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Tuesday, July 29, 2014


The National Portrait Gallery's juried competition is open to artists 18 and over to submit portraits created after Jan. 1, 2013, in any visual medium including painting, drawing, sculpture, prints, photography, textiles, performance and digital media. 

The winner will receive a cash award of $25,000 as well as the opportunity for a separate commission for the Portrait Gallery's collection.

Entries may be submitted online starting Aug. 1. The exhibition finalists will be presented in 2016. 

Dawoud Bey, photographer and video artist, Chicago
Brandon Brame Fortune, chief curator, National Portrait Gallery
Helen Molesworth, chief curator, MOCA, Los Angeles
Dorothy Moss, associate curator of painting and sculpture, National Portrait Gallery
Jerry Saltz, critic, New York Magazine
Kim Sajet, director, National Portrait Gallery
John Valadez, painter, muralist and photographer in Los Angeles

The competition is open to all professional artists age 18 and over who are living and working in the United States or its territories. Both emerging and midcareer artists are invited to participate. Each artist may enter one work depicting anyone—a friend, a stranger, a relative, a self-portrait, or a group—but each portrait must be the result of the artist's direct encounter with that person or persons. While the human form must be the focus of the work, artists are invited to figure out and interpret the concept of portraiture broadly; for example, an entry might not include a face. The work must have been completed after January 1, 2010.

The winner of the competition will receive a cash award of $25,000 and may have the opportunity for a separate commission to portray a remarkable living American for the Portrait Gallery's collection. The winning artist and the Portrait Gallery will collaborate to select the subject for the commissioned portrait. The second-prize winner will receive $7,500, and the third-prize winner will receive $5,000. Four additional artists may be commended for their work and will receive $1,000 each. All finalists' works will form a major exhibition which will be on view at the National Portrait Gallery from March 23, 2013 until February 23, 2014.

Dr Anton Hasell has a doctorate in bell making, running Australian Bell from Mia Mia, Victoria, Australia

    Anton Hasell makes iron bells in Mia Mia, Victoria, Australia,
    a rural escape which satisfies his love of silence.
  • JUNE 25, 2014 12:00AM

BELL making can take its toll.

Not least, says Anton Hasell, the logistics, labour and materials required in their production.

“This is my studio, crazy as it is,” he says from his bell foundry on a 12ha property at Mia Mia, north of Kyneton, with its jumbled machinery, metal, and objects d’art.

“This is a furnace for melting half a tonne of bronze.

“And here,” he says, lifting a 40kg solid bell “is the project I’m working on now.”

The 61-year-old sculptor has public works of art around Australia, including a bluestone police memorial on Melbourne’s St Kilda Rd, to a new light box installation at Epworth Hospital and a Eureka Stockade sculpture in Ballarat, with a fascination for laser cut printing.

But it is his bells — from great clangers to gentle tinklers — for which he is best known.

It’s through his bells — (he even has a doctorate on bells in public spaces) — that Anton has become renowned, not just for his complex vision of the role of bell art in the community, but also for his revolutionary methods, combining ancient, traditional arts with digital technology, which has even seen him invent a new bell.
Making music: Anton Hasell has a doctorate on bells in public spaces.
His best known creations are perhaps the Federation bells in Birrarung Marr. But, be sure that when you see a bell in a public space, it’s likely to be Anton’s.

As much as he enjoys hearing them clang, he says he doesn’t make bells to make music.

Rather, his interest lies in their history, their role as sacred objects in religion, and the science of bell curves.

“Bells are sculptures and always have been. Shapes and forms are what interest me,” says Anton, who was drawing and making art from childhood, later studying economics and then art, majoring in sculpture.

He says his role creating art for public spaces is to make it fun and interactive.

“I’m endlessly trying to reintroduce bells as a musical place of experience, to bring people together in playfulness and joy.”

Anton walks through his studio donging bells to elicit a sound. It was this science of sound that led him to invent the harmonic bell, which has one note, rather than two notes of the traditional European bell.

He says it was modern technology — applied to an ancient art — that gave him the skill to create the harmonic bell.

Once he’s created a 3D computer model of a bell, he creates laser cut moulds, then using traditional skills to melt ingots of silicon bronze (made from copper and glass) to model the bells.

While he’s largely focused on commissioned public art works, he also holds his own solo and joint exhibitions.

Anton grew up in Warrnambool and says connection with place is an important part of his work. He moved to Mia Mia in 1989, with his sculptor wife Georgina and two children, after working in rural retreats in Scotland and Italy.

“I now find cities full of noise. Being in the country has given me a love of silence.”

NOTE: For more information about Australian Bell, go to:

Ann Kaplan, Clemson University MFA Art Alumna, has Two Exhibits Opening in Downtown Manilla, Philippines

Pagduduy(d)an : : Holding the Space

De La Salle University / 

Saint Scholastica's College

Peace Studies Programs


Conversations & Confrontations

Philippines Women's University

School of Fine Arts & Design

4-25 August 2014

Sunday, July 27, 2014

Nina Kawar's "Dual Perceptions" Selected for Honorable Mention in Japanese Exhibition

Dual Perceptions, porcelain, 18 x 12 x 6 inches, Nina Kawar
Nina Kawar, MFA Candidate in the Art Department at Clemson University, has had her sculpture, Dual Perceptions, selected for an Honorable Mention in the 10th International Ceramics Competition Mino, Japan.  To be accepted into the exhibition, Nina's work had to pass three rounds of judging. 

Jurors for the Ceramic Arts Category were: Masayuki Kurokawa, Architect, Product Designer; Taku Satoh, Graphic Designer; Kanae, Tsukamoto, Design Director; Masahiro Karasawa, The National Museum of Modern Art, Tokyo, Chief of Craft Section; Choi JaeHoon, Designer; and Rosanna Orlandi, Design Gallery Owner.

The exhibition runs from September 12- October 19th, 2014. This is an international competition which aims to promote the further development of ceramic industry and culture through international exchanges of ceramic designs and culture.  Outstanding works that suggest innovative ideas and explore the future of ceramics coming from all over Japan and the world will be displayed all together.

Saturday, July 26, 2014

It Takes a Village at Riverworks Gallery

The Village is coming to the river. It takes a village is an exhibition of original 
works by eighteen artists who work in the Village of West Greenville. 

These artists have created works that specifically reflect their response to, or 
perspective of, The Village. The exhibition promises a glimpse of artists who 
are not necessarily collaborating, but because of time and close proximity, 
create in a community environment. That community can produce obvious 
influences of theme or more subtle influences of the unique light or colors 
of place. The diversity of media; jewelry, sculpture, and painting, mirrors the 
diversity of artists who work in The Village. It takes a village is a collaborative 
effort of Greenville Technical College's RIVERWORKS Gallery and Clemson 
University's Center for Visual Arts - Greenville to showcase the artists working 
in The Village of West Greenville. Clemson's CVA-Greenville initiated the call 
to the artists in The Village and RIVERWORKS agreed to provide a downtown 
Greenville venue. This pop-up exhibition is only on view for two and a half 
weeks. The gallery will be open for First Friday, August 1, from 6-9pm.

Reception: Thursday, July 31, 6-8pm

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:
Fleming Markel, Manager
Greenville Technical College
(864) 271-0679 or email

Wednesday, July 16, 2014

Morgan Cole, Clemson University Art Department Alumna, a Part of the Redux Studio Program

Morgan Cole

Redux is home to Charleston’s most creative artists. Each artist at Redux concentrates on developing a personal artistic vision. Redux’s exhibitions and related programs serve as a resource where studio artists are regularly exposed to visiting artists, artist lectures, and most importantly the ideas of their neighbors.

The Redux Studio Program offers emerging and mid-career artists full access to professional artist studios. Individuals work in a productive atmosphere alongside other visual artists. The combined 7,200 sq. ft. space is equipped with 16 individual artist studios. The studios range from 75 – 240 square feet, and studio rent is priced per square foot. Redux is home to Charleston’s only public darkroom and print shop.

Born in California, but now happily settled on the east coast, Morgan Cole graduated with a Bachelors of Fine Art degree from Clemson University in 2013.  While at Clemson she studied painting and business management.  With an executive retail management internship at Nordstrom and a visual display internship at Anthropologie, Morgan finds inspiration in fashion; specifically textures, patterns, and layers, which are evident in her work.  The formal qualities of paint are important to her style and can be seen in her range of paintings whether they are colorful abstracts, futuristic fantasies, low country landscapes, or flower collages.

Morgan also works as a Gallery Assistant at Cecil Byrne Gallery in Charleston, SC.

Redux Contemporary Art Center
ATTN: Stacy Huggins
136 St. Philip Street
Charleston, SC 29403 

Redux is always looking to grow and expand its community, because they know that all great artists learn from other great artists. They are happy to give tours of the space, with an appointment. To learn more about how you may join their community of artists, please call 843.722.0697 or email

Tuesday, July 15, 2014

CALL FOR ENTRIES: Intertwined, Contemporary Southeastern Fiber Art

Entries are now being accepted for Intertwined: Contemporary Southeastern Fiber Art.  Artists are invited to submit up to two works utilizing any textile- or fiber-based techniques to Intertwined, a survey of the best contemporary fiber art in the Southeast.  The exhibition will showcase a wide range of content, material, and techniques with common threads of craftsmanship and passion.

Open to all artists working in one or more fiber techniques and living in Alabama, Arkansas, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, or Tennessee.

Awards:  Best of Show = $1,000 plus three Honorable Mention awards = $200 each.

The exhibition will be held at the Hudgens Center for the Arts in Atlanta GA from January 13 through March 21, 2015.

Please visit CaFE for additional information and to enter.  Entries will be accepted through October 31, 2014.

Residency Opportunity: Kimmel Harding Nelson Center for the Arts, Nebraska City

The Kimmel Harding Nelson Center for the Arts in Nebraska City, NE offers 2- to 8-week residencies year-round for writers, visual artists, and music composers. Housing, studio space, $100/week stipend are provided.

Approximately 60 residencies are awarded per year. Two deadlines each year,  March 1 for the following July through December; or September 1 for the following January through June.
 $35 application fee.

See website for complete information, guidelines and the online application portal:

The Kimmel Harding Nelson Center for the  Arts
801 3rd Corso
Nebraska City, Nebraska 68410

The next deadline for applications is September 1, 2014. 

Current Residents
The following artists, writers, and composers are scheduled to join us in the second half of 2014:

Morgan Craig (Visual Artist, Philadelphia, PA), 
Filippo Santoro (Composer, Madison, WI), Kateri Kosek (Writer, Hopewell Jct., NY), Beth Livensperger(Visual Artist, Ridgewood, NY), Dena Afrasiabi (Writer, Austin, TX), Katya Grokhovsky (Visual Artist, Brooklyn, NY), Stephen Lewis (Composer, La Jolla, CA), Stephanie Carpenter (Writer, Hancock, MI), Heidi Naylor (Writer, Boise, ID), Marshall Elliott (Visual Artist, Oakland, CA), Travis Alford (Composer, West Newton, MA), Ariana Nash (Writer, Wilmington, NC), Rose Nestler (Visual Artist, Brooklyn, NY), Judith Torrea (Writer, Ciudad Juárez, Mexico), Elysha Chang (Writer, Brooklyn, NY), Ashley Ryba (Visual Artist, Lincoln, NE), Daniel Fishback (Interdisciplinary Artist, Brooklyn, NY), Sophie Barbasch (Visual Artist, New York, NY), Lily Hamrick (Writer, Berkeley, CA), Liz Heller (Visual Artist, Madison, WI), Alexandria Marzano-Lesnevich (Writer, Allentown, PA),David Samuel Stern (Visual, Brooklyn, NY), Diane Christianson (Visual Artist, Chicago, IL), Geoff Watkinson (Writer, Norfolk, VA), Juliet Jacobson (Visual Artist, Brooklyn, NY), David Meischen (Writer, Austin, TX), Thomas Kotcheff(Composer, Beverly Hills, CA), Eunice Choi (Visual Artist, South Korea), Mi-Hee Nahm (Visual Artist, Liberty Hill, TX), Claire Stanford (Writer, Minneapolis, MN), Jessamine Chan (Writer, Brooklyn, NY), Adam Zahller (Composer, Lincoln, NE),Jennifer Bockelman (Visual Artist, Seward, NE)

Past Residents
Since 2001, the residency has hosted more than 500 creative individuals, a varied combination of visual artists, writers, composers, and interdisciplinary artists from across the country and around the world. Each has found privacy in which to create along with ample opportunities to interact with fellow artists in a friendly community located in the rolling bluff country of southeastern Nebraska.  

Monday, July 14, 2014

Clemson University's "Sense of Place: Picturing West Greenville, South Carolina" Exhibit at the CVA-Greencille Featured in a Group Show Article in the July Issue of Fraction Magazine

Installation view of Sense of Place:
Picturing West Greenville, South Carolina
Clemson University’s Art Department has been 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. “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 existing neighborhood will share and connect with each other” expresses current program coordinator for the CVA-Greenville, Eugene Ellenberg. “The exhibit will be designed to spark conversations and genuine interactions which will empower the neighborhood while acknowledging their history.” 
Art photographers invited to participate in this exhibit have a relevant body of work and strong photography portfolios that will help convey and bring together a relevant exhibit meant to honor its residents and surrounding community. The artists selected to participate in the execution of this exhibit are Leon Alesi, Dustin Chambers, Dawn Roe and Kathleen Robbins.

Photo by Dustin Chambers
Curatorial Statement:
In 1935, a photography program was added to the Information Division of the Farm Security Agency (FSA) to visually document the living and working conditions of farmers. The agency hired 12 photographers to travel around the United States, meeting and photographing its citizens. Many of these images were published in newspapers and magazines of the day. The idea was to show America to Americans, but it has also served as a historical document of a time and place. Nearly 80 years later, we have a record not only of the geographical appearance of the Great Plains, but the faces of those who lived there as well. 
In 2008, I was involved in a large-scale project featuring Santa Fe, New Mexico.  I was part of a group of photographers asked to document the town, and the resulting images were included in a book and show entitled, “Through the Lens: Creating Santa Fe”.  The largest state-owned museum, The Palace of the Governors, now owns the entire collection of photographs. 
When I was approached this spring with the opportunity to curate a show of photographs taken in a small section of Greenville, South Carolina, I was reminded of my previous experience in Santa Fe as well as the FSA photography project. I have never been to Greenville, though I was made aware of the rapid change and growth in the area: new restaurants, coffee shops, art spaces, and loft apartments. 
With this in mind, my impulse was to put together a group of photographs that would provide a snapshot of Greenville today and could withstand the passing of time.  This collection would create a historic document for the town and its people through the exhibit, “A Sense of Place.”
I selected four photographers for their unique eye and ability to demonstrate the theme of community. Each was given very loose instructions; they could photograph whatever they wanted in the method of their preference as long as they stayed within a certain geographic area. Having previously worked with each photographer either as an advisor or as editor of Fraction Magazine, I trusted their vision and craft would present Greenville in all its beauty and distinctiveness. 
Dustin Chambers was the first to arrive in Greenville and dove right into the culture.  The resulting portrait work is honest and engaging. Kathleen Robbins spent a day with a youth boxing club, encapsulating their spirit and brazenness in her portraits. Leon Alessi spent time walking around and interacting with people.  His quiet portraits show aspects of both new and old Greenville.  Dawn Roe took a different approach and worked solely with the architecture and landscape. Her diptychs reflect her unique photographic style while integrating landmarks of Greenville.
Perhaps the most unexpected element of this show is how strongly three of the four selected artists gravitated towards the people of Greenville.  This was a pleasant surprise; their faces reflect the past and the future.  This collection is meant to do just that: connect our remembrance of the past to hope for the future in a glimpse of the present.  “A Sense of Place” creates a snapshot of history that we hope will be of interest for generations to come.
-- David Bram, July 2014

To see more images and 
read the artists' statements, please visit: 

Special thanks to our sponsors:

Friday, July 11, 2014

Anderson Wrangle, Clemson University Art Department Associate Professor of Photography, Included in Aperture's Summer Open 2014

orange smoke/dogwood, 2006, 
from the exhibition forest interrupted
(c) Anderson Wrangle
Aperture Summer Open
July 17–August 14, 2014

Aperture Summer Open
Opening Reception: Thursday, July 17, 6:00–8:00 p.m.
103 prints. 33 series of photographs. The work of 97 photographers. Selected from 860 submissions by Chris Boot, Aperture’s Executive Director, the Aperture Summer Open reflects the current state of photography now.

Read about Chris Boot’s selections for the Summer Open on the Aperture blog.

Photographers included in the exhibition are:

Tanya Ahmed / Nathan Anderson / John Armstrong / Matthew Arnold / Marc Erwin Babej / Zeren Badar / Winona Barton-Ballentine / Anna Beeke / Tara Bogart / Clarissa Bonet / Joan Lobis Brown / Antoine Bruy / Luc Busquin / Michael Butler / Christopher Capozziello / Teresa Christiansen / Juan Cobo / Sebastian Collett / Elizabeth Keegin Colley / Martin Constable / Victoria Crayhon / Francis Crisafio / Ciara Crocker / Brita d’Agostino / Supranav Dash / Frances F. Denny / Matthew Dols / Judith Ebenstein / Melissa Eder / Geoffrey Ellis / Tealia Ellis-Ritter / Gregg Evans / Nicholas Fedak II / Erwan Fichou / Fabrice Fouillet / Jill Frank / Julia Fullerton-Batten / Beth Galton / Jenna Garrett / John Gellings / Claudia Gonzalez / Maury Gortemiller / George Grubb / Jamil Hellu / Anja Hitzenberger / Qiren Hu / Kathryn Hurni / Mahtab Hussain / Florence Iff / Tiina Itkonen / Michael Joseph / Ervin A. Johnson / Ryota Kajita / Siri Kaur / Lindsay Keys / Katrin Koenning / Katrin Korfmann / Natalie Krick / Daniel Kukla / Chris Law / Nataly Levich / Amiko Li / Yijun Liao / Joseph Michael Lopez / David Lykes Keenan / Manjari Sharma / Anna-Maija Mattila-Litvak / David Mitchell / Lydia Panas / Pamela Pecchio / Alexis Pike / Mackenzie Reynolds / Sarah Rhodes / Ricky Adam / Claire Rosen / Nenad Saljic / Anastasia Samoylova / Jo Metson Scott / Chen Shen / Alix Smith / Jan Staller / Ken Stec / Mark Steigleman / Cody Swanson / Hiro Tanaka / Ryan Thayer / Ian Tong / Alex Tsocanos / Jason Vaughn / Sabine Von Breunig / Graeme Williams / David Wolf / Anderson Wrangle / Keith Yahrling / Wenxin Zhang

summer open
July 8th, 2014
Preview: Aperture Summer Open Exhibition

I am honored to have had the opportunity to select work for Aperture Foundation’s first Summer Open exhibition.

We’ve initiated the Summer Open project as a way to show a wider group of photographers on our walls, and to build and enhance our membership program. As our first open submission exhibition, we had simply no idea what to expect. We are thrilled that 860 photographers presented work—all of whom submitted photographs of a universally high standard. The work of ninety-six photographers was selected for exhibition. In addition to the single images by each photographer selected for display on the wall, the full series (ten images each) of thirty-three artists were selected for digital projection.
As well as choosing the “best” of the work submitted (of course, flavored by my own taste—the “best” could never be an objective criteria), the aim of this project was also to take the temperature of contemporary photographic practice. Here, the breadth of approaches wasn’t necessarily as wide as I imagined it might be—few photojournalists submitted work, for instance. Perhaps that’s not so surprising; the submissions were “very Aperture,” with most work reflecting a clear relationship to the photography that we are publishing. In this respect, the resulting exhibition reflects a particular bandwidth of contemporary practice, rather than the complete spectrum of the medium. In the end, this helps the exhibition make a clear statement about what concerns serious photographers today, in the range between art and documentary practice.

Some very clear themes emerged, or tropes, which I have turned into a structure for the exhibition: the Forest as Idyll, which seems to be a major thread of what interests photographers; Flowers, a longstanding photographic subject, now being reinvented with a contemporary edge; Ice and Wallpaper, among others; and there’s a section called Reading Faces that features various approaches to portraiture (where I borrowed the section title from a series by featured photographer, Qiren Hu). Some may find my “tagging” of photographs this way overly playful. I certainly could have divided the work in other ways: lots of submissions deal with LGBT and gender issues; many play with photographic spatiality—flatness, and depth; much of the documentary work warns against being taken literally, alerting viewers to read pictures as myth, or fantasy, rather than reality. Each of these could have merited their own sections. I hope the outcome gives some focus to the patterns and preoccupations at work in contemporary photography, and my tagging system is in keeping with the playfulness of much of the work featured.

Photography has become such a sophisticated medium. We all know now how to read influences. Viewers will detect the inspiration of many other photographers who have forged distinct paths in contemporary photography—Alec Soth, Daniel Gordon, and Robert Polidori, to name three particularly visible figures (each of whose practices can of course be traced to figures before them). In this respect, the work selected provides a commentary on the concerns, concepts, and stylistic approaches that define this moment in the medium’s story. Most of the work submitted is highly sophisticated, and self-aware. Compared to a few years ago, it’s clear that the volume of sophisticated work being produced has grown phenomenally—something that speaks in particular to the advances in photographic education. The level of sophistication among the submissions also caused me look in the other direction. I found myself seeking, and in some cases choosing, moments of what I perceive to be photographic innocence—pictures made, apparently, without self-consciousness, driven by more basic visual or compulsive instincts. Innocence is becoming a rare, and desirable, commodity in a medium now characterized by such sophistication.

The work submitted for the exhibition left me with one overwhelming impression that caught me by surprise: that serious photography today, for all its self-awareness and sophistication, is characterized above all by a sense of joy. Serious photography used to be, well, serious—about itself, its place in the world, its social and aesthetic agendas. When did it free itself of these constraints and become so playful? Even the work engaged with complex personal or social issues seems marked by an evident sense of playfulness and pleasure—the creative pleasure of making photographs, delight in the particular characteristics of the medium, and the pure joy of visual articulation. The work on show suggests that photography is at ease with itself in a new way, and its place in the world: full of pleasure, and enjoying every advantage of its freedom.

—Chris Boot
Executive Director

Thursday, July 10, 2014

Sense of Place Exhibit Artist and Curator Panel Discussion, July 15

Tuesday, July 15 at 7:00pm to 8:00pm 

Center for Visual Arts - Greenville 1278 Pendleton, Greenville, SC 29611

Picturing Life in West Greenville
Exhibit Duration: June 13 – August 30
Opening Reception: Friday, June 13, 6 p.m. – 9 p.m.
Artist and Curator Panel Discussion: Tuesday, July 15, 7 - 8 p.m.
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. Opening reception is scheduled for Friday, July 13 at 6 p.m. and the Artist and Curator Panel Discussion is Tuesday, July 15 at 7 p.m. 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 photographer’s portfolios. Fraction editor, Bram, was recently named as one of the 101 Photo Industry Professionals You Should Follow on Twitter according to the website 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 grant project are Peter Helwing, Richard and Gwen Heusel, the Friends of the Center for Visual Arts and Clemson University as well as significant financial support and vision given to the CVA-Greenville 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
The Sense of Place exhibition can be viewed from Friday, June 13 until Saturday, Aug. 30 in the Center for Visual Arts-Greenville satellite facility located in the Village of West Greenville. Gallery hours are Tuesday – Saturday 10:30 a.m. – 5:30 p.m. Opening reception is scheduled for Friday, July 13 at 6 p.m. and the Artist and Curator Panel Discussion is Tuesday, July 15 at 7 p.m. The exhibit, panel, and reception is free and open to the public.
About the Curator
David Bram has reviewed more than 800 portfolios from over 20 national events including the prominent: PhotoLucida based in Portland, OR; Fotofest based in Houston, TX; PhotoNOLA based in New Orleans, LA; Atlanta Celebrates Photography based in Atlanta, GA; Review LA based in Los Angeles, CA; and Review Santa Fe based in Santa Fe, NM. He was a juror for Review Santa Fe in 2010, Santa Fe, NM and also served as a juror for the past four years to select the top 50 emerging art photographers for PhotoLucida’s Critical Mass.  In addition, he served as reviewer for the internationally recognized Fotofest Moscow in August 2011 and a curator at the Lishui Photography Festival in China in November 2011. In September 2010, Bram was the recipient of Photography’s Rising Star Award given by Griffin Museum Winchester, MA.
About The Center for Visual Arts
The Center for Visual Arts (CVA) at Clemson University is where students, visitors and scholars explore contemporary perspectives in art and culture through research, outreach programming and studio practice. With a mission to engage and render visible the creative process, the CVA is a dynamic intellectual and physical environment where art is created, exhibited and interpreted. It educates through academic research and practice with art at its core, drawing upon varied disciplines to examine critically cultural issues and artistic concerns.
The Center for Visual Arts-Greenville is a satellite of the Center for Visual Arts at Clemson University, which serves as the umbrella for all visual art activities at the university. Though there is not a physical building for this center, the majority of the activities for the Center of Visual Arts are generated out of Lee Hall on the Clemson University campus. For more information, visit
About South Carolina Arts Commission
The South Carolina Arts Commission is the state agency charged with creating a thriving arts environment that benefits all South Carolinians, regardless of their location or circumstances. Created by the South Carolina General Assembly in 1967, the Arts Commission works to increase public participation in the arts by providing services, grants and leadership initiatives in three areas: arts education, community arts development and artist development. Headquartered in Columbia, SC, the Arts Commission is funded by the state of South Carolina, by the federal government through the National Endowment for the Arts and other sources. For more information, visit
Read article on the Clemson Visual Arts Blog