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Monday, June 30, 2014

Visual Display Internship for College Students in Greenville, SC Anthropologie

Hannah Diomataris, back left, store manager at Anthropologie, prepares for their Greenville opening on Friday in One. Wednesday, March 27, 2013. Heidi Heilbrunn 
Are you a college student interested in a Visual Display Internship in an Anthropologie store this Autumn?

Take advantage of unparalleled learning opportunities within our small, highly creative team. Interns will support the store visual team with the successful implementation of all display elements within a store- windows, signage, platforms, shelf uppers and jewelry cases. Interns will also be given substantive roles in special projects.

The successful Display Visual Intern will have a fine arts, applied arts, or design and architectural background. Installation experience is preferred. Candidates must be passionate about fashion and home design, and be interested in learning about the retail industry. They must be detail oriented, independent workers with strong communication and organizational skills. Interns must be highly creative, with a thorough understanding of the Anthropologie point of view, and a constant awareness of trends in fashion and home furnishings. Knowledge of various textiles and materials as well as familiarity with power tools, basic construction techniques, and installation is preferred.

Anthropologie will provide the intern with an on-the-job learning experience that is appropriate to their degree and is in line with expectations of their school.

Candidates must submit their resume along with a cover letter. In addition, all candidates will need to present electronically an inspiration board (8.5 x 11 pdf) that demonstrates their understanding of Anthropologie. We ask that you be creative with the inspiration board, there are no major guidelines. We want to know what inspires you whether it is magazine tears, pictures, or descriptive words. This is the creative part of the application, so have fun with it. Resume, cover letter, and inspiration board should be submitted in 1 PDF.

The intern must provide Anthropologie with the appropriate paperwork from their school, indicating requirements such as hours and expectations that must be met to earn college credit. It is the responsibility of the intern to ensure college internship requirements are met by the program.

Visual Internship Qualifications:
· Currently Enrolled in Accredited College or University
· Must receive College Credit
· Monday – Friday daytime availability
· Must work a minimum of 12 hours a week (90 day maximum)

Paid Internships are available to qualified candidates enrolled in an accredited college and earning college credit. For Intern consideration all candidates must currently be in enrolled in college at the time of the internship.

**Please do not apply unless you have met this expectation.

Please contact for more information and to submit an application.

visual manager
store #1403
T 864.242.4553
F 864.242.1795
1 N Main St Ste. A
Greenville, SC 29601

Mary Epp-Carter, Clemson University MFA Alumna, at School House Gallery, Provincetown, MA

Marty Epp-Carter, Disclosure of Enclosure
Presents: Marty Epp-Carter (CU MFA, Art, printmaking, 2009)
July 10, 2014 7:00 PM

With a special introduction by Nona Hershey

CONTACT: Mike Carroll 508.487.4800

We are pleased to present Marty Epp-Carter IN CONVERSATION with her work. Please join us at the gallery for light refreshments and an engaging visit with Marty as she discusses her time as a printmaker and painter in Boston, Provincetown and South Carolina; her trajectory into the new work currently on view at the gallery, and her responses to questions about a life-long studio practice, the ingredients of printmaking, and her role as an arts educator.

Marty Epp-Carter was raised in the Midwest, lived in Boston and Provincetown for over 20 years, and
moved from Massachusetts to Greenville, South Carolina in the winter of 2006. In 2009, Epp-Carter
earned an MFA in Printmaking from Clemson University and has been teaching as well as developing an ongoing studio practice in the south. She credits her continuously changing artwork to her ongoing
experimentation and collaborative work in the classroom. Since 2011, Epp-Carter has been developing a series of collages where she is appropriating her own work, going through piles of discarded prints and bits of personal detritus, looking for ways to weave together an important past with a continuously
changing present. She will discuss this new body of work and its sources and influences, as well as
answering questions. This event is free and open to the public.

Taylor's Mill Artists Exhibition at Hampton III Gallery features CU Faculty Emeritus Mike Vatalaro and CU Alumnus, Michael Marks

Michael Marks: Gray Paint (Oil on Panel) 24" x 18"

Taylor's Mill Artists
July 3 - August 16

Allison Brown
Frankie Daniels
Bryan Hiott
Daniel Marinelli
Michael Marks (CU MFA 2010)
Bob Ripley
Mike Vatalaro (CU Former Chair and Professor Emeritus of Art, Ceramics)
Doug Young

Opening: Thursday, July 3, 7-9 PM

Hours: Tuesday - Friday 1-5 PM
Saturday 10-5 PM

Phone: 864-268-2771

Hampton III Gallery
3110 Wade Hampton Blvd.
Suite 10
Taylors, South Carolina 29687

Wednesday, June 25, 2014

Jane Ann Sweeny, Clemson University Art Department BFA Alumna, in Four Person Exhibition at REDUX Contemporary Art Center

Jane Ann Sweeny
REORIENTATION opens Friday, July 11

On View: July 7 - August 2

Chloe Gilstrap, Kaminer Haislip, Kate MacNeil, and Jane Ann Sweeny: get to know these artists like never before at Reorientation.

Friday, July 11, 6 - 9 pm
Free and all are welcome!

Enjoy live music by Caroline de Golian and beverages from Holy City Brewing; Outta My Huevos food truck will be on site to satisfy your hunger.

Chloe Gilstrap, Kaminer Haislip, Kate MacNeil, and Jane Ann Sweeny will exhibit new work. These four women represent three vastly different media, but are united in skill, quality, commitment to craftsmanship, art, and life long learning.

Opening Reception: Friday, July 11, 6 – 9 pm

Meet the artists, enjoy beer from Holy City Brewing, and Outta My Huevos food truck will be on site, slinging their mouthwatering recipes.

Chloe Gilstrap
Chloe Gilstrap studied Studio Art with a concentration in Photography and Arts Management at the College of Charleston. She graduated Magna Cum Laude with Departmental Honors and received the Seltzer Prize in Studio Art from the college. Chloe works mainly in film but also appreciates digital photography. She enjoys shooting with vintage cameras and producing her photographs in the darkroom. She focuses much of her work on her surroundings and friends and actively experiments with other mediums to incorporate with her photography. Chloe currently resides in Wagner Terrace and works at Fuzzco, a creative agency in Charleston.

Kaminer Haislip
Kaminer Haislip earned her BFA in Jewelry and Metals (2002) and MFA in Silversmithing and Design with a Minor in Sculpture (2005) from Winthrop University. For both of her degrees she studied under Alfred Ward, an internationally acclaimed English silversmith. Currently she has a studio at Redux Contemporary Art Center in downtown Charleston, SC where she creates functional objects and jewelry. In addition to her work as an artist, she is frequently commissioned by individuals to create custom designs in silver and gold. Her award winning work is regularly exhibited nationally and internationally and has been featured in various publications, including Garden & Gun, Southern Living, Charleston Magazine, and Charleston Weddings.

Kate MacNeil
Kate MacNeil graduated from the College of Charleston Magna Cum Laude with a BA in Studio Art in 2011. She has been a studio artist at the Redux Contemporary Art Center since 2011 and currently works as the Printmaking Technician at the College of Charleston. She was recently awarded the Lowcountry Quarterly Arts Grant from the South Carolina Arts Commission, and was recognized as “One to Watch” in the Charleston City Paper’s Arts Issue.

Jane Ann Sweeny
Jane Ann Sweeny received her BFA in Printmaking from Clemson University (2003). She is a visual artist and an actress, spending 5 years in Los Angeles to focus on her craft. Jane Ann’s work focuses on the human condition, and the expression of things left unsaid. Her priority in life and art is to remove the masks of our culture and speak truth. Women especially are confined by the masks that our society dictates. Jane Ann’s art is quickly getting recognition and a place in the local art community in Charleston, SC.  

136 St. Philip Street, Charleston, SC 29403
HOURS Tuesday - Friday (10am - 6pm) Saturday (12pm-5pm)

Friday, June 20, 2014

MOVING LANDSCAPE #2 Artists in Residence program: Lecce, Italy

Applications must be submitted to and 
files mustn't exceed 10mb size. The applications must be presented by 
midnight (Italian time) on 15 JULY 2014.

Duration: 18 days between September and December 2014.

Moving landscape #2 is a workshop open to both national and international visual artists, without age limitations. The project aims to jumpstart a study
of the landscape, specifically the parts of it crossed or influenced by the
railway, and to build a discourse on the dialogue between, travel/land/

Moving Landscape takes form following the need to give a new and alternative  aesthetic value to the territory touched by the railway and to the anthropological consideration that it sparks.

Our goal is to supply monetary support and an organizational setup to  artistic research.

  • CV in PDF format (Italian or English);
  • Portfolio;
  • One or more proposals for the workshop with an abstract in PDF format and useful attachments (pictures and blueprints);
  • optional: reviews, websites, catalogues;

For further information and FAQ visit

Each selected artist will receive a grant of 2.200 euro.

ABOUT PepeNero
PepeNero is a no-profit organization. Since 2011 it sustains and start initiatives aimed to spark participatory processes of active citizenship about revivification of non­functioning public spaces supporting diversification of local enterprises. With the project 'Rete dei Caselli Sud Est' we launches the reclamation and the re­-purposing of the Sud­Est railways' crossing keeper houses as essential subjects in the sociocultural development of the region.

Moving Landscape is a PepeNero project inside the frame of GAP, a territorial laboratory of art's experimentation and contemporary languages contaminations. GAP is realized with the help of the Foundation 'Con Il Sud', inside the innovative and special projects in 2010, and with the contribution of the Puglia Region.

Southern Puglia, late 20th century, a dense net of 400km of railways is the nexus of commerce and communication, transporting people and wares throughout the region. With the advent of paved roads and electricity, commerce change his routes and railways lose swiftly their supremacy as means of transport. Crossing keeper's houses lose their value and their task, get forgotten and with them is forgotten also the sense of community and the social life that surrounded them.

The aim of the project Rete dei Caselli Sud Est (Crossing Keeper's Houses Network), launched by PepeNero in 2011, is to regain familiarity with the region, to build possible pathways, greenways on the pre-existent layout, maintaining the relation between the working and the social aspects of the keeper's houses, to map places and verbal accounts, and in the meantime to walk cultural associations through the Keeper houses' assignment process, seeing as, since about 10 years ago, management of disused keeper's house was entrusted to cultural associations.

Between January and March 2012 we started mapping the old railways, and forsaken crossing keeper's houses one by one, to acquire a first hand knowledge of the landscape and of the people that inhabit it, collecting stories and pictures.

After two years of work the archive grows bigger and with a distinctiveness and importance stronger by the minute. Here we propose the chance to draw from all the archive materials to create something unique.

Monday, June 9, 2014

Under Construction: Sense of Place, Picturing Life in West Greenville, opens Friday, June 13, at Clemson University's Center for Visual Arts Greenville

1278 Pendleton St.      Greenville, SC      
Open Hours: Tuesday - Saturday 10:30am - 5:30pm

Sense of Place

Picturing Life in West Greenville
Exhibit Duration: June 13 - August 30, 2014
Opening Reception: Friday, June 13 from 6:00 pm - 9:00 pm
Artist and Curator Panel Discussion: Tuesday, July 15 at 7:00 pm

Clemson University’s Art Department was recently awarded a $5,000 grant by the South Carolina Arts Commission allowing the Center for Visual Arts at Clemson University to bring the internationally and nationally recognized editor, founder and curator of Fraction Magazine, David Bram to curate the 'Sense of Place' exhibition that will be on display, June 13 - August 30 in its satellite facility, the Center for Visual Arts-Greenville. Bram invited four photographers to visit the Village of West Greenville to observe, learn and interpret what they discover through an artistic trained eye using the lens of a camera accompanied by audio recorded stories given by the neighbors in the community. This neighborhood was recently rebranded to honor its mill village history.
“It is my sincerest hope that the results of this project will be a collection of works where the creative community as well as the larger neighborhood will share and connect with each other” expresses current program coordinator for the CVA-Greenville, Gene Ellenberg. “The exhibit is designed to spark conversations and genuine interactions to empower the neighbors in the community by giving them a platform to tell their stories as well as acknowledge their history.”

All professional art photographers invited to participate in this exhibit are located in the southeast and have relevant experience creating a collection of works using environmental portraiture or storytelling. This type of experience will help convey and bring together a significant exhibit meant to honor its residents and surrounding community. The artists selected to participate in the implementation of this exhibit are Dawn Roe residing in Asheville, NC and Winter Park, FL; Dustin Chambers residing in Atlanta, GA; Kathleen Robbins residing in Columbia, SC; and Leon Alesi residing in Asheville, NC and Austin, TX.

The Sense of Place exhibit will be featured as special content in the July issue of Fraction Magazine gaining the Village of West Greenville and the CVA-Greenville exposure to an international audience.  Fraction Magazine is a monthly publication with an online venue dedicated to fine art, contemporary photography that has published over 250 photographers portfolios. Fraction editor, Bram, was recently named as one of the 101 Photo Industry Professionals You Should Follow on Twitter according to the web site Feature Shoot.
Several organizations and individuals are helping the Center for Visual Arts—Greenville to fulfill its requirement of matching the Arts Commission grant with local dollars and in-kind donations. Those who are supporting the CVA-Greenville are Richard and Gwen Heusel, the Friends of the Center for Visual Arts and Clemson University as well as significant financial support and vision given by The Community Foundation of Greenville. Local residents can see how the Arts Commission grant and local funds are benefiting the Center for Visual Arts—Greenville by visiting the location in The Village of West Greenville at 1278 Pendleton St, Greenville, SC 29611 and by visiting

Thursday, June 5, 2014

NUDE 6th Annual Exhibition Exploring the Uncovered Human Form

 ENTRY DEADLINE: JUNE 27, 2014 (gallery exhibit)

Manifest exhibits many kinds of works, from more conceptual and experimental art to the traditional. In fact we think it's important to have such a range in our repertoire. It is something that Manifest is known for. Our annual projects allow us the chance to track how artists around the world address a consistent theme, subject, or media over time, or allow us to document the state of art in a particular strata of professional creative activity, and to study and preserve our findings in a meaningful way through our exhibition catalogs and website.

NUDE is one such project. The human body is a popular subject for many reasons, the most obvious being that it is us.

This year we are excited to renew our invitation to artists to submit works in any media, of any style or genre (abstract, conceptual, highly realistic, etc.), and of any size and media, for consideration in Manifest's sixth annual NUDE, an international competitive exhibit exploring the uncovered human form in current art.

Open to any and all traditional and non-traditional visual arts media (including 2D, 3D, video, etc.), genre, subject matter, and content. Manifest's carefully assembled juries change from project to project, and as a body have no collective predisposition towards any particular kind or style of art.

Submission deadline: June 27, 2014

Manifest is a community-supported 501(c)(3) non-profit arts organization.

Manifest stands for the quality presentation, experience, and documentation of the visual arts, engaging students, professionals, and the public from around the world through accessible world-class exhibits, studio programs, and publications.
Manifest's 2013/2014 season (our 10th!) is supported by the generosity of community contributions to the ArtsWave Campaign. It is also made possible by funding from the Johnson Foundation, the John A. Schroth Family Charitable Trust (PNC Bank, Trustee), the Ohio Valley Foundation (Fifth Third Bank, Agent), the Ohio Arts Council, FotoFocus, and many individual supporting members.

gallery hours:
tues-fri noon-7pm, sat noon-5pm
(or by special appointment for groups)

closed Sun and Mon

CALL FOR ENTRIES: Crafting Civil (War) Conversations, February 2-May 30, 2015

Exhibition Concept
As the first state to secede from the Union, and the place from which the first battle shots were fired, South Carolina arguably started the Civil War.  One hundred and fifty years later, McKissick Museum at the University of South Carolina aims to end it with a juried exhibition of contemporary craft we hope will animate civil conversations about Civil War legacies.

A WPA-era building located on the University’s historic quadrangle, McKissick Museum stands in the company of the largest collection of slave-made structures on any campus in the United States.  These structures bear witness to enslaved African Americans’ artisan skill and manual labor.  They also provide a poignant backdrop for the Museum’s significant collections of 19th-century, alkaline-glazed stoneware and sweet grass baskets, cultural forms intimately tied to the presence of African slaves in the region and now seemingly synonymous with the southern experience.  It seems fitting, then, that McKissick Museum commemorate the 150th anniversary of end of the Civil War on April 9, 2015, with a major exhibition that symbolically re-enacts the Civil War’s end as a scene of reconciliation—not between the North and the South—but between former slaves and former slave owners.

We seek entries from artists working in what historically have been regarded as craft-based media--clay, fiber, glass, metal and wood—who will imagine and give visual and sculptural form to this scene.  It is perhaps the scene that Martin Luther King conjured when he dreamt of a day when “the sons of former slaves and the sons of slave owners will be able to sit down together at the table of brotherhood.” 

What kind of table might energize and sustain continued civic dialog about how the institution of slavery continues to shape southern life?  What kind of table, chairs, and table wares might bring people together to share a meal, share experiences, and speak candidly about the collective work that remains to be done?  Would the table be set with china, ceramic stoneware or wooden plates?  Would sterling flatware or oyster shells serve as eating utensils?  Would guests drink from glasses or gourds?  Would a tablecloth grace the table’s surface?  Do napkins or placemats define individual place settings?  Are there serving pieces on the table suggestive of the food traditions southerners forged and share?

In other words, what might the material culture of restorative justice look and feel like? 

See McKissick Museum’s website for updates.

$25,000 in purchase awards will be given to prize winning artists and/or artist collaboratives.  Artists are welcome to submit images of an individual artwork conceived of as a component part of a scene of reconciliation OR to submit images of an installation with multiple components OR to collaborate with other artists to submit images of an installation with multiple component parts.

Timeline for Exhibition
March 31                    CALL for ENTRIES issued
October 31                 DEADLINE for submission of IMAGES of objects entered
November 30             ACCEPTANCE notices go out
December 15             DEADLINE for delivery of artwork at Museum
Feb 2-May 30             FEB 2, EXHIBITION OPENS

To participate, artists must have been born in, raised in (minimum one year), or be currently living and working in one of the states that joined the Confederacy:  Alabama, Arkansas, Florida, Georgia, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, Texas, and Virginia.  This eligibility requirement ensures that the prize-winning artworks that will become part of McKissick’s permanent collection are aligned with the Museum’s collections policy.

Artists must work in craft-based media—clay, fiber, glass, metal, and/or wood. 

Submitted artworks must have been completed since April 2011, the start of sesquicentennial commemorations of the American Civil War.

To be eligible for this juried exhibition, artists must be 18 years old on or before the October 31, 2014 submission deadline.

Entry Fee
Artists must pay a $25 non-refundable entry fee.

Artists may submit up to five high-resolution digital images (minimum 300dpi/1MB) of artwork(s) for consideration to

All artwork/installations submitted for consideration should be able to fit in the elevator and/or be broken down into component parts that will fit in the elevator, the dimensions of which are 72”x48”x50”.  Designs for objects that will not fit these dimensions should be discussed with McKissick’s Curator of Exhibitions, Edward Puchner at 803-777-2515 or prior to production and/or submission. 

The artist is responsible for transporting artwork juried into the exhibition to and from McKissick Museum. 

Should an artist or artist collaborative submit for consideration an installation that includes digital media, that artist or artist collaborative will be responsible for providing the hardware (projector and/or motor) for the duration of the exhibition at McKissick.

Should an installation be juried into the exhibition, the installation artist or a member of the artist collaborative originating the work must be present one week prior to the opening of Crafting Civil (War) Conversations to assist Museum staff with installing the installation.

The artist’s or artist collaborative’s work must presently be wholly owned by the artist or artist collaborative.

Artists whose work is juried into the exhibition will receive and must sign and return to the Museum a loan agreement that will require the artist to loan the artwork for up to 3 years in order that the exhibit might travel to other venues.  McKissick aims to travel Crafting Civil (War) Conversations to a minimum of one venue in each of the states that joined the Confederacy to foster civil post-Civil War conversations regionally and nationally.  Hence, artwork juried into the exhibition needs to be available to travel for three years after the exhibit premieres in South Carolina.

Artworks juried into the exhibition may not be sold before the exhibition opens.

Artists may not substitute a different artwork for that juried into the exhibition.

Works must be original creations.  Gicleés and reproductions will not be accepted.

Wall-mounted works must be ready-to-hang (wired or include D-rings, screw eyes, or other hanging apparatus).

If the artwork requires any special mount(s) for display, the mount(s) must be provided at the time of artwork delivery.  Museum staff will furnish some standard risers/platforms for presentation purposes only.

Prize-winning artists must agree to transfer all ownership of and reproduction rights to the winning artwork to McKissick Museum On May 31, 2015.  Any sales of artwork in the exhibition will be considered pending until the exhibit closes at McKissick and prizes are awarded.  If prize winning artwork(s) were sold pending prize announcements, those pending sales will be voided once the artist accepts a purchase award.

Prize-winning artists must agree to grant McKissick Museum an irrevocable limited, permanent license to reproduce the artwork for the purposes of promoting the exhibition or McKissick Museum.

Wednesday, June 4, 2014

Arts North Carolina maintains a comprehensive listing of job opportunities in the arts in North Carolina

Job Listings

Arts North Carolina maintains a comprehensive listing of job opportunities in the arts in North Carolina. Listings are included in Arts North Carolina’s bi-weekly e-blasts and maintained on this page. Organization Members may submit unlimited listings at no charge. Non-members pay $50 per listing. Submit your job description and link to Contact Christine Olson at 919/834-1411 to make a payment and schedule the listing.


Tuesday, June 3, 2014

Clemson University program bringing public art to campus

Clemson University alumnus Chris Attaway, left, and Rhonda Powell, assistant manager of the Clemson light imaging facility, study a public art piece permanently installed in the university's life sciences facility. A new program is bringing more pieces of art to the university's campus.  [photo by Brittany LaMont]


May 31, 2014, Vol. 110, No. 107  

Reprinted with permission of the author and photographer.

CLEMSON – The City of Clemson has made tremendous strides in recent years with its focus on art, specifically through the work of the The Arts Center.

Clemson University also has a rich arts history of its own, through its arts department on campus as well as the Lee Gallery. But officials are expanding those efforts even further through its emphasis on public art.

Recently, Clemson University students Brittany LaMont and Stephen Farrow discussed that initiative during the annual Clemson State of the Arts Luncheon held in the Community Meeting Room at City Hall. The pair discussed Atelier InSite, a Creative Inquiry group tasked with bringing public artwork to Clemson University.

Atelier InSite is an umbrella that shadows over public art projects at Clemson University. Atelier is a French word that transitions to mean workshop or studio and applies the atmosphere generated within the creative inquiry groups dedicated toward the installation and development of public art.

“The vision is to establish a new paradigm to implement site-specific public artwork on campus,” LaMont said. “The latest is to have students decide what arts come to campus.”

She said the mission is to fully examine and research the nature of Site-Specific Public Art, providing critically considered and appropriate artwork for new campus projects. The effort is guided by a reflection of the internal programming of the buildings, relation to the buildings aesthetic and spatial properties, intellectual engagement, determination through inclusion of the people involved and the safety of others.

In August 2012, half of the construction budget of the Life Science facility ($160,000) was applied to the implementation of public art and development of the first CI course and recruitment of Art and Life Sciences students. That was followed in the fall of 2012 by the development of course and pedagogical groundwork for site-specific art and conception of the first site-specific commission; the spring of 2013 saw the facilitated dedication of the Life Sciences facility and selection of San Francisco artist Klari Reis among 218 initial applications for the first commission for the Life Sciences facility.
Attaway, left, and Powell in front of San Francisco, CA artist, Klari Reis's installation. [photo by Brittany LaMont]

This spring saw an art dedication of Reis called “The Clemson Genius Project,” composed of 600 individual paintings spanning three floors in which the public was allowed to name each piece that was later displayed with the final names given. The artwork included 600 piece petri dish paintings, plastic polymers, pigments and industrial dyes in petri dishes, on different sized rods to give the allusion of depth.

LaMont said art venues on the Clemson University campus would serve to compliment tourism in the state and bring out-of-state visitors to South Carolina, locally showcase artists of regional, national and international reputation and provide a thought provoking and engaging work to view. A total of 850 million people visit art venues in the United States each year while 483 million people attend professional sporting events and theme parks combined.

Updates on Lee III and the Watt Family Innovation Center and their role in art were also provided during the presentation. Lee III is a 55,000-square-foot expansion dedicated to architecture, art and landscape architecture; will be a highly sustainable building, with a net-zero environment in which it will produce as much energy as it consumes; and that more than 250 applicants have submitted requests for quotes for the project and that the selection of the artist is in progress.

The Watt Family Innovation Center, in which LaMont said construction has just begun, will consist of a three-story, 40,000 square foot intellectual center. Charles Watt, the man for which it has been named, said the center would be a place “to demonstrate and enable education, discovery and innovation.”

LaMont said the overall hope is to provide artwork that is unique and well rounded.

“Art doesn't necessarily have to be pretty, but interactively engaging,” she said. | (864) 973-6687

Follow on Twitter@journalgo

Jacqueline Kuntz, Clemson University BFA Alumna, Accepted into School of the Art Institute of Chicago's (SAIC) Master of Arts in New Arts Journalism

Jacqueline shaking President James F. Barker's hand at Graduation, Fall 2013
Starting in the Fall Semester 2014, Clemson University Art Department BFA Alumna (Art, 2013), Jacqueline Kuntz, will begin begin studies at the School of the Art Institute of Chicago's (SAIC) Master of Arts in New Arts Journalism program.  The program is designed to provide students with the necessary skills and experiences to function as an art and design journalist for newspapers, magazines, trade journals, radio, television, and new media such as blogs, podcasts, and graphic novels.

Since graduation, Jacqueline has been working at a number of galleries in the Upstate: Collections & Exhibition Coordinator at T. L. Norris Gallery, Greenville, SC; Public Relations and Assistant to Gallery Director, Liz Daly Designs, Greenville SC; and Exhibit Preparator, Lee Gallery, Clemson, SC. Collections & Exhibition Coordinator at T.L. Norris Gallery, Greenville, SC;
The School of the Art Institute of Chicago's (SAIC) Master of Arts (MA) in New Arts Journalism is designed to provide you with the necessary skills and experiences to function as an art and design journalist for newspapers, magazines, trade journals, radio, television, and new media such as blogs, podcasts, and graphic novels.

About SAIC's  New Arts Journalism program
Located within a vibrant school of contemporary art and design, the New Arts Journalism program provides a full engagement with the theory and practice of journalism and the opportunity to work closely with artists, art historians, cultural theorists, and art critics connected to a major American museum.

Unlike arts journalism graduate programs that add an arts emphasis to a journalism program, SAIC is a thriving site for students to combine in-depth knowledge of the arts along with the study of the rubrics of journalism.
Journalist, Editor, Designer

The MA in New Arts Journalism program at SAIC reinterprets and transforms the largely textual skills of a traditional journalist into the multitasking demands of contemporary arts journalism, where text and image are intertwined and where a journalist is often the initial designer and editor of his or her feature. In support of these multivalent demands, the curriculum includes courses in production and design in print, photography, video, and web-based formats and the study of the history and theory of contemporary art, film, television, the web, and design.

The SAIC New Arts Journalism program helps aspiring journalists to refine their writing of reviews, essays, interviews, and feature stories and examine the contexts of investigative reporting, the opinion piece, the documentary, and the critical essay in the context of art.

Three Clemson University Art Department BFA Alumni a Part of the Shift and Collide Exhibition at Riverworks, Greenville, SC

Reception: First Friday, June 6, 6-9pm

Shift and Collide: Drawings from Near and Far presents drawings from John Allen (BFA, Art, 2010), Bethany Flagg Pipkin (BFA, Art, 2006) and Jackson Zorn (BFA, Art, 2009), former Clemson studio art classmates, and their former professor, Heidi Jensen. John grew up in Greenville, Jackson in Anderson, and Bethany in Oakway, outside Seneca. All three studied together with Heidi, receiving their BFA degrees in Visual Art with concentrations in Drawing from Clemson University. Recently, each earned MFA degrees from programs located in Florida, North Carolina and Indiana. Their former professor, Heidi Jensen, now teaches at Ball State University in Indiana. Heidi has invited these three former students to exhibit their recent works with her at Greenville Technical College's Riverworks Gallery. Shift and Collide: Drawings from Near and Far draws back together a group of artists who are now dispersed geographically as careers develop and expand.

While each artist has pursued a singular direction of thought, and have not worked in close proximity to each other for many years, there are relationships to be found in this work. The drawings in this exhibition demonstrate a deep awareness of, and relation to, the natural, biological world. The works display drawing approaches that veer from highly sensitized systems of recording to open aggression. Transmitted are explorations of distance and proximity, the contemporary landscape, formation of matter, and systems of belief. All four artists employ drawing to investigate and recompose their subjects.

RIVERWORKS Gallery is operated by and for the faculty and students of the Visual and Performing Arts Department at Greenville Technical College. The gallery is located at 300 River Street, Suite 202, along the scenic Reedy River in downtown Greenville, South Carolina.   
For more information, call:
(864) 271-0679
or visit  

Sunday, June 1, 2014

Brent Pafford, Clemson University MFA Candidate, Accepted into the 11th Annual Marge Brown Kalodner Graduate Student Exhibition

Colanders, Brent Pafford
The Clay Studio will host The Eleventh Annual Marge Brown Kalodner Graduate Student Exhibition in August 2014. Any student currently enrolled in a Graduate Program with a focus in ceramics or graduating from a Graduate Program with a focus in ceramics in 2014 was welcome to apply. Three cash prizes will be awarded. The Marge Brown Kalodner Prize of $1000.00, The Jeff Guido Prize of $500.00, and The Amy Sarner Williams Prize of $500.00 


Selection Process

A three-member jury will selected the works for this exhibitions. The jury consisted of Marge Brown Kalodner, Garth Johnson and a guest juror to be announced.
Skillets, Brent Pafford
Over the past ten years, this exhibition has awarded $15,000 to 30 emerging artists. It has showcased the work of over 150 recent MFA graduates, the majority of whom have participated in additional exhibitions at The Clay Studio. Fourteen participants have gone on to become Clay Studio Resident Artists, two as Shapiro Fellows. This exhibition serves to identify the best emerging ceramic artists, provide a forum for both the exhibition and sale of their work and to offer support and affirmation to artists just beginning their journey.

About the Clay Studio:
Founded in 1974 by five artists in need of workspace, The Clay Studio was envisioned as a stepping stone for students fresh out of art school, offering affordable studio space and shared equipment. Within a short time, however, Clay Studio artists consciously shifted the Studio's mission from an inward focus to an outward educational and community focus. It was the artists' intention to affirm the importance of the ceramic arts alongside other art forms, as well as to bring clay as an accessible, tactile medium to a broad range of people. In 1979, the Studio became a non-profit 501(c)(3) educational institution. 

The Clay Studio
137-139 North Second Street 
Philadelphia PA 19106 
T-Sa 11am-6pm
Su 12p-6p