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Tuesday, April 22, 2014

Dedication of Atelier InSite and CAFLS Public Art Installation by Klari Reis, April 25, 2014

Clemson University's new Life Sciences Building

Klari Reis: Clemson Genus Project
Please join the Art Department's Atelier InSite and the College of Agriculture, Forestry and Life Sciences (CAFLS) in celebrating the installation of this new public art project by artist Klari Reis in the Life Sciences Facility on Friday, April 25th at 1:30 pm. The installation spans three floors of the Life Sciences facility, and features 600 circular petri dish paintings.

Refreshments will be served. 
Free and open to the public.

Life Sciences Facility
190 Collings St., Clemson, SC 29634

The initiative is part of Atelier InSite, a Creative Inquiry program that focuses on the implementation of public artwork at Clemson University. This student-driven program encourages cross-disciplinary collaboration and provides hands-on opportunities for students to conduct research on the nature of public art, investigate the design build process, conduct site analysis and identify site locations for artwork.

“Atelier InSite is uniquely Clemson because we’re engaging students as the primary generator of this project,” said Detrich. “You see a lot of top-20 schools with similar programs, but those are not student driven. We want to establish a precedent for student engagement in similar programs.”

Artist Website:
Klari Reis uses the tools and techniques of science in her creative process, constantly experimenting with new ways to apply materials and methods. She is driven by curiosity and her desire to explore and document the natural and unnatural with a sense of wonder and joy.  The artist currently works in San Francisco, close to one of the largest concentrations of life science companies in the world. Klari takes advantage of this proximity to collaborate with local biomedical companies and thus receive inspiration from the cutting edge of biological techniques and discoveries; this context grounds her artwork and lets her authoritatively explore the increasingly fuzzy line between the technological and the natural.
The unifying theme of Klari’s art is her mastery of a new media plastic, epoxy polymer, and the fine control she brings to its reactions with a constantly-expanding variety of dyes and pigments. The UV-resistant plastic, similar to resin, supplies a common framework for the methods and language that she uses to explore and express interactions of material and color on a microscopic level. Compositions display brightly colored smears, bumps and blobs atop aluminum and wood panels. She pigments the plastic with powders, oils, acrylics and industrial dyes, built up through many layers of the ultra-glossy plastic. The shapes and colors bleed, blur, shift, and spread becoming remarkable through their eccentric detail. A skilled technician with a studio for a laboratory, Klari has turned these processes of her own invention into science in the service of her art.
Klari Reis is represented by The Cynthia Corbett Gallery. Her work has been exhibited worldwide and public collections include Microsoft Research in Cambridge, UK; Next World Capital’s offices in San Francisco, Paris, and Brussels; the MEG Centre in Oxford, UK; Royal Caribbean Cruise Lines; The Peninsula Shanghai Hotel; Theo Randall restaurant in London’s Intercontinental Hotel; Standard Life Investments in Bristol and London; Morley Fund Management, The Pullman Group, T.Rowe Price and Great Ormond Street Hospital (Morgan Stanley Clinical Building part of the Mittal Children’s Medical Centre) in London; the Stanford University Medical Center Hoover Pavilion in California; and Elan Pharmaceuticals, Genentech, Acetelion and Cytokinetics in South San Francisco.
 Klari’s work has been featured in international publications such as The New York Times, GQ, Wired UK, Nature Chemical Biology, Elle Magazine, Time Out London, Artweek San Francisco, Art in America, Art Ltd. Magazine, Giornale Del Medico, Science Magazine, The Times, The New York Post, The Independent, Evening Standard Magazine, Frieze Magazine, The Financial Times, San Francisco Business Times, BBC1, CNN Business Report and CBS News Market Watch.

Monday, April 21, 2014

Your Story for a Mug: The Potent Objects Project Moves to the Edgar Brown Digital Resources Laboratory

Stop by Cooper Library in the heart of the Clemson University campus from April 21-25, 2014 to experience this wonderful exhibition/exchange project by Patricia Fancher and Brent Pafford.

To whet your appetite, read this informative article by Neil Caudle for the Spring 2014 issue of glimpse magazine. 

Patricia Fancher and Brent Pafford in the Acorn Gallery,
with their handiwork. Photo by Benjamin Hines.
Would you swap a story for a mug? So far, several hundred people have taken the deal. What happens next is anybody’s guess, which is sort of the point.
Patricia Fancher, a Ph.D. candidate in rhetorics, communication, and information design, got together with Brent Pafford, a potter and master’s candidate in fine arts, to test the notion that a mug can hold more than your coffee, hot tea, or a motley bouquet of pencils and pens. A mug, they thought, could also hold meaning. We grow attached to our mugs and include them in our everyday rituals, at work and at home. If we share a mug, or borrow one, or spill our secrets while we cling to one, the mug is also a conduit between people, Fancher says. So the mugs become, as Fancher and Pafford put it, “potent objects.”
“With use and time they gather significance,” Fancher says. “Everybody who touches them makes them different.”

Four hundred takers

The Potent Objects Project, which debuted at the end of January with an opening at the Acorn Gallery in Lee Hall, involves trading a handcrafted mug to anyone willing to pony up a story. Fancher estimates four hundred takers. And the project is already out of control because Fancher and Pafford planned it that way.
“We want to expand the notion of what it is to be an author,” Fancher says. “Authorship is not always about one individual controlling the work. Rhetoric and art are both inherently social. With this project, we are deliberately choosing to give up our authorial intent to four hundred participants. Which makes it far more interesting, I think, because it’s so massive.”
So the mugs go out, the stories come in, and Fancher and Pafford explore the connections. They are recording the stories as audio, to play in a gallery, and are using a website to follow the fate of their mugs. Each mug has been tattooed, on its bottom, with a QR code, which a smart phone can use to open the Potent Objects Project website. On the site, participants can log their locations, post photos, add stories, and describe what the mug has been up to lately. Fancher and Pafford hope that each participant will bond with a mug for a couple of weeks and then pass it along, to gather more stories and steep new connections. The mugs, they say, could go global.

Over his holiday break, Pafford throws another mug on the potter’s wheel as ranks of unfired vessels wait for handles. Photo by Jessica Hilvitz.

Babysitting five hundred mugs

All of this sounds a lot simpler than it was. For one thing, the team didn’t just go out and buy a few crates of cheap mugs. Fancher and Pafford supposed that a mug made by hand, by a potter with artistic intention, might conceivably elevate the potency of a potent object. Pafford isn’t making any philosophical pronouncements on that point, but his basic design for the mugs is meant to suggest human touch and to stir up personal associations. He began with a basic mug form and added a slight bell curve to the top, to hold heat. “We made them fairly thick,” he says, “like the mugs from a diner, and heavy, so you can feel some weight in your hand.”
Handcrafted potency came at a price. First, the team had to mix the four ingredients of white porcelain clay, eight hundred pounds of it in fifty- to seventy-five pound batches. They used a pug, a heavy-duty mixer of sorts, to extract air and align the particles. After the clay rested for a week, Pafford spent several days throwing mugs on the wheel. He “pinched off” the mugs to shape them and leave his fingerprints in the clay. When they were firm enough, he put the mugs back on the wheel, one by one, upside down, and trimmed the bottoms. Throughout, he had to keep checking each mug for dampness, to keep it from cracking.
“It was like babysitting five hundred little mugs,” Pafford laughs, “which is wonderful, and a disaster at the same time.” The endless repetition didn’t bother him, he says, because “I became aware of each detail and what it could mean to someone else.”
Fancher helped him attach the handles. “The worst day we had was the day we put handles on everything,” she says. “That took about thirteen hours. We call it The Day We Shall Not Mention. The clay was cold, so our hands got cold and dry, and it was the same repetitive motion, over and over. It was like a long car trip that’s fun at first, because you’re laughing and talking about bands you like, and that kind of thing. But then it gets tiring, and you’re saying, ‘Are we there yet?’”
As any potter can tell you, not every mug survives the kiln. For the initial firing, the team loaded mugs into all five of the art department’s electric bisque kilns. Thirty-six hours later, they opened the kilns and found what the firing had wrought. “We made five hundred mugs, and in the process we lost about a hundred,” Fancher says. “They cracked or fell off the shelf.”
The losses were especially poignant because of what Fancher and Pafford had invested to create the mugs. “We spent our Christmas break,” Fancher says. “We gave our participants our Christmas break.”
They unloaded the kilns and applied a clear glaze to the interiors and lips of each of the four hundred intact mugs. They left most of the exterior surfaces unglazed, not only to let the mugs acquire a natural patina but also to allow users to write messages directly on the porcelain. To prompt such writing, the team laboriously inscribed, by hand, three blank lines on the side of each mug.
The team’s debut at the Acorn included fifty stories and one hundred mugs reserved for the event. The culminating exhibit, planned for April 22 to May 2, will make use of digital media in the recently renovated Edgar Brown Digital Resources Laboratory, part of Clemson University Libraries.
How good are the stories, so far? Fancher laughs about a crazy party where a mug made a storied appearance. But as of this writing, her favorite story is the one she received first, from Greg Shelnutt, chair of the Department of Art. Here, with his permission, is what he wrote:
One of the most potent objects I own is an image. It is an image of an apple. It is a photograph made by my father. He made it the summer I became ill with a nerve virus that kept me from being able to walk for the entire summer. He had come early home from a large-format camera workshop with Ansel Adams to make sure I was all right.
My recovery was a slow process, and in addition to listening to Monty Python albums, we spent a lot of time talking and just being. My father was still in the mindset of Adams’ concept of “making” a photograph and giving the viewer the “equivalent” of what he felt. Thusly, one day he pulled a Granny Smith apple out of the refrigerator and put it on the dining room table to photograph. He ducked under the cloth hood, studying the light as it changed, watching the moisture condense, form droplets, and roll down its shiny surface, finally clicking the shutter at the appropriate moment.
He then sat down and contemplated the changing light through the dining room window, waiting for it to change in a way that might reveal another aspect of the apple. When he judged that the light seemed just right, he ducked under the hood again.
To his consternation, the apple was gone. He began to search the room, but to no avail…Until he looked down, and in his hand (I don’t recall which one), there was the apple core. The consumed apple was thus the subject of only the singular image, the singular moment.
My father died of cancer on January 7, 2003. At his eulogy, I talked about that apple, that moment, and that photograph, and how I wished that I knew where it was, since I did not have a copy.
On November 5, a package arrived from a longtime friend of the family, John Baskin, Jr. In that package was a framed copy of the photograph of the apple. When I called John to thank him for the meaningful gift, he was saddened to learn of my father’s passing; in my grief, I had failed to inform him. My father’s birthday was November 5.
In exchanging this story for Brent’s mug, I knew from the start that I wanted to pass the mug along to my daughter, Emily. It was both a chance to share this story with her again, and an opportunity to ask her what objects, stories, what moments are important to her. I have no expectations about what she will say, or to whom she will give the mug.
I am, however, thankful to The Potent Object Project for sparking this dialogue and future exchange. Ultimately, it made me think of a favorite quote from Claes Oldenburg: “I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary. I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.”
Story by Greg Shelnutt

The Potent Object Project was funded through a grant from the College of Architecture, Arts, and Humanities.

Spring Ceramics Sale: Lee Hall, Art Department, Clemson University

The Ceramics studio in the department of art at Clemson University will hold the Spring Ceramics sale on 10 a.m.-5:30 p.m. April 23 in the Lee Hallway in front of the Lee Gallery.

This popular annual sale is a fundraiser that supports students to travel to the next upcoming National Council on Education for the Ceramic Arts conference in Providence, R.I., as well as other professional activities which help further student research and collaborations.

The sale showcases a wide selection of both functional and sculptural artwork by ceramics undergraduate and graduate students, and faculty. The annual Ceramic Bowl Sale will be held again in fall 2014, in time for the holidays.

Wednesday, April 16, 2014

City of Slidell’s Mixed Media 2014 Call For Artists

The City of Slidell and Mayor Freddy Drennan are inviting artists from ten southeastern states to submit their works for the Slidell Cultural Center’s upcoming Mixed Media juried exhibition.

This annual competition, now in its twenty-second year, always proves to be a unique exhibit. To qualify as mixed media, artists must use two or more mediums to create their art. Last year’s exhibit included works created with paints, pastels, clay, wood, metals and fabrics, plus a wide assortment of other atypical media such as golden thread, rice paper and bamboo.

Patricia Brown, Professor of Art and Gallery Director in the Fielding Wright Art Department at Delta State University in Cleveland, MS, will serve as the juror for this year’s exhibition. She also maintains a private studio where she works in textiles, mixed media, handmade paper, drawing and wetplate collodion photography.

Brown’s work is included in the corporate collections of the Alluvian in Greenwood, MS; Peat, Marwick & Mitchel in Jackson, MS; Lenox Hilton in Atlanta, and Holiday Inn, Inc.; also in the collection of Arkansas Arts Center, City of Tampere, Finland and USM. A two time recipient of the MississippiArts Commission Artist's Fellowship, she exhibits extensively in juried and invitational shows including the Brooks Museum of Art (Memphis); Kyoto, Japan; and FIT's "Show Biz" in NYC. Brown is also a workshop instructor and researcher/lecturer on ethnic textiles of South America.
  • All artists 18 years or older, and 
  • Residing in the states of Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, or Texas are eligible for entry in the City of Slidell’s Mixed Media exhibit. Up to three works may be submitted by each artist, with a 
  • Flat rate entry fee of $25.00
  • A total of $600 in awards will be given to artists selected by the juror for first, second and third place. 
  • Entries must be submitted no later than Monday, May 5, 2014
  • Artists will be notified of acceptance into the exhibit by Thursday, May 8.

Complete entry details are available in the prospectus, which can be obtained from the Department of Cultural & Public Affairs (250 Bouscaren Street, Ste. 304) or downloaded under the Cultural & Public Affairs’ section on the city’s website,, or via:

Mixed Media will be displayed in the Slidell Cultural Center at City Hall located at 2055 Second Street, in Olde Towne Slidell. The exhibit opens on Friday, May 16, 2014, with an opening reception and awards presentation from 7 to 9 p.m. Gallery hours are Wednesday through Friday, from 12 noon to 4 p.m. and on Saturday, June 14, from 9 a.m. to 12 noon.

This event is held in conjunction with the Louisiana Cultural District and Slidell Olde Towne Main Street programs. Mixed Media is presented by the City of Slidell's Department of Cultural & Public Affairs, its Commission on the Arts and the 2013 - 2014 Cultural Season sponsors, including the East St. Tammany Chamber of Commerce; Friends of the Arts; | The Times-Picayune; Slidell Magazine; Slidell Memorial Hospital; Sophisticated Woman Magazine; CLECO Power; Ronnie Kole Foundation; Van Geffen Wealth Strategies, LLC; Bargains Plus!/Postal Plus!; Lowry-Dunham, Case & Vivien Insurance Agency; The Slidell Independent; 4G Printing; Baskin-Robbins/Coy and Donna Faucheux; Chateau Bleu; Councilman Bill & Laura Borchert; Dr. Nathan Brown, Northlake Oral & Facial Surgery; State Representative Greg Cromer; In Memory of Wayne Dunne; Northshore Harbor Center; Pontchartrain Investment Management; Rotary Club of Slidell Northshore; Signs Now; LA Public Service Commissioner Eric Skrmetta; Sunrise on Second Street; Terry Lynn’s Café & Creative Catering; Vicky Magas Insurance Agency; and Tanya Witchen, RE/MAX Real Estate Partners.

This exhibit is supported by a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the St. Tammany Commission on Cultural Affairs.

For more information about Mixed Media, please call the Department of Cultural & Public Affairs at (985) 646‐4375 or visit the city’s website at For the latest city news updates and information about upcoming events, follow the official “City of Slidell, La. – Municipal News” page on Facebook and the “City of Slidell, LA” page on Twitter.

Tuesday, April 15, 2014

Adrienne Lichliter, Clemson University Art Department MFA Candidate, Accepted into the 2014-2015 Kala Artist-in-Residence Program

Adrienne has been accepted into the Kala Art Institute's Emerging AIR Program and will be working in the Intaglio, Lithography, and Monoprint area.  Adrienbe will be in Berkeley for a month this summer.

The Kala Artist-in-Residence Program:

Artists working in various printmaking techniques, photo-processes, book arts and digital media including video production can apply to become an Artist-in-Residence at Kala Art Institute. Residency applications are accepted online three times per year. Artists who apply for residency should be familiar with at least one of the media offered at Kala. Considerations for acceptance are conceptual creativity and technical knowledge. Kala encourages use of both traditional and new technologies, and their admixture.

Resident artists receive 24-hour access to the printmaking workshop and/or electronic media center, individual storage space, possible exposure on Kala's website and in other exhibitions at Kala or outside exhibition spaces, and participation in a vital, international artistic community.
Kala Art Institute:

Founded in 1974 by Archana Horsting and Yuzo Nakano as an international workshop and forum for ideas, Kala Art Institute provides exceptional facilities to professional artists working in all forms of printmaking, digital media, photography, and book arts. Located in the former Heinz ketchup factory in West Berkeley since 1979, Kala’s 15,200 square foot facility houses an extensive array of artmaking equipment, as well as a public exhibition gallery, an art library and an extensive print archive. Established artists associated with Kala over the years include Squeak Carnwath, Roy de Forest, Jessica Dunne, Bella Feldman, Barbara Foster, Sonya Rapoport, Peter Voulkos, and William Wiley. In addition to the artists in residence program, the organization’s annual activities include over 100 classes and workshops open to the general public; 8-12 visual art exhibitions in Kala’s gallery as well as off-site locations; on-going lectures, artists talks, and special events open to the general public; and an Artists- in-Schools program that provides curriculum-based visual arts education to children in schools in Berkeley, Emeryville and Oakland. Kala currently serves approximately 25,000 individuals annually, many of whom reside in the East Bay region of the San Francisco Bay Area.

A print by Adrienne Lichliter
Kala Art Institute
2990 San Pablo Avenue
Berkeley, CA 94702

tel: 510-841-7000

1060 Heinz Avenue
Berkeley, CA 94710
tel: 510-549-2977 (office)
tel: 510-540-0935 (emc)
fax: 510-540-6914

Sierra Kramer, Clemson University Art Department Alumna, Accepted into Master of Fine Arts Program at FSU!

Sierra Kramer, installation detail, Lee III, Clemson, SC

Starting in the fall semester of 2014, Sierra (Clemson University BFA in Art, sculpture emphasis, May 2013) will attend  Florida State University's MFA in STUDIO ART program, a fully-funded, three-year, interdisciplinary, contemporary art program.  It is an interdisciplinary program with a strong focus on research and practice.  Readers of this blog may remember that Sierra's work was mentioned as a part of, A Meandering Thought, Sierra's two-person exhibition with Sharon Linnehan that ran at The Arts Center of Greenwood from May 8-30, 2013. 

Congratulations Sierra!

Monday, April 14, 2014

Lindsey Elsey, Clemson University MFA Candidate (Art-Ceramics) to Exhibit as a Part of the Mug Shots: 6th Annual Juried Cup Show

Below is an image of Lindsey's cup which is a part of the show.  To see all the cups on exhibit, please visit:

Lindsey Elsey, Cupcake Mug, 
thrown and altered porcelain, cone 6 oxidation
4.50″ x 5.25″ x 3.50″
Mug Shots: 6th Annual Juried Cup Show
Reception: Friday, April 4, 5-8pm
View through May 31

Our 6th annual juried cup show will feature the selections of juror Ted Adler, associate professor of art and area head of ceramics media at Wichita State University. Featured extensively in national and international shows, Adler is known for his contributions to conferences, workshops and print media as well as his residency with the Archie Bray Foundation, the international center for ceramic arts in Helena, Montana. He has also apprenticed with internationally respected artist Toshiko Takaezu.
At the First Friday opening reception, April 4 from 5 p.m. to 8 p.m., Best in Show and two Honorable Mentions will be awarded. The show will be on view through May 31, 2014.

Selected artists: Jeremy Ayers, Marian Baker, Brett A. Beasley, Jillian Blackwell, Jenni Brant, Chris Drobnock, Lindsey Elsey, John Giesin, Rebecca A. Grant, Benjie Heu, Molly Johnson, Deanna L. Johnson, Mark D. Johnson, JD Jorgenson, Lucien M. Koonce, Joshua Kuensting, Carol Long, Coleton Lunt, Scott Lykens, Kyounghwa Oh, Aubrey Purdy Rude, John-Thomas Richard, Luke Sheets, Miles Spadone, Iren Tete and Theo A. Uliano.