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:20130310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20131103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20140309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20141102T060000 END:STANDARD 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:20201127T130000 DTEND;TZID=America/New_York:20210110T170000 DTSTAMP:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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:20260429T040951 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 BEGIN:VEVENT DTSTART;TZID=America/New_York:20160826T000000 DTEND;TZID=America/New_York:20161106T000000 DTSTAMP:20260429T040951 CREATED:20240726T170149Z LAST-MODIFIED:20240726T170149Z UID:10000051-1472169600-1478390400@knoxart.org SUMMARY:Romantic Spirits: Nineteenth Century Paintings of the South from the Johnson Collection DESCRIPTION:Curated by Estill Curtis Pennington\, this exhibition highlights the historical\, social\, and cultural forces that profoundly influenced aesthetic sensibilities between 1810 and 1890. In the companion publication to the show\, Pennington examines the core concepts of the Romantic Movement as it unfolded in the American South: the heroic individual\, an idealized chivalric code of personal honor\, the sublime quality of nature\, and the inevitability of change in an imperfect world. Many of the artists under consideration created works of art which have achieved iconic status in the annals of painting in the South\, including William Dickinson Washington\, William Thompson Russell Smith\, Gustave Henry Mosler\, Thomas Addison Richards\, Joseph Rusling Meeker\, Robert Walter Weir\, and Thomas Sully. \nLocated in Spartanburg\, South Carolina\, the Johnson Collection offers an extensive survey of artistic activity in the American South from the late eighteenth century to the present day. The Johnson family is committed to creating a collection which captures and illuminates the rich history and diverse cultures of the region. By making masterworks from its holdings available for critical exhibitions and academic research\, the family hopes to advance interest in the dynamic role that the art of the South plays in the larger context of American art and to contribute to the canon of art historical literature. URL:https://knoxart.org/event/romantic-spirits-nineteenth-century-paintings-of-the-south-from-the-johnson-collection/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/romantic_spirits_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20160506T000000 DTEND;TZID=America/New_York:20160807T000000 DTSTAMP:20260429T040951 CREATED:20240726T170148Z LAST-MODIFIED:20240726T170148Z UID:10000052-1462492800-1470528000@knoxart.org SUMMARY:Contemporary Focus 2016: John Douglas Powers DESCRIPTION:Contemporary Focus 2016: John Douglas Powers \n  \nMay 6-August 7\, 2016 \n  \nJohn Douglas Powers investigates the intersection of natural history\, technology\, music\, and physical space in the form of intricate kinetic sculptures and atmospheric video projections. By employing motion and sound in his work\, he incorporates the passage of time as a compositional element in an attempt to examine abstract and often intangible topics such as memory\, thought\, emotion\, and language. \n  \nAt the center of the exhibition is a monumental motorized sculpture entitled Locus (2015). At 22 feet in diameter\, it is the largest and most ambitious standalone object Powers has produced to date. It consists of several hundred moving parts—some of which are carved from various woods including oak\, poplar\, and aspen. The rounded form of the sculpture draws inspiration from sources as varied as ancient Etruscan burial mounds and its inner workings recall agrarian machinery that reshaped the rural Indiana landscape of Powers’ youth. Sprouting from its rugged\, mechanized base are delicate reed-like elements\, whose patterns of movement suggest strands of foliage disturbed by natural currents of wind or water. \n  \nAccompanying Locus is one of Powers’ recent video projections\, Revenant (2014). As if a portal to another plane\, it presents a clouded void whose ethereal character stands in stark contrast to Locus’s sprawling structural framework. The contrast between physically imposing sculptural forms and projected video imagery is central to Powers’ studio practice: “Solid\, tangible materials of construction are in distinct counterpoint to the ephemerality of movement\, sound\, and time. Implicit in both objects and images is the thin divide between everythingness and nothingness.” Although Revenant’s imagery implies absence\, the video’s title offers the promise of return and a reconnection to the past. \n  \nContemporary Focus recognizes\, supports\, and documents the development of contemporary art in East Tennessee.  Launched in 2009\, this KMA-organized exhibition series features the work of artists who are living and making art in this region\, and exploring issues relevant to the larger world of contemporary art. \n  \n  \nABOUT THE ARTIST \nJohn Douglas Powers was born in Frankfort\, Indiana in 1978. His sculptural work has been exhibited nationally at venues including the Crystal Bridges Museum of American Art\, MIT Museum\, Mariana Kistler Beach Museum of Art at Kansas State University\, Huntsville Museum of Art\, Wiregrass Museum of Art\, Alexander Brest Museum\, Masur Museum\, Gadsden Museum of Art\, Jonathan Ferrara Gallery\, Brenda Taylor Gallery\, Georgia Museum of Art\, Vero Beach Museum of Art and Cue Art Foundation. His videos and animations have been screened internationally. \n  \nPowers studied art history at Vanderbilt University and earned his MFA in sculpture\, with distinction\, at the University of Georgia. His work has been featured in The New York Times\, World Sculpture News\, Sculpture Magazine\, Art Forum\, The Huffington Post\, Art in America\, and The Boston Globe\, and on CBS News Sunday Morning. He is the recipient of a Guggenheim Fellowship\, Virginia A. Groot Foundation Award\, Joan Mitchell Foundation MFA Grant\, and Southeastern College Art Conference Individual Artist Fellowship. Powers currently lives and works in Knoxville and is Assistant Professor of Sculpture at The University of Tennessee. \n  \nJohn Douglas Powers 1978 URL:https://knoxart.org/event/contemporary-focus-2016-john-douglas-powers/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/contemporary_focus_john_powers_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20160506T000000 DTEND;TZID=America/New_York:20160807T000000 DTSTAMP:20260429T040951 CREATED:20240726T170148Z LAST-MODIFIED:20240726T170148Z UID:10000053-1462492800-1470528000@knoxart.org SUMMARY:FULL STOP: Tom Burckhardt DESCRIPTION:FULL STOP: Tom Burckhardt \n  \n  \nFULL STOP is an elaborate installation fabricated entirely of cardboard and black paint. It takes the form of a mythical modern artist’s studio\, complete with hundreds of tools\, paint brushes\, and other supplies\, each constructed with great attention to the smallest detail. FULL STOP examines an artist’s inner sanctum\, and explores notions of creativity\, inspiration\, and the lives of individuals who helped shape the art world of today. \n  \nThe installation is filled with specific art historical references including Jackson Pollock’s shoes\, Jasper Johns’s Savarin can\, and Edward Hopper’s potbellied stove. Entering the installation\, the viewer animates the space while experiencing an artist’s creative dilemma first hand. As Burckhardt states: “This walk-though environment is full of the clutter and paraphernalia of the modern painter\, toiling in romantic obscurity against the existential void. Except he/she doesn’t seem to be succeeding. A basic lack of ideas has crippled production despite having all the right materials: tools\, art supplies\, art books and postcards of past masters’ work at hand. The highly detailed and slavishly worked whorl of the stuff of art-making and bohemian existence\, all carefully constructed of cardboard and painted in a cartoon-like manner\, belie the contradiction at the center of the room: a blank canvas sitting on the easel.” \n  \nTom Burckhardt was born in New York in 1964 and has spent his entire life there. He graduated with a B.F.A. in Painting from SUNY Purchase in 1986 and attended the Skowhegan School of Painting and Sculpture that same year. He has been exhibiting since 1992 at various New York galleries including Tibor De Nagy Gallery and Caren Golden Fine Art\, as well as Gregory Lind Gallery in San Francisco\, California. \n  \nFULL STOP  is organized by the Columbus College of Art and Design\, Columbus\, Ohio. \n  URL:https://knoxart.org/event/full-stop-tom-burckhardt/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/tom_burckhardt_full_stop_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20160129T000000 DTEND;TZID=America/New_York:20160417T000000 DTSTAMP:20260429T040951 CREATED:20240726T170148Z LAST-MODIFIED:20240726T170148Z UID:10000054-1454025600-1460851200@knoxart.org SUMMARY:Knoxville Seven DESCRIPTION:The Knoxville 7      \n  \nThis exhibition is the first ever devoted to the history and legacy of a group of groundbreaking Knoxville artists who worked and exhibited together from the mid 1950s until 1965. C. Kermit “Buck” Ewing\, who came to Knoxville as the first head of the University of Tennessee art department\, recruited a group of progressive artists—initially Carl Sublett\, Walter Stevens\, and Robert Birdwell—to exhibit together in Knoxville and throughout the Southeast. Brash and ambitious\, they explored the new visual language of Abstract Expressionism and produced what are likely the first abstract art works in East Tennessee. Sometimes they exhibited as a foursome and later as “The Knoxville 7” with fellow painters Joanna Higgs Ross and Richard Clarke\, and sculptor Philip Nichols. They were influential as artists and teachers\, establishing a foothold for avant garde ideas in East Tennessee and elevating the area’s visual arts profile. This exhibition calls attention to the important artistic contributions they made collectively and individually. This is the most comprehensive presentation of their work to date\, and represents an important step the KMA’s mission to preserve and celebrate East Tennessee’s art history. \n  \nThe Knoxville 7 remained a loose association whose artists maintained distinctly separate creative paths. Certain members worked closely with one another\, while others rarely communicated except on matters related to the group’s exhibitions. Robert Birdwell and Buck Ewing were bonded by their common interest in painting the human figure and city views. However\, Birdwell strongly favored Knoxville subjects while Ewing often depicted views of faraway places and exotic subjects encountered on his frequent overseas travels. Walter Stevens and Carl Sublett shared a passion for landscape painting out of doors\, whether in local marble quarries or coastal Maine where they summered with their families.   While Sublett shifted effortlessly between gestural landscape abstractions and realist figure paintings\, Stevens consistently produced abstract vistas in which land and sea appear by stirred by turbulent natural forces. Watercolor specialist Richard Clarke often joined Stevens and Sublett on painting sessions in Knoxville and Maine\, as did Ewing on occasion. In her atmospheric canvases\, Joanna Higgs Ross applied networks of bold cross-hatched strokes to transform local landscapes into dynamic studies of sky and foliage\, or shadowy backdrops for introspective self portraits. Philip Nichols\, the Knoxville 7’s sole sculptor\, brought extensive industrial welding skills to the production of intricate steel forms that\, in their abstract geometric volumes\, served as fitting sculptural counterparts to the largely abstract canvases produced by other members of the group. \n  \nAs for their collective contributions\, the Knoxville 7 artists invigorated Knoxville’s art scene with a regular slate of art exhibitions\, benefit art auctions\, and lively opening events. They promoted the notion that meaningful art could happen in Knoxville as much as anywhere. They also brought visibility to city’s art scene by circulating exhibitions of their work to important venues around the Southeast\, and connected Knoxville to the larger art world by introducing international contemporary art concepts in campus classrooms and in the paintings and sculptures they exhibited locally. \n  \nBy the mid 1960s\, in light of rapid growth in the University of Tennessee’s faculty and student body\, Ewing suspended the group’s activities and left them to pursue their own individual endeavors. Each continued working\, teaching\, and exhibiting\, and occasionally collaborated with one or more members of the group on exhibitions held at various local and regional venues. By 1965\, although their collective identity ended\, the group had firmly established Knoxville as an important spot for contemporary art in the Southeast. \n  \nLittle documentation of The Knoxville 7 exists outside of a handful of news articles and publications\, recollections of local audience members who attended the group’s events\, and works of art scattered throughout various private and public collections. This exhibition is a vital step toward raising awareness of Knoxville 7 artists’ historical significance\, locating additional works of art\, and uncovering new information about the artists and their activities. Toward that goal\, the KMA seeks works of art\, letters\, photographs\, articles\, eyewitness accounts\, and other information capable of supporting future projects aimed a defining the legacy of the Knoxville 7 in greater depth. \n  \n  URL:https://knoxart.org/event/knoxville-seven/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/knoxville_seven_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20151127T000000 DTEND;TZID=America/New_York:20160110T000000 DTSTAMP:20260429T040951 CREATED:20240726T170148Z LAST-MODIFIED:20240729T194347Z UID:10000055-1448582400-1452384000@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2015 DESCRIPTION: URL:https://knoxart.org/event/etrsae-2015/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Best-in-Show-2014-Alex-Valone-12th-Grade-But-I-Was-Never-Silent-Photography-Tennessee-High-School-Donald-Quales-Art-Teacher-scaled-e1629210853948.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20150821T000000 DTEND;TZID=America/New_York:20151108T000000 DTSTAMP:20260429T040951 CREATED:20240726T170148Z LAST-MODIFIED:20240726T170148Z UID:10000056-1440115200-1446940800@knoxart.org SUMMARY:The Paternal Suit: Heirlooms from the F. Scott Hess Family Foundation DESCRIPTION:The Paternal Suit consists of over 100 paintings\, prints\, and objects created by Hess\, but presented as legitimate historical artifacts\, and supported by photographs\, documents\, and historical ephemera. Each object and artwork bears an artist’s name and detailed provenance and has been executed in the style of the century from which it supposedly originates. Sculpture\, ceramics\, furniture\, toys\, newspaper clippings\, historic photographs\, guns\, and costumes advance the story. Hess does not claim authorship for the works on display. Instead\, he ascribes to them fictional artists\, referring to himself as the Director of the “F. Scott Hess Family Foundation.” \n  \nThe exhibition follows Hessʼs ancestral lineage from 17th century England to the Puritan settlements of South Carolina and Georgia\, where family members became key players in the War Between the States (1860–65).  Through the prism of his ancestry\, Hess examines the impact of false history and deception within each generation and throughout society as a whole\, and questions the authority of these perceived “truths.” The ultimate subtext for the installation\, which traces the trajectory of the Iverson\, Patton\, Nolan\, and Hess family lines\, is the seven-year old artist’s abandonment by his own father after a parental divorce. \nF. Scott Hess 1955 URL:https://knoxart.org/event/the-paternal-suit-heirlooms-from-the-f-scott-hess-family-foundation/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/paternal_suit_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20150508T000000 DTEND;TZID=America/New_York:20230802T000000 DTSTAMP:20260429T040951 CREATED:20240726T170439Z LAST-MODIFIED:20240726T170439Z UID:10000057-1431043200-1690934400@knoxart.org SUMMARY:Evan Roth: Intellectual Property Donor DESCRIPTION:Intellectual Property Donor is the first major U.S. one-person presentation of Evan Roth’s pioneering\, multi-faceted and interactive installations\, custom software\, prints\, sculptures and websites. Roth\, a self-professed “hacktivist” artist\, is interested in uses of technology in popular culture and the urban environment. He playfully transforms existing information systems into public\, often political\, statements. Blurring the line between artist and hacker\, the exhibition challenges gallery visitors to consider how everyday life intersects with virtual reality and how viral media can become high art. In addition to the kind of work included in this exhibition\, Roth has collaborated with Jay-Z on the first open source rap video. Born in 1978 in Okemos\, Michigan\, Roth earned a degree in architecture from the University of Maryland\, and an M.F.A. from the Design and Technology department at Parsons The New School for Design from which he graduated as class valedictorian. He worked at the Eyebeam OpenLab\, an open source creative technology lab for the public domain from 2005 to 2007 and co-founded the Graffiti Research Lab in 2005 and the Free Art and Technology Lab (FAT Lab)\, an arts and free culture collective\, in 2007. Roth currently lives in Paris with his wife and daughter where he maintains a studio and is represented by XPO Gallery. His work can be found online at evan-roth.com. \nAdditional Resources:\nEvan Roth Video 1 \nEvan Roth Video 2 \nEvan Roth Video 3 \n\nEvan Roth 1978 URL:https://knoxart.org/event/evan-roth-intellectual-property-donor/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/evan_roth_intellectual_property_donor_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20150130T000000 DTEND;TZID=America/New_York:20150419T000000 DTSTAMP:20260429T040951 CREATED:20240726T170148Z LAST-MODIFIED:20240726T170148Z UID:10000059-1422576000-1429401600@knoxart.org SUMMARY:LIFT: Contemporary Printmaking in the Third Dimension DESCRIPTION:The featured artists are Enrique Chagoya\, Lesley Dill\, Olafur Eliasson\, Robert Gober\, Red Grooms\, Hideki Kimura\, Nicola Lopez\, Oscar Munoz\, Leslie Mutchler\, Marilene Oliver\, Dieter Roth\, Graciela Sacco\, and Jonathan Stanish. Organized by the KMA and presented in conjunction with the Printmaking Program\, School of Art\, University of Tennessee\, Knoxville. \nClick here for the LIFT catalog \n  \nLIFT: Contemporary Printmaking in the Third Dimension \n  \nJanuary 30-April 19\, 2015 \n  \n  \nLIFT: Contemporary Printmaking in the Third Dimension examines recent developments aimed at extending the physical and conceptual possibilities of the print as defined by an international slate of established and emerging artists. The works in LIFT incorporate new materials and digital tools\, as well as traditional approaches applied in innovative and unexpected ways. These adventurous works reflect the range and vitality of experimentation within printmaking today. \n  \nThree-dimensional printmaking is completely different from and not to be confused with 3D printing\, which generally refers to extruded objects that are manufactured using automated digital printers in an industrial setting. The works in LIFT were conceived and produced by artists in a studio context and designed as art objects. A few of the featured artists are experienced printmakers\, while most are better known for their achievements in other media. Many rely on assistance from master printmakers\, who provide specialized equipment\, technical expertise\, and creative input. All of the artists in LIFT employ a variety of strategies—centuries-old as well as digital—in order to extend their work into the third dimension. \n  \nFour artists bend\, fold\, stitch\, or splice their works in order to give the original flat paper surface a sculptural profile. Sculptural printmaking pioneer Red Grooms conceives vibrant narrative lithographs that are printed in parts\, and then cut\, folded\, bent\, and assembled so that key features protrude into the viewer’s space. Hideki Kimura arranges small folded and cut inkjet print dioramas on transparent shelves that extend into space in order to interact with light and shadow\, yet without sacrificing the integrity of the single paper sheets from which they were created. Mixed media artist Lesley Dill cuts\, folds\, and stitches her printed imagery in enigmatic figurative works inspired by the symbolic and visual potential of language to express the human soul. A self portrait lithograph by Jane Hammond takes the form of a mummy case shaped into full relief using bent and folded paper panels whose gilded surface is adorned with a mixture of hieroglyphics and pictograms taken from the artist’s 276-part lexicon of symbols. \n  \nOther artists produce their sculptural works by screen-printing imagery onto non-traditional materials or by presenting it in non-traditional arrangements. Graciela Sacco creates one-of-a-kind prints by transferring appropriated photographic imagery onto various found objects using light-sensitive chemicals in ways that amplify her social commentary.  Dieter Roth\, credited with being the inventor of the artist’s book\, is represented by a stamp kit he designed so that audiences could participate in his in-depth investigation of the relationship between language and image. Andy Warhol-inspired prints by Enrique Chagoya are adhered to soup cans and slot machines to create playful points of entry into difficult issues such as political corruption and cultural imperialism. Jonathan Stanish combines his interests in ceramics and printmaking by applying geometric glaze patterns derived from traditional Native American art onto wet ceramic slabs that are then shaped by hand to resemble windblown textiles. Oscar Muñoz transfers portrait imagery onto paper fragments floating on water using charcoal dust in unique time-based works inspired by notions of vanity\, the passage of time\, and the fragility of life. In an interactive installation by Leslie Mutchler\, printmaking is a catalyst for a communal dialogue between artist and audience in which meaning is generated through the shared activity of assembling a sculptural print rather than by its material product. \n  \nAnother means of creating three-dimensional works is through the layering of multiple print elements. Marilène Oliver translates digital medical scans of her parents’ bodies into screen prints on acrylic sheets stacked in order to construct ghostly doppelgängers. Installation artist Olafur Eliasson presents an oversized book containing 908 laser-cut pages depicting a sequence of precise vertical sections of the entire interior space within an elaborate early twentieth-century house—in this case\, his childhood home in Copenhagen. Nicola López overlays a series of large monotypes and laser-cut mylar sheets to produce one-of-a-kind images that reveal the intricate inner workings of monumental structures derived from the contemporary industrial landscape. Robert Gober\, who frequently uses print media in his installations\, presents a photolithograph of himself disguised as a young bride in a newspaper advertisement atop a bundled stack of prints simulating used newspapers awaiting disposal. \n  \n________ \n  \nOrganized by the Knoxville Museum of Art. The KMA wishes to thank Beauvais Lyons\, Chancellors Professor\, School of Art\, UTK\, for his assistance with the exhibition. \n  \nPresenting sponsors: Emerson Process Management\, and the University of Tennessee Medical Center \n  \nAdditional financial support provided by the University of Tennessee\, Knoxville School of Art. \n  \nThis exhibition is funded in part by a grant from the National Endowment for the Arts (logo) \n Additional Resources:\nFulton High School LIFT project URL:https://knoxart.org/event/lift-contemporary-printmaking-in-the-third-dimension/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/lift_header.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20150130T000000 DTEND;TZID=America/New_York:20150419T000000 DTSTAMP:20260429T040951 CREATED:20240726T170148Z LAST-MODIFIED:20240726T170148Z UID:10000058-1422576000-1429401600@knoxart.org SUMMARY:Contemporary Focus 2015 DESCRIPTION:Contemporary Focus 2015                \nJanuary 30-April 19\, 2015/Hall & Rogers Gallery \n  \nContemporary Focus is an exhibition series that supports and documents the development of contemporary art in East Tennessee. The series features the work of artists who are living and making art in this region\, and who are exploring issues relevant to the larger world of contemporary art. \n  \nThe three artists selected for this year’s installment have a common interest in creating works that examine the uncertain terrain between personal experience and external reality\, between abstraction and representation\, and between civilization and nature. Caroline Covington produces sculptural mixed media works that explore notions of displacement\, mortality\, and chance. Mira Gerard’s dense figure paintings integrate subject matter from her own video recordings and found imagery in ways that blur the boundaries between dream and reality. Karla Wozniak’s canvases depict an American landscape powerfully abstracted into a series of bold patterns\, rich textures\, and striking color schemes. \n  \n  \nCaroline Covington \n  \nCaroline Covington is a sculptor and installation artist living and working in Chattanooga. Her current research examines the rituals\, superstitions\, and rites of passage perpetuated within contemporary communities. The artist’s work exposes the anxieties and apprehensions felt towards myths of the past and uncertainties of the future\, specifically addressing Southern and Appalachian mysticism and folklore. Some of Covington’s installations feature components that are fully realized only through audience participation. \n  \nCovington earned a Bachelor of Fine Arts in Sculpture\, a Bachelor of Arts degree in Art History from the University of Georgia\, and a Master of Fine Arts from the Rinehart School of Sculpture at the Maryland Institute College of Art. Her work has been exhibited in fine arts venues in the eastern U.S.\, and one of her works was performed in St. Petersburg\, Russia. She currently serves as assistant professor of sculpture at Chattanooga State Community College. \n  \n  \nMira Gerard \n  \nMira Gerard is Johnson City-based artist whose creative practice spans painting\, writing\, performance\, and video. She draws inspiration from literature\, film\, and mythology in which individuals experience meaningful encounters with the surrounding landscape. Her paintings often stem from photographic and film-based images\, in many cases her own staged photo shoots. Most feature enigmatic female figures within shadowy environments constructed out of dense accumulations of expressive brushwork. \n  \nGerard earned a Bachelor of Fine Arts from Indiana University and a Master of Fine Arts from the University of Georgia.   Her work has been exhibited at Nave Gallery in Somerville\, Massachusetts\, the Huntsville Museum of Art in Huntsville\, Alabama; and the William King Museum in Abingdon\, Virginia.  Gerard is chair and associate professor in the department of Art & Design at East Tennessee State University in Johnson City\, where she teaches undergraduate and graduate courses in painting as well as interdisciplinary graduate seminars. \n  \n  \nKarla Wozniak \n  \nKarla Wozniak’s vibrant oil paintings and watercolors are loosely based on roadside landscapes the artist has observed in her travels throughout the Southeast. These locations serve as points of departure into abstracted compositions in which landscape imagery—banded hills\, clouded skies\, sprawling vegetation—is compressed into jagged surface patterns defined by bold\, colorful brushwork. Although her paintings often contain subtle references to commercial development\, seasons\, weather\, and time of day\, her larger interest is in the expressive use of intensified color\, pattern\, and texture. \n  \nWozniak earned a Bachelor of Fine Arts from Rhode Island School of Design and a Master of Fine Arts from the Yale School of Art. Her work has been exhibited at Gregory Lind Gallery in San Francisco\, and Rebecca Ibel Gallery in Columbus\, Ohio. She has also participated in group exhibitions at the Bronx Museum of Art in New York City and at Inman Gallery in Houston. Wozniak lives in Knoxville and currently serves as assistant professor at the School of Art\, University of Tennessee\, Knoxville. URL:https://knoxart.org/event/contemporary-focus-2015/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/contemporary_focus_2015.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20141128T000000 DTEND;TZID=America/New_York:20150111T000000 DTSTAMP:20260429T040951 CREATED:20240726T170147Z LAST-MODIFIED:20240729T194353Z UID:10000060-1417132800-1420934400@knoxart.org SUMMARY:East Tennessee Regional Student Art Exhibition 2014 DESCRIPTION: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. In addition\, several others monetary awards will be presented. Each student in the exhibition will receive a certificate of participation and in each of the 10 categories the winners will receive a museum family membership. For more information\, please contact Rosalind Martin at rmartin@knoxart.org or 865.523.6349. \nClick here for the 2014 exhibition program URL:https://knoxart.org/event/etrsae-2014/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/2013-Best-In-Show-Grace-Khalsa-12th-Grade-22Trompe-loeil-Shoe22-Ceramic-Farragut-High-School-Wendie-Love-Art-Teacher-300x200-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20140815T000000 DTEND;TZID=America/New_York:20141109T000000 DTSTAMP:20260429T040951 CREATED:20240726T170147Z LAST-MODIFIED:20240726T170147Z UID:10000061-1408060800-1415491200@knoxart.org SUMMARY:This World Is Not My Home DESCRIPTION: URL:https://knoxart.org/event/this-world-is-not-my-home/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/Lyon-Danny-Tennessee-Valley-Fair-Knoxville-1967-no-frame-2014.15.12-1-300x201-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20140516T000000 DTEND;TZID=America/New_York:20140727T000000 DTSTAMP:20260429T040951 CREATED:20240726T170147Z LAST-MODIFIED:20240726T170147Z UID:10000062-1400198400-1406419200@knoxart.org SUMMARY:Leonardo Silaghi: 3 Paintings DESCRIPTION: URL:https://knoxart.org/event/leonardo-silaghi-3-paintings/ CATEGORIES:Exhibitions,Past ATTACH;FMTTYPE=image/jpeg:https://knoxart.org/wp-content/uploads/2023/10/leonardo_silaghi_3_paintings_header.jpg END:VEVENT END:VCALENDAR