Move reflect the many ways in Joseph Delaney’s returned again and again to the concept of motion. A series of early biographical watercolors reconstructs memorable episodes in the Delaney family’s sojourn through East Tennessee during the artist’s childhood. In countless female nude ink studies\, the artist uses masterfully economical contours of varying width and speed to strike a balance between anatomical accuracy and evocative distortion. In portraits\, he seeks poses and expressions that convey fleeting\, intimate encounters captured mid-gesture. In depicting Manhattan’s urban scenes\, the artist trains his ever-shifting vantage point on gleaming plazas and gritty nightspots with equal intensity and familiarity. In some compositions\, near-panoramic views emphasize the pulse of crowds within vast architectural arenas. In others\, the artist focuses on specific urban structures—subway cars\, bridges\, and roadways—that make movement possible. \n  \nCombining elements of narrative description and expressive abstraction\, Joseph Delaney produced a consistent\, substantial\, and ambitious body of work that honors his strong academic foundation while incorporating innovative modernist approaches responsible for reshaping the artistic landscape of his day. The artist’s inventive compositions vividly capture New York City’s turbulent character in a manner that also conveys in bold terms his passion for the physical act of painting. On the Move has been organized in the hope of generating newfound appreciation and scholarly attention for an artist who captured his time and place with uncommon energy and a fiercely independent spirit. \n  \n  \nJoseph Delaney 1904-1991\n \n  URL:https://knoxart.org/event/joseph-delaney-on-the-move/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Macys-Parade-higher-res-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180504T000000 DTEND;TZID=America/New_York:20180729T000000 DTSTAMP:20260429T024901 CREATED:20240726T170217Z LAST-MODIFIED:20240726T170217Z UID:10000043-1525392000-1532822400@knoxart.org SUMMARY:Scenic Impressions: Southern Interpretations from the Johnson Collection DESCRIPTION:Scenic Impressions: Southern Interpretations from the Johnson Collection \n  \n  \nFeaturing more than 40 paintings from the extensive holdings of the Johnson Collection\, Spartanburg\, South Carolina\, Scenic Impressions examines the history of the Impressionist movement and its influence on art created in and about the American South. Artists represented in the exhibition include Kate Freeman Clark\, Elliott Daingerfield\, Gilbert Gaul\, Alfred Hutty\, Rudolph Ingerle\, Willie Betty Newman\, Alice Huger Smith\, William Posey Silva\, and Catherine Wiley—several of whom were active in East Tennessee. \n  \nThe radical changes wrought by the rise of the salon system in nineteenth century Europe provoked an interesting response from painters in the American South. Painterly trends emanating from Barbizon and Giverny emphasized the subtle textures of nature through warm color and broken brush stroke. Artists’ subject matter tended to represent a prosperous middle class at play\, with the subtle suggestion that painting was indeed art for art’s sake and not an evocation of the heroic manner. Many painters in the South took up the stylistics of Tonalism\, Impressionism\, and naturalism to create works of a very evocative nature\, works that celebrated the Southern scene as an exotic other\, a locale offering refuge from an increasingly mechanized urban environment. \n  \nScenic Impressions offers an insight into a particular period of American art history as borne out in seminal paintings from the Johnson Collection’s holdings. It also enables KMA viewers to appreciate the accomplishments of East Tennessee Impressionists such as Catherine Wiley within the larger context of her peers from around the Southeast. \n  \nThe Johnson Collection is one of the premier collections of Southern paintings in the country. By consolidating academic information on a disparate group of objects under a common theme and important global artistic umbrella\, Scenic Impressions underscores the Johnsons’ commitment to illuminating the rich cultural history of the American South and advancing scholarship in the field. \n  \nScenic Impressions is organized by the Johnson Collection\, Spartanburg\, South Carolina. \n  \nPresenting sponsor: The Frank and Virginia Rogers Foundation in honor of the life of Ginny Rogers \n  URL:https://knoxart.org/event/scenic-impressions-southern-interpretations-from-the-johnson-collection/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/png:https://knoxart.org/wp-content/uploads/2023/10/scenic_impressions.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20180202T000000 DTEND;TZID=America/New_York:20180415T000000 DTSTAMP:20260429T024901 CREATED:20240726T170150Z LAST-MODIFIED:20240726T170150Z UID:10000044-1517529600-1523750400@knoxart.org SUMMARY:Press Ahead: Contemporary Prints Gifted by Helen and Russell Novak DESCRIPTION:The Novak’s collection includes thousands of contemporary prints acquired over a period of more than 30 years. The collection is noteworthy for its size and breadth\, and because of Russell Novak’s close ties to such prominent master printers Jack Lemon and Bud Shark\, who run two of the country’s premier print studios—Landfall Press and Shark’s Ink\, respectively. Each year\, Lemon and Shark would send the Novaks limited edition print portfolios\, out of which the couple selected certain prints to be matted and framed for display. The collection has grown to a point at which framed works fill the walls of their home and of Russell’s corporate office space housing the accounting firm of Novak/Costello. \nThe Novaks chose to donate works to the KMA rather than area Chicago museums for several reasons. First\, they became interested in the KMA thanks to Helen’s childhood friend\, Knoxville educator Marilyn Liberman\, who introduced Helen to the KMA. Marilyn also alerted the KMA about the Novaks and their collection\, especially after learning that Helen had expressed interest in placing portions of the collection with suitable museums. The Novaks soon realized their gift to the KMA could eventually become a centerpiece for the museum’s works on paper collection. Their interest in placing the works at the KMA was heightened by the museum’s long association with contemporary printmaking (Dulin Gallery’s print competition ran from the early 1960s until the late 1980s)\, and the presence in Knoxville of the UTK School of Art’s Printmaking Program (ranked #2 in the country in 2017 by U.S. News & World Report). In this way\, Press Ahead celebrates the Novak’s generosity\, and underscores the important role of their gift in enabling KMA visitors to explore contemporary printmaking and the exciting range of expressive possibilities and technical approaches it encompasses. \nFor a full listing of the Novak’s gifts\, please click here. URL:https://knoxart.org/event/press-ahead-contemporary-prints-gifted-by-helen-and-russell-novak/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/press_ahead_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20171124T000000 DTEND;TZID=America/New_York:20180114T000000 DTSTAMP:20260429T024901 CREATED:20240726T170149Z LAST-MODIFIED:20240729T194333Z UID:10000045-1511481600-1515888000@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2017 DESCRIPTION: URL:https://knoxart.org/event/etrsae-2017/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Best-in-Show-2016-Anna-Alloway-12th-Grade-Grandpas-Truck-Photography-Maryville-High-School-Dr.-Jeanie-Parker-Art-Teacher-scaled-e1629213345943.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170811T000000 DTEND;TZID=America/New_York:20171112T000000 DTSTAMP:20260429T024901 CREATED:20240726T170149Z LAST-MODIFIED:20240726T170149Z UID:10000046-1502409600-1510444800@knoxart.org SUMMARY:American Impressionism: The Lure of the Artists' Colony DESCRIPTION:American Impressionism: The Lure of the Artists’ Colony \n  \nDrawn from the extensive collection of the Reading Public Museum\, this exhibition examines the key role played by artist colonies around the country in the development of American Impressionism. It features more than 50 oil paintings and works on paper of the late 19th and early 20th centuries by leading artists of the movement including Frank W. Benson\, John Carlson\, William Merritt Chase\, Childe Hassam\, Ernest Lawson\, William Paxton\, Robert Reid\, John Twachtman and Julian Alden Weir\, along with expatriate masters such as Mary Cassatt and John Singer Sargent. The exhibition explores a wide range of approaches to Impressionism\, an important artistic movement aimed at capturing the effects of light and atmosphere. \n  \nWorks in the exhibition are arranged according to the artist colonies that played a critical role in the development of American Impressionism: Cos Cob and Old Lyme in Connecticut; Cape Cod\, Cape Anne\, and Rockport\, in Massachusetts; New Hope and Philadelphia in Pennsylvania; Taos\, New Mexico; and throughout California. Within each of these colonies\, artists were able to teach\, collaborate and escape the daily rigors of their city studios. Often located in scenic locations within striking distance of major cities\, artists’ colonies provided an ideal retreat within which leading artists were inspired to produce compelling works of art\, whether bold portraits\, vibrant landscapes\, or picturesque images of urban life. \n  \nThe Reading’s collection in many ways represents a cross-section of American Impressionism\, and demonstrates the variety of ways in which the nation’s painters adapted the movement’s ideas to their individual artistic endeavors. The collection also offers a broader national lens through which viewers can assess the work of Catherine Wiley\, Lloyd Branson\, Adelia Lutz\, Charles Krutch\, Hugh Tyler and other East Tennessee painters who experimented with Impressionism during this period\, and whose work can be seen in the KMA’s ongoing exhibition Higher Ground (third floor). \n  \nOrganized by the Reading Public Museum\, Pennsylvania. URL:https://knoxart.org/event/american-impressionism-the-lure-of-the-artists-colony/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/american_expressionism_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170505T000000 DTEND;TZID=America/New_York:20170723T000000 DTSTAMP:20260429T024901 CREATED:20240726T170149Z LAST-MODIFIED:20240726T170149Z UID:10000047-1493942400-1500768000@knoxart.org SUMMARY:Gathering Light: Works by Beauford Delaney from the KMA Collection DESCRIPTION:With encouragement from his mentor\, renowned Knoxville painter Lloyd Branson\, Delaney left Knoxville in 1923 and by 1929 settled in New York City\, where his artistic talents and outgoing nature attracted a host of cultural luminaries including James Baldwin\, Duke Ellington\, Willem de Kooning\, Henry Miller\, Georgia O’Keeffe\, and Alfred Stieglitz.  Many of them became lifelong friends and subjects for his portraits.  After settling permanently in Paris in 1953\, the central subject of his work became color—luminous color—applied with vigorous brushwork. Visible references to the outside world began to fade as the artist sought to battle his growing mental illness with what he believed to be the healing powers of light and brilliant hues.  As the artist’s inner turmoil grew\, so did the emotional intensity of his paintings.  Lifelong friend James Baldwin described Delaney’s compositions as a “metamorphosis into freedom” fueled by a painted light that “held the power to illuminate\, even to redeem and reconcile and heal.” \nGathering Light includes approximately 40 of Delaney’s paintings and drawings—nearly all of which have never before been on public view—that were purchased from the artist’s estate between 2014 and 2016. The majority of works featured in the exhibition were produced during and after the 1940s. Together\, they provide a fascinating cross-section of the artist’s stellar career and demonstrate his ability to distill scenes of everyday life into explorations of the expressive power of color. The diverse selection also offers insight into Delaney’s complex inner world and demonstrates the broad spectrum of his creativity and experimentation. \nComplementing the group of works acquired by the KMA is a selection of important objects on loan from Delaney’s estate that the museum hopes to acquire. With the acquisition of these additional works\, the KMA will have taken a major step toward establishing Knoxville as an international center for Beauford Delaney’s legacy along with New York and Paris. Also included is a selection of archival materials that shed light on the artist’s life and times. \nThe paintings and drawings in Gathering Light were purchased with funds provided by the KMA’s Rachael Patterson Young Art Acquisition Reserve (part of a major gift from the Aslan Foundation)\, along with additional support from the KMA Collectors Circle\, Brenda and Larry Thompson\, and friends of the museum.  The KMA also wishes to acknowledge the heirs of Beauford Delaney and Derek L. Spratley\, the executor of the Estate of Beauford Delaney\, for making works available for loan and acquisition. Selected works in the exhibition were conserved with funds provided by the Guild of the Knoxville Museum of Art through the Arlene Goldstine Conservation Fund. Custom framing was provided by Bennett Galleries\, Inc and funded in part by the Guild of the Knoxville Museum of Art. \nClick here for a full listing of works in the exhibition. \n \nBeauford Delaney 1901 – 1979 URL:https://knoxart.org/event/gathering-light-works-by-beauford-delaney-from-the-kma-collection/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/gathering_light_works_by_beauford_delaney_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170203T000000 DTEND;TZID=America/New_York:20170716T000000 DTSTAMP:20260429T024901 CREATED:20240726T170149Z LAST-MODIFIED:20240726T170149Z UID:10000048-1486080000-1500163200@knoxart.org SUMMARY:Virtual Views: Digital Art from the Thoma Foundation DESCRIPTION:Virtual Views features a variety of electronic works each of which presents a paradox—it is comprised of synthetic materials and powered by digital technology\, yet the rhythms and patterns of its imagery are derived from nature. The featured artists include Jim Campbell\, Craig Dorety\, John Gerrard\, Rafael Lozano-Hemmer\, Alan Rath\, Daniel Rozin\, Björn Schülke\, Jennifer Steinkamp\, and Leo Villareal. \nOrganized by the KMA and presented in conjunction with the Big Ears 2017 music festival\, March 23-26\, 2017. \nVirtual Views Gallery Guide \n  \nVirtual Views: Digital Art from the Thoma Foundation \n  \n  \n  \nDrawn from the extensive Chicago-based collection of Carl and Marilynn Thoma\, Virtual Views explores the growing importance of electronic media in contemporary art as seen in a diverse selection of works by artists who are pioneers in the use of LED (light-emitting diode)\, LCD (liquid crystal display)\, and computer-driven imagery. The nine works in the exhibition are comprised of synthetic materials and powered by digital technology\, yet the rhythms and patterns of their imagery are derived from nature. This area of strength within the Thoma Foundation’s digital art collection also echoes East Tennessee’s dual identity as a technological corridor containing Oak Ridge National Laboratories and the Tennessee Valley Authority\, and as a biodiverse wilderness area that includes 244\,000 acres of the Great Smoky Mountains National Park. On a broader level\, Virtual Views reflects the reality of a contemporary global culture whose general function and relationship with the natural environment are increasingly mediated by digital technology. \n  \nLarge flat screen-based forms by Rafael Lozano-Hemmer and Daniel Rozin take full advantage of the interactive capabilities afforded by digital technology. Using algorithmic programming\, cameras\, and monitors\, they create generative imagery that depends on audience participation. Found archival images of the natural world are optically transformed and digitally reconstructed by artists Jim Campbell and John Gerrard. Looping animations by Leo Villareal\, Craig Dorety\, and Jennifer Steinkamp explore the mind’s capacity to comprehend nature’s complexity. Works by Alan Rath and Björn Schülke are encased in sculptural bodies that extend their electronic imagery into physical space. \n  \nThrough these diverse strategies and formats\, the artists in Virtual Views create compelling statements about technology and the natural world. Several include imagery whose rhythms\, textures\, and contours are strikingly organic in character and natural in appearance despite being composed of synthetic elements. In others\, found images or generative processes serve as links to nature and its evolving ecosystems. A corresponding evolution in imaging tools promises to equip future generations of artists with the creative means to challenge in new ways the narrowing distinctions between virtual and real. While reflecting the expanding presence of digital technology in contemporary society\, Virtual Views offers evidence of its growing role in reshaping the landscape of contemporary art. Continued support of devoted collectors like Carl and Marilynn Thoma\, coupled with broader institutional validation\, promises to accelerate this transformation. \n  \nVirtual Views is organized by the KMA with the generous support of the Thoma Foundation and presented in conjunction with the 2017 Big Ears Festival March 23-26.\nPresenting sponsors: Jennifer and Greg Dunn\nAdditional Resources:\nJim Campbell “Home Movie Pause (David)” \nOffset Circles Yellow Flowering Tree Blue Sky \nLeo Villareal’s Big Bang URL:https://knoxart.org/event/virtual-views-digital-art-from-the-thoma-foundation/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/virtual_views_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20170127T000000 DTEND;TZID=America/New_York:20170416T000000 DTSTAMP:20260429T024901 CREATED:20240726T170149Z LAST-MODIFIED:20240726T170149Z UID:10000049-1485475200-1492300800@knoxart.org SUMMARY:Jered Sprecher: Outside In DESCRIPTION:Sprecher constructs each painting by integrating Digital Age tools and virtuoso brushwork. Computers\, copiers\, and printers enable him to acquire and prepare selected images beforehand\, in some cases adjusting and filtering them to the point at which they become ghostly remnants of the original. Intermingled with a broad range of abstract passages\, this imagery is transferred onto canvas by hand through a meticulous\, intuitive\, and labor-intensive process. Inch by inch and layer by layer\, he applies pigment in translucent veils\, stenciled grids\, feathered stripes\, irregular dabs\, and serpentine drips. The resulting compositions possess a transitional character—at close range\, rich surface details are optically dominant while from a distance opalescent hues command greater attention\, conveying a degree of luminosity reminiscent of digital monitors. \nOutside In\, Sprecher’s first solo museum exhibition\, reflects the dynamic range of the artist’s recent work in terms of format\, scale\, imagery\, and process. His design for the exhibition layout is inspired by the centuries-old practice of adorning living spaces with motifs derived from the natural world. Here\, muted images of birds and flowers appear sporadically\, often embedded between layered abstract passages. Sprecher also uses unorthodox object placement and format to infuse the gallery setting with subtle domestic references. One work appears in the form of a 30-foot long span of custom wallpaper based on digital scans of a loosely painted surface. Several related canvases are suspended from the ceiling in a way that enables them to serve a dual role as vibrant contemporary paintings and as partitions dividing the gallery space into separate compartments. Sprecher’s resulting installation scheme enables viewers to experience his recent work as a single intimate environment\, and as individual statements representing his ongoing treasure hunt through the debris of visual culture. \nJered Sprecher is a professor in the School of Art\, University of Tennessee\, Knoxville\, and is represented by Jeff Bailey Gallery\, New York; Gallery 16\, San Francisco; and Steven Zevitas Gallery\, Boston. \nJered Sprecher: Outside In is organized by the Knoxville Museum of Art and is supported in part by an award from the National Endowment for the Arts and Emerson Process Management. \nAdditional exhibition support is provided by Jeff Bailey Gallery\, New York; Gallery 16\, San Francisco; Steven Zevitas Gallery\, Boston; and the University of Tennessee’s School of Art\, College of Arts & Sciences\, and Office of Research & Engagement. \n  \nAdditional Resources:\nJered Sprecher: Outside In \nJered Sprecher: Outside In (EXCERPT) URL:https://knoxart.org/event/jered-sprecher-outside-in/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/jared_specher_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20161125T000000 DTEND;TZID=America/New_York:20170108T000000 DTSTAMP:20260429T024901 CREATED:20240726T170149Z LAST-MODIFIED:20240729T194341Z UID:10000050-1480032000-1483833600@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2016 DESCRIPTION:Winners: \nBest in Show\, 2016\, Anna Alloway\, 12th Grade\, Grandpa’s Truck\, Maryville High School\, Art Teacher Dr. Jeanie Parker \nBest in Middle School\, 2016\, Ellie Smith\, 6th Grade\, A Late Meal\, Montgomery Ridge Intermediate\, Art Teacher Debra Allen \nBest Painting\, 2016\, Sidney Moore\, 12th Grade\, Portrait of a Friend\, Dobyns-Bennett High School\, Art Teacher Russell Bennett \nBest Ceramics\, 2016\, Addie Dewhirst\, 9th Grade\, Blue Bunny\, Webb School of Knoxville\, Art Teacher Brad Cantrell \nBest Computer Graphics\, 2016\, Hannah L. Richards\, 12th Grade\, I Can See You\, Greeneville High School\, Art Teacher Heather S. Jones \nBest Drawing\, 2016\, Casey Robbins\, 11th Grade\, Witch’s Dresser\, Central High School\, Art Teacher Phyllis Ball \nBest Print\, 2016\, Anderson Baker\, 12th Grade\, Confidence\, Webb School of Knoxville\, Art Teacher Sharon Mann \nBest Sculpture\, 2016\, Abigayle Allison\, 11th Grade\, Finding Peace\, Oak Ridge High School\, Art Teacher Gisela Shrock \nBest Mixed Media\, 2016\, Elizabeth Ford\, 12th Grade\, Save the Bees\, Farragut High School\, Art Teacher Catherine Widner \nBest Photography\, 2016\, Brynne Jones\, 12th Grade\, How Long Will the Memories Last\, Greeneville High School\, Art Teacher Kassie Voelker \nBest Video\, 2016\, Noah Barrow\, 11th Grade\, Night at the Driftbury\, William Blount High School\, Art Teacher Melanie Pritchard \nExhibition Overview \nExhibition Entry Form URL:https://knoxart.org/event/etrsae-2016/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Best-in-Show-2015-Esther-Sitver-12th-Grade-Bearden-High-School-Trolls-scaled-e1629214004770.jpg END:VEVENT END:VCALENDAR