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Wednesday, August 31, 2016

Kathleen Thum, Assistant Professor of Art at Clemson University, to Present at Petro Cultures 2016 in Newfoundland, Canada

Kathleen Thum, Slope Scarp, 2013
Ink and Graphite on Layers of Mylar, 21” x 16”
Prof. Thum's paper is entitled, “Depicting Carrying Capacity: Imagine Petroscapes” at the Petrocultures Conference, August 31 – September 3, 2016, Memorial University of Newfoundland, St. Johns, Newfoundland, as a part of the panel, See the Spills, chaired by Mandy Rowsell.

The complete panel consists of:
  • Bart Welling, Petro-Apocalypse, Petro-Gothic, and the Poetics of Reinhabitation: Failures and Renewals of Imagination in the Post-Deepwater Horizon Gulf of Mexico 
  • Emily Roehl, SPILL: Performing Loss in the Oily Landscapes of Southern Louisiana 
  • Kathleen Thum, Depicting Carrying Capacity: Imagined Petroscapes
The Petrocultures conference is an international conference bringing together scholars, policy makers, industry employees, artists and public advocacy groups to discuss the social and cultural dimensions of oil and energy. 

About her work, Thum writes: "My drawings and paintings are a hybrid of various human physiological systems and man-made manufacturing systems, which I depict through rendering abstract networks of forms, lines, and color. Like our internal anatomy, the structures in my works are layered, linear, flowing, clustered, open, dense, intertwined; interpreting gravity, fluids, gases, and pressures. The complex relationship between the man-made and the natural has become increasing influential in my artwork. The drawings and paintings evolve as I use color and layering to create new imagery based on the fascinating inter-workings of systems both functional and dysfunctional."

For more about Prof. Thum's work, please go to:

Nancy Lemon-Carney, Clemson University BFA Alumna, a Part of the "On & Off the Page" Exhibition at City Gallery in Charleston, SC

On & Off the Page , co-curated by artists Kristen Solecki and Kris Westerson, is an exploration of how the book structure and content are similar to stage and actor, engaging reader and viewer in an imaginary or realistic experience. As book structures and prints are unpacked as functional objects and works of art, a diverse group of artists from across the Southeast explore numerous questions in On & Off the Page, including understanding the identity and cultural label of the maker through time. Are they artist, craftsperson, maker, or creative entrepreneur?

Comparing and contrasting historic making to contemporary making, curators Kristen Solecki and Kris Westerson show that as much as technology appears to change, much remains the same in bookbinding and printmaking. But what is the future of the book and hand-pulled print in the age of digital making? Appreciating historic book and print technologies, the featured artists work in similar modalities to innovate and evolve the medium as they respond to contemporary life issues. The exhibition includes an array of contemporary works demonstrating varied artistic responses to a similar theme and technique. With prints apart from book structures and book structures apart from content, deeper connections between structure and content emerge. Design and aesthetic decisions made by the artist become even more meaningful when book structure and content are considered together.

This exhibition features more than forty artists from across the Southeast, including: Kris Westerson, Kristi Ryba,Mary Walker, Bette Mueller-Roemer, Arthur McDonald, Lillian Trettin, Sonja Greentree Rossow, Brien Biedler,Jocelyn Chateauvert, Lauren Faulkenberry, Susan Finch Stevens, Mary Leto, Karen Hardy, Kit Loney, Fritzi Huber,Linda Elksnin, Cynthia Cobert, Lee Weiland, Monique Lallier, Kathy Strother, Ellen Knudsen, Kyle Clark, Karen Hanmer, Dorothy Simpson Krause, Kristen Solecki, Lisa Abernathy, Seth Corts, Kristen Necessary, Diane Speight,Aijung Kim, Lesley Patterson Marx, Nancy Lemon-Carney [Clemson University MFA Alumna, BFA in Art, painting emphasis, 2002] , Patricia Van de Graaf, Ken Ambler, Janet Guertin,Stephanie Struse, Jessica White, Kreh Mellick, Laura Ladendorf. Historic pieces from the Medical University of South Carolina’s Waring Historical Library will also be included in the exhibition.

  • Opening Reception: Friday, September 16 from 5-7pm
  • Curators’ Talk: Saturday, October 1 at 2pm
Nancy Lemon-Carney is a freelance illustrator living in Charleston, SC, where, as she says, "There are plenty of characters to draw." An accomplished illustrator, her clients include Alexandria Quarterly, WeTransfer, and  Her materials include colored pencils, watercolor, gouache, pen and ink, and digital, and her work may be found on Doodlewash.  She is represented by Teresa Kietlinski of Bookmark Literary. Please contact for all children's book projects. Her web site is:

City Gallery is open Tuesday – Friday: 10am-6pm, Saturday – Sunday: 12pm-5pm, and is closed Mondays.  Admission to the City Gallery at Waterfront Park is free and open to all.

34 Prioleau Street
Charleston, SC 29401

Sunday, August 28, 2016

Tom Dimond, Clemson University Art Department Professor Emeritus of Painting, Retrospective Exhibit at Lander University

Works on Paper: 1996-2016

August 22 -- September 30, 2016

 Monsanto Gallery
Lander University
320 Stanley Ave.
Greenwood, SC 29649

Reception & Gallery Talk: 
September 8, 5-7 pm 

Tom Dimond
taught painting in the Art Department at Clemson University from 1979 to 2006.  Dimond's work is in the permanent collection of the Asheville Museum of Art and the SC Arts Commission State Art Collection. From 1969 to 1970 he was the Art Director for "National Lampoon" in New York City.  He has won several awards for his work including Second Prize in Painting at the Spring Mills Art Show (SC), and First Prize in Painting at the Anderson Arts Center First Annual Juried Show (SC).  Dimond has been included in several solo and group exhibitions on the east coast.  For more information and to see additional images is his work, please go to:

Lander’s Monsanto Gallery attracts more than 500 visitors monthly to view exhibits showcasing the work of Southeastern artists. The Art Gallery is located inside the Lander University Cultural Center on the university’s campus.

Gallery Hours:
Mon. - Fri. 10:00 am - 5:00 pm

Jon Holloway
Director, Monsanto Gallery
(864) 388-8810 (Gallery)

Wednesday, August 24, 2016

Public Art for the World of Wonder Park at Southeast Clarke Park Request for Proposals

Call Summary

The Athens Cultural Affairs Commission (ACAC) invites professional artists to submit their proposals and images of previous public art projects for consideration in the playground improvement project at the World of Wonder Park at Southeast Clarke Park, Athens, Georgia. The selected artist(s) will work with the ACAC and staff of the Leisure Services Department to create an artwork that complements the park’s new design and function.

Project Overview and Site Description

Athens-Clarke County, GA is a university town known for its historic, diverse, and creative environment. Athenians love their parks and leisure programs. The history of the Southeast Clarke Park land includes stories of Creek Indians, a 200-year old plantation, an historic family cemetery, and more.

The World of Wonder Park is a SPLOST funded redevelopment of a grassroots, neighborhood park established in 2004 that has come to the end of its lifecycle. The reimagined playground will include new equipment, landscaping, picnic tables, seating, multi-use trail and fence enclosure. A percent of the park construction cost has been approved for public art.

World of Wonder Park is bounded by Whit Davis Road (across from residential neighborhoods) and woods/greenspace. Whit Davis Road is a busy corridor on the east side of Athens. This area of town has no public art, so everyone is excited and interested in this project. The site that has been selected for public art should be visible from the road, and is essentially at the entrance to the children’s park.

See additional Information and preliminary site concept online at:

Public Art Goals & Criteria:

The goals for including public art in this project are to enhance the visual and experiential appeal of the park for all visitors, as well as to foster community pride and identity.

The stakeholder group guiding the project has identified the following criteria for public art in the park:
  1. Original work created by the submitting artist
  2. Quality art that is appealing to all ages and abilities
  3. 3-Dimensional installation that does not entirely block parents’ view of children
  4. Interactive/sensory, but non-climbing
  5. Compatible with surroundings, related to the site
  6. Materials that are highly durable, non-toxic, and resistant to normal weathering and vandalism, suitable for a playground
  7. Requires easy/minimal maintenance and installation


The budget for this project is $32,000 all-inclusive. This means including, but not limited to, design, materials, fabrication, insurance, travel, installation and artist’s fees.


The following timeline is contingent with the Southeast Clarke Park construction schedule and may be changed, but is current as of this RFP as follows:
  • Site visit: Friday, September 9, 10:00 a.m.
  • Application deadline: Sunday, October 2, 2016, 11:59 p.m.
  • Selection panel meeting: by October 16
  • Finalist will be contacted in late October
  • Mayor & Commission vote on recommended artist(s) in November
  • Work on the park renovation is scheduled to begin in June, with possible completion in October (earliest)
  • Art installation in April (earliest)

Final Proposal Submissions:

All proposals must be submitted to Athens-Clarke County’s online system of calls for entry. All of the following must accompany your submission or it cannot be considered:
  1. Contact information, including your name, mailing address, telephone number, and e-mail.
  2. A resume with contact information for at least three (3) professional references.
  3. Five (5) images of your previous work with annotated image descriptions (a link to an online portfolio is allowable). May include detail images.
  4. A proposal describing the public art concept for this project, including a list of the materials, special equipment or other needs, and timeline. Give enough detail to support your budget. The media chosen to convey the proposed design(s) is up to your discretion, whether hand-drawn, computer generated, digital media, or photographs. However, all designs must be uploaded as a digital image to the application website.
  5. A budget for all costs of the proposed artwork(s), including, but not limited to, design, materials, fabrication, insurance, travel, installation including foundation/supports, and artist’s fees. 


Marc Beechuk, Chairman
Athens Cultural Affairs Commission

Sydney Cross, Clemson University Alumni Distinguished Professor of Art Emerita, "Perpetual/Surrender" Solo Exhibit at Riverworks and Benson Campus Galleries

The natural world is multilayered and complex. Humankind has always struggled to understand nature and has made progress in decoding some of its systems. Unfortunately, in many cases, that decoding has given us the power to alter nature but not the foresight to understand how our alterations might affect nature's interdependencies and complexity. As technology provides us with more and more knowledge, we struggle to recognize our place in nature and how to value the natural world and each other. Sydney Cross's studio practice challenges us to examine these values. She states, "The title Perpetual/Surrender refers to the 'perpetual' narrative involved with the issue of how we value and 'surrender' refers to our collective acquiescence."

Syd mirrors the complexity of her subjects by layering images collected from photographs of natural history dioramas and mass media with hand-drawn images, all recorded in hand-print processes. She confronts headlines by using mass media images to provoke questions about our cultural and political values. According to Syd, "The work represented here addresses my concerns for nature and all living beings, how we treat one another, and the values from which we operate. Some methods for presenting these ideas use images of animals, news events, and media sources." Perpetual/Surrender is visually stunning - that visual enticement seduces us, allowing us to consider the thought-provoking or even confrontational narratives. Because this exhibition is so extensive, it is hung in two locations, Riverworks Gallery in downtown Greenville and the Benson Campus Galleries in Taylors.

Cross has recently retired after sharing her passion and expertise as an Alumni Distinguished Professor of Art at Clemson University. Her students are successful printmakers and teachers across the United States. Syd's prints are collected and exhibited both nationally and internationally.

RIVERWORKS Gallery is operated by and for the faculty and students of the Department of Visual Arts at Greenville Technical College. RIVERWORKS Gallery is located at 300 River Street, Suite 202, along the scenic Reedy River in downtown Greenville, SC. The Benson Campus Galleries are located at 2522 Locust Hill Road in Taylors, SC.

Benson Campus: August 22 - October 17
RIVERWORKS: August 26 - October 7

Benson Campus: 9am - 5pm Monday - Friday
RIVERWORKS: 1-6pm Thursday - Sunday 

Artist's Reception 
RIVERWORKS: First Friday, September 2, 6-9pm

Gallery Talk 
Benson Campus: TBA
RIVERWORKS: First Friday, September 2 at 7pm

For more information, call:
Fleming Markel, Director                   
RIVERWORKS Gallery                         
(864) 271-0679 or email                             
or visit 

Caren Stansell, Clemson University MFA in Art (printmaking) Candidate, Opens "Home is Where the Heart Is" Solo Exhibition at Paper Plane Gallery in College Park, GA

August 25-October 6, 2016

Artist's talk and reception, August 25, 7-10pm

Paper Plane Gallery
3731 #2 Main Street
College Park, GA 30337
(entrance on Harvard Avenue)

12pm-5pm Friday & Saturday
Open late for special events and by appointment

Caren Stansell holds the Bachelor of Fine Arts degree in Art from  Converse College in Spartanburg, SC, and  the Associate of Arts degree in Art from Greenville Technical College in Greenville, SC.  She has shown her work in numerous exhibitions in North Carolina, South Carolina and Michigan.  She serves on the Steering Committee for the Contemporary Print Collective in Upstate South Carolina.  For more information about Caren, please go to her web site:  

Paper Plane Gallery is an exhibition space focusing on new American works on paper, printmaking, and artists' books. Assemblage, sculpture, performance, and installation involving printmaking and/or paper are especially encouraged.

Both established and emerging artists are represented; we also host special events showcasing the private collections of some of the nation's most avid collectors of historic and contemporary works on paper and prints.

In the spirit of growing the culture of art collecting, and providing truly equal and democratic access to art, Paper Plane Gallery offers works for sale at all price points, and most events are free of charge. 

Monday, August 22, 2016

Internships at the City Gallery at Joseph P. Riley, Jr. Waterfront Park, Charleston, SC

Interns at the City Gallery at Joseph P. Riley, Jr. Waterfront Park have unique opportunities to experience the inner workings of a municipal gallery, meet local artists and discuss their work with them, all the while expanding their resumes with hands-on experience.  Some responsibilities of interns may include: 

  • Aid coordinator in the installation and de-installation of exhibitions
  • Assist with supervision of gallery produced special events such as opening receptions, artist/curator lectures, and performing arts events
  • Research artists for upcoming exhibitions
  • Ensure that the gallery is open and manned during normal operating hours

  • Assist coordinator with marketing/didactic materials including postcard mailing, exhibition catalogues, and e-mail invitations.
  • Distribute marketing materials including postcard mailings and press kits
  • Aid Coordinator in the solicitation of school and civic groups to attend gallery tours during exhibitions.
  • Manage social media accounts - write and edit posts to advertise the gallery’s current and upcoming events/exhibitions

  • Conduct research to identify potential funding sources including private donors, corporate sponsors, and grant opportunities.
  • Maintain database of potential funding sources
  • In collaboration with OCA Director, Development Manager, Finance Manager, and Gallery Coordinator, write and prepare grant applications, sponsorship proposals, and funding requests.

  • Assist with special event layouts and logistics
  • Assist with supervision of special events to maintain adherence to event guidelines

Candidates should have a background in Art, Art History, or Arts Administration/Management.  Interested applicants should email their resume and contact information to

Call-4-Exhibition / Project Proposals: DEMO Project

DEMO Project is an artist-run contemporary project gallery in Springfield, Illinois. The space was launched in September of 2013 with the knowledge that the small bungalow home in which we reside is slated for demolition. The demolition of our facility now comes more into focus: the structure could come down as soon as spring 2017, though it’s still unclear. Much like the terrain of contemporary art, the future is unknown and unpredictable --- but our focus remains honed on cultivating a strong and meaningful presence of contemporary art in our immediate community of Springfield and our region of Central Illinois.

In response to the inevitable demolition of our current (and beloved) facility, we solicit proposals for expanded programming. We are happy to announce a small back gallery space for which we will accept proposals, as well as a call for proposals that are not reliant on an interior exhibition space, but rather: the front and back porch of DEMO Project, the adjacent empty lot and surrounding lawn, the exterior surface of the home, etc. Any interpretation or potential use of the exterior site and surrounding grounds will be considered. Proposals may be singularly devoted to the new gallery space or the grounds, or both. We are particularly interested in proposals that utilize exterior site and adjacent grounds.

This new facet of programming is malleable, and will be steered by the proposals that we receive. We welcome proposals from artists, collectives, and curators.

Andy Roche
Proposals can be ephemeral, happening only in conjunction with opening nights for exhibits in our main space, or they can run for the duration of accompanying exhibits that are scheduled in the main space.

-Works that rely on the exterior of DEMO Project or adjacent grounds will not be secure or insured, or protected from theft or vandalism  
-Because DEMO Project is located in a residential area, works must be securely installed and mindful of the neighborhood presence

DEMO Project provides:
-Installation support
-Marketing and promotion of projects

DEMO Project does not provide:
-Shipping costs

Now accepting proposals for 2017 exhibitions at DEMO Project. Deadline: September 19.

Submissions should include:
-5 to 10 images that reflect or inform the proposed project and/or body of work that you propose
-Image list
-One-page proposal for intended project or exhibition
-Curriculum Vitae
Managing members of DEMO Project:
  • Brad Balster
  • Brytton Bjorngaard
  • Shane Harris
  • Allison Lacher
  • Jeff Robinson
Visit for a gallery floor plan that will offer dimensions for the new back gallery space. Additional measurements and images of the exterior site are available for reference.  

Send proposal materials and/or inquiries to

732 N 4th St.
Springfield, Illinois

Sunday, August 21, 2016

Call for Papers: Auburn University at Montgomery Southern Studies Conference

Entering its 9th year, the Auburn University at Montgomery Southern Studies Conference (formerly AUMLAC) is now accepting proposals for its annual discussion of the American South to be held February 10-11, 2017 in Montgomery, AL.

Paper and panel discussions may address how the South contributes to the visual arts, how Southern artists differ from their peers, or even how making art in the South alters one’s work. An artist wishing to discuss his or her own work based in the South is also welcome to submit a proposal.  

Abstract submissions must be received by October 15, 2016 and be no longer than 250 words. Please supply one-page curriculum vitae and send files as a pdf to
For further information, please visit

Auburn University at Montgomery
7400 East Drive
Montgomery, AL 36117

Saturday, August 20, 2016

Winston Wingo, Clemson University MFA in Art Alum, Has Research on African American Architects and Artists Featured in A Supplement to A Teacher's Guide to African American Historic Places in South Carolina

Winston Wingo

Winston Wingo (Clemson University MFA in Art, sculpture emphasis, 1980), has his research and writings on African American architects published in A Supplement to A Teacher's Guide to African American Historic Places in South Carolina, a publication of the South Carolina African American Heritage Foundation.

Wingo's contributions are:
  • LP - ANTE -1, William Wilson Cooke, Tingley Memorial Hall, Claflin University NR, Orangeburg County;
  •  LP - ANTE -2, William Wilson Cooke, The Lee Library, Claflin University NR, Orangeburg County;
  • LP - MAJC - 8, African-American Artist Edwin A. Harleston, Harleston-Boags Funeral Home NR, 121 Calhoun Street, Charleston;
  • LP - MAJC -10, African-American Architect Miller F. Whittaker, Hodge Hall, South Carolina State University, Orangeburg;
  • LP-MAJC - 12, William H. Johnson, African-American Painter, William H. Johnson Birthplace Historic Marker, Palmetto Street, Florence.

The mission of the South Carolina African American Heritage Foundation is to support the efforts of the South Carolina African American Heritage Commission to identify and promote the preservation of historic sites, structures, buildings, and culture of the African American experience in South Carolina, and to assist and enhance the efforts of the South Carolina Department of Archives and History. 

Winston A. Wingo was born and educated in Spartanburg, SC. He earned a B.A. in art education from Claflin University in Orangeburg, SC in 1977 and an M.F.A in Art with an emphasis in sculpture from Clemson University in Clemson, SC in 1980. In 1984 Wingo studied Post-graduate at the Instituto Statute D’Arte in Lucca Italy, the Luigi Tammasi Foundry in Pietrasanta Italy and the Artistica Marinani Foundry in Pietrasanta Italy. As a painter, sculptor and art educator Wingo has taught at Claflin University in Orangeburg, SC. He also served as adjunct art professor at South Carolina University in Orangeburg, SC, the University of South Carolina Upstate in Spartanburg, SC and Converse College in Spartanburg, SC. Wingo has taught in the public school system at Hughes Middle School in Greenville, SC, South Carolina Governor’s School for the Arts in Greenville SC, L.E. Gable Middle School in Roebuck SC, an currently teaches at Carver Middle School in Spartanburg, SC.

Winston Wingo has had over 40 one person exhibits and has been in over 200 group competitions and invitational exhibitions.Wingo has exhibited his painting and sculptures throughout the United States, Canada, France and Italy. Selected Exhibitions include: Abstract Art in South Carolina 1949-2012; South Carolina State Museum in Columbia, SC; The South Carolina Biennial Exhibition; 701 Center for Contemporary Art in Columbia, SC; Mason Murer Fine Art Gallery in Atlanta, GA; Ward-Nasse Gallery in New York; Greenville Museum of Art in Greenville, SC; Clemson National Small Sculpture Competition at Clemson University in Clemson, SC; Museum of Fine Arts at Florida State University in Tallahassee, FL; Chateau Ed La Napoule in France; The Abney Gallery in New York;
The Lowe Gallery in Atlanta, GA; New American Painting in Needham, MA; Musée D'art Moderne, Umet in Paris, France; Muse Del Bossetti in Pietrasanta, Italy; Abode Inc., Madison Ave. in New York; Montreal Art Trader Gallery in Canada; Annual National Exhibition of Contemporary Painting in Palm Beach, FL; Owensboro Museum of Fine Art in Owensboro, KY; Fay gold Gallery in Atlanta, GA; Morin Miller Gallery in New York; The Mint Museum of Art In Charlotte, NC; The Annual National African-American Art Exhibition and Competition in Atlanta, GA; The National Sculpture Competition at the Clark Art Center in Alma, MI; The Asheville Museum of art in Ashville, NC; The I.P. Stanback Museum at South Carolina State University in Orangeburg, SC; Camera di Commercio in Lucca, Italy; Sculpture Invitational Exhibition in Milwaukee, WI; Spartanburg Museum of Art in Spartanburg, SC; Arti pi Versilion, Via Agustino in Pietrasanta, Italy.

For more information on Winston Wingo and to see images of his work, please go to:

Alyssa Reiser Prince, Clemson University MFA Alumna, Now Serving as a Visiting Assistant Professor of Art at Coker College

Alyssa Reiser Prince.
Alyssa earned her Master of Fine Arts degree in Art with an emphasis painting from Clemson University.  She also holds a Bachelor of Fine Arts degree in Art, with an emphasis in painting and a minor in art history, from the University of North Carolina at Charlotte. She served as a lecturer in the Visual Arts Studies program at Penn State Altoona from 2014-2016. She starts her role as a Visiting Assistant Professor in the Art Deparment at Coker College on Monday, August 22, 2016.

Ayssa will be teaching courses in introduction to advanced painting, drawing, art history survey, art appreciation, and critical theory.  "I'm excited to teach alongside the talented and dynamic art faculty members Jean Grosser [chair and coordinator of the art education program] and Nate Gulledge [assistant professor of graphic design]," said Prince. The art program is NASAD accredited, offering a BA in Art within a liberal arts setting, with concentrations in Art Education, Fine Art, Graphic Design, and Photography.

Coker College is a student-focused, private liberal arts college located in Hartsville, South Carolina. Coker combines round table, discussion-based learning with hands-on experiences to encourage active participation in and out of the classroom. A supportive, close-knit community prepares Coker students with the confidence and practical life skills they need to reach their personal best, in college and beyond.

Warm Milk, acrylic on canvas, 12 x 10.5, 2016, by Alyssa Reiser Prince.
For more information about Alyssa's work, please go to:

Thursday, August 18, 2016

What is it like to be an exhibition intern at The Bascom?

by Teisha Holloway, BFA candidate, Art, Clemson University

18 August, 2016

To answer that I will first explain what The Bascom is and where it is located. The Bascom is a non profit Art Center located in Highlands, North Carolina about an hour drive from the Clemson University campus.  They hold regular exhibitions, artist talks, art educational classes, and workshops. The mission of The Bascom is to provide access and education to the arts to the surrounding community. Their stated mission is: 

Believing that creative expression transforms our lives, The Bascom is committed to providing life enriching experiences through diverse exhibitions; comprehensive arts education and public programs; support for regional artists; and strategic partnerships facilitating cultural and economic development in the Highlands-Cashiers community.”

            Highlands, North Carolina is located just off the Blue Ridge Parkway in the Nantahala National Forest. The Bascom is surrounded by scenic mountain views, waterfalls, and wildlife. Some of these are located within only a mile of the facility!

            Being an exhibition intern at The Bascom is a high performance job as you are responsible for loan agreements, budgets, condition reports regarding artwork arriving and departing The Bascom, preparing didactic materials such as wall text and identification labels, layout and design of exhibitions, and installing and de-installing exhibitions. To do all of this I worked directly under the supervision of the Exhibition Coordinator, Hayden Phelps. Hayden describes the exhibition intern position by saying, 

The Exhibition Internship provides opportunities for students of Art History, Fine Arts, Museum Studies, Curatorial Studies and related fields to gain meaningful professional experience in curatorial and museum work. This program helps improve the longer-term career prospects of students in these fields, while helping to develop the skills of future curators and museum workers in the region, encouraging production of writing and scholarship, and enhancing the experience of visitors to The Bascom’s exhibitions. Exhibitions at The Bascom cover a wide diversity of both regional and international artists.”

            We had six exhibitions come into The Bascom this summer while I was interning, one of which was a show about the Cherokee and included many precious artifacts and work that has never left the reservation before. This was particularly challenging and exciting as I got to travel to Asheville and meet many artists and hold artifacts that were around 2,000+ years old! I was responsible to inspect and document on the condition of artifacts and art that came into The Bascom as well as its outgoing condition. I worked closely with the Exhibition Coordinator, Hayden, to design layouts for these exhibitions.

So what are the most important things I have learned during my internship at The Bascom?

First, professionalism as an artist: Dealing with artists on a regular basis I have learned that it is easy to become frustrated with a lack of professionalism. Having a well designed website that is easy to navigate is one thing that can make you stand out from the crowd, having dimensions of your work is also a huge plus. Proper phone/email etiquette and communication is important to establishing a relationship with the gallery/museum/curator who wishes to show your work.

            Second, how much good exhibition design can do for your work, and how easily good design can be achieved on a budget. Something as simple as painting and arranging the pedestals before placing your work on them can drastically improve the appearance of your work.

Lighting can also make a dramatic difference. I learned there are different ways to light all kinds of work; spotlight, broadlight, backlight, light from within. It is also important to consider environment, environment that surrounds the work and creating a suitable design for the piece.

You might think that you wouldn’t need math as an MFA/BFA major. You would be wrong. There is a whole math equation just for hanging wall art so they are all level and at the right height for the viewer. I got to layout and install my own exhibition while I was at The Bascom as well as assist in the layout and installation with my supervisor, Hayden. One of the fun parts of the job was traveling to collect all of the artwork for these exhibitions and to speak with artists, collectors, and museum staff. I was exposed to nearby museums that I didn’t even know existed.

What was the best part of my internship at The Bascom?

The people. I was surrounded by a community of people who cared, not only about art, but about the success of The Bascom. They believed in making a difference for the artists, children, and general surrounding population. They are all passionate, friendly, and committed to the mission of The Bascom and are all hardworking individuals. Being immersed in this type of atmosphere helped to give me the drive to maintain the same type of work ethic. The people who work here are truly unique and make The Bascom a special place, without the dedication of the staff it would not be so successful. Each and every one had a hand in enriching my experience there and I am so grateful to have been given this opportunity because I have gained so much knowledge, experience, and memories that will last a lifetime.

The most important thing I gained while working at The Bascom was self confidence. When I went to interview for the position I thought I was not qualified enough for the position, or that perhaps there were better candidates, or maybe my art history knowledge wouldn’t be up to the same standards as everyone else. I almost didn’t apply for the position for these reasons. I went back and forth in my head wondering if it was a good idea. Finally I realized that the worst thing that could happen is I would be told no, so I decided to go for it. On my first day I remember feeling like at any minute my supervisor would think I was completely inadequate for the position and would get rid of me. 

After the first week or so I started to realize that not only was he not going to get rid of me but he was constantly telling me what a good job I was doing, and how happy he was to have me there helping. It wasn’t long before I was given independent responsibilities like installing a show on my own. I felt that my supervisor would come back and tell me I did everything wrong and when instead he reassured me I was doing a good job I started to realize that I was growing as a professional and as a person. I feel confident now that when I go to apply for a job in the art world I will know what to expect and what I am capable of. I highly recommend this experience to everyone.
            The Bascom has many internship experiences as well as artist residencies and art classes. They have state of the art exhibition facilities, a wonderful place to eat lunch, and a gorgeous campus. I recommend a visit, but more so, participation in one of their fabulous programs or opportunities. I am sure that any individual will enjoy the experience as I have. I would be happy to speak with any and everyone who is interested in applying for any type of position or class at this art center, or even if you just would like a to go for a tour.

323 Franklin Road
Highlands, NC 28741 

Wednesday, August 17, 2016

RU Opportunities is a free online listing service delivering up-to-date information about artist residencies worldwide.

I just found this really great listing of artist's residency opportunities, so I had to share!  It's also been added as a link to the "Residency Resources" list that'll stay on the left column!  Best, Greg

Residency Unlimited (RU) supports the creation, presentation and dissemination of contemporary art through its unique residency program and year-round public programs. We forge strategic partnerships with collaborating institutions to offer customized residencies designed to meet the individual needs of participating artists and curators. Residents benefit from our diverse network of partners, which allows for flexibility, customization and access to a wide range of services and resources including but not limited to studio/workspaces. We facilitate connections in and outside the art world, offer hands-on production and technical assistance, and professional development opportunities. Dialogue and exchange happen through talks and other public programs, which take place at our Brooklyn location: a creative hub for our expanding community of artists, curators, partners, collaborators, and international visitors. We work together with our residents and partners to develop a residency experience that optimizes opportunities while meeting the goals, needs and visions of participating artists and curators. Residencies may focus on research and dialogue rather than on traditional production formats. In addition, to the local New York-based residencies, we offer national and international exchanges, and year-round public programs which cover a broad range of topics at the forefront of contemporary art practice and critical discourse.


Each residency is tailored to maximize the residency experience: to help support and realize short-term projects, as well as advance longer-term goals. Residents benefit from the creative, technical and logistical support of our dedicated staff, weekly studio visits by curators and other arts professionals, and RU Activities and events through which residents are introduced to the New York art world and have access to RU’s extensive national and international network.


RU is located within the former South Congregational Church in Carroll Gardens, Brooklyn. The space is flexible and multifunctional, acting as a hub and meeting place for RU’s various public programs, including talks, screenings, performances and exhibitions. It is also where artists and curators in residence meet with RU staff, conduct research, and at times produce work on site. All RU Residency related activities – including the weekly studio visits, monthly lunches, and technical support – are held in the church.


The core principle of our approach is collaboration through strategic Partnerships with a range of institutions to provide residents with workspace, full technical and logistical assistance, and access to any other particular need required to optimize the residency experience.Through our strategic partnerships, we successfully leverage resources, which are mutually beneficial and compound impact by offering our residents access to multiple services and hands-on assistance. This strategy allows for greater variety, flexibility and increased opportunities, enabling us to customize the residency to one that best meets the goals of our residents.

Our partnerships also result in cross-pollinating various publics, widening marketing and publicity opportunities, and creating mutually rewarding collaborative networks. Partnerships also provide a uniquely mobile residency experience, with work and exhibition spaces located in a variety of locations and neighborhoods throughout the City.


RU’s Brooklyn headquarters is a hub of artistic activity and a meeting place for dialogue and exchange. In addition to exhibitions and a robust program of public activities, it is also where residents meet one-on-one with arts professionals, RU’s Guest visitors, on a weekly basis and are provided with access to the wider New York arts community.


The Opportunities platform on RU’s website is the go-to-source for national and international residency listings. As one of the most comprehensive online resources, it is regularly updated and available at no charge.

Dialogues provides an online platform for the critical discourse on artist residencies in relation to artistic practice with contributions made by current and past residents as well as outside artists, scholars and critics.

News is an archive of press, media and information about RU’s programs, residents, partners and alumni.

Wednesday, August 10, 2016

UPDATED CALL for PAPERS and POSTERS: Tasmeem Doha 2017: Analogue Living in a Digital World, VCUQ, Doha, Qatar

The Pearl-Qatar lights up for Ramadan
Submission Deadline: October 15, 2016  NEW EXTENDED DEADLINE: December 8, 2016
Tasmeem Doha 2017, hosted by VCU Qatar, is a biennial international art and design conference that attracts prominent speakers and artists from all over the world. Tasmeem Doha 2017 addresses contemporary topics on art and design, and brings together international designers, artists, academics, students and industry professionals. Over the years, the ambitious and timely themes of Tasmeem Doha 2017 have gained widespread attention and praise, while fostering partnerships that enhance the educational, creative and cultural vitality of Qatar and beyond.

Tasmeem Doha 2017: Analogue Living in a Digital World aims to dialog with art and design’s leading thinkers, educators and practitioners whose ideas transcend media and speak to our human existence in a technological society. The intent of this conference is to explore the intersection between the analogue and digital within the context of our lived experience, and to examine where the two modes differ, intertwine, and coexist. By looking at past and present art and design methodologies and practices, we endeavor to create a context for examining the relevance of our current attitudes to discover new ways to grow and evolve.

We are experiencing a paradigm shift, as aspects of our lives that were formally analogue become digitized. This radical change impacts how we define ourselves as individuals, and as creative beings. It challenges our institutional foundations, and our roles in society. The gradual evolution of the last several decades is steady and unrelenting, and the ramifications of this transformation have just begun to be revealed and interrogated. Is analogue thinking still relevant in a largely digital world, or are analogue and digital approaches inherently incompatible? Has digital media rendered analogue creative practices and technology obsolete?

Tasmeem Doha 2017 welcomes contributions that address the theme of ‘Analogue Living in a Digital World'.

Topics may include but are not limited to:
  • Analogue thinking in the digital age
  • Analogue, digital and the creative process
  • Interdisciplinary Connections: Bridging Art/Design, Humanities, and the Sciences
  • Impact of the Digital World on the Future of Art and Design
  • Word/Image, Image/Word
  • Educating Designers and Artists for the 21st Century: Emerging Pedagogies in Art/Design/Architecture
Tasmeem Doha 2017 Paper Guidelines:
  • Abstracts of no more than 500 words (two pages) should be submitted along with a 100-word biographical note to by the NEW EXTENDED DEADLINE of December 8, 2016.
If your abstract is accepted, you will be invited to submit a full paper, due by May 1, 2017. The paper will undergo a peer-review process and accepted papers will be published in the Tasmeem Doha 2017 conference proceedings and on the official conference website. Note: Accepted papers will not be presented at the conference, but contributors are welcome to attend.

Title: With your submission, please include the title, author(s) name and author(s) affiliation.

  • Introduction/issue, methodology, findings/discussion, and conclusion
  • Authors may utilize APA, MLA, Chicago Style
  • An appendix of up to 3 pages or images, including tables, charts and/or other appropriate supplemental material may be included. Appendix items must be submitted in pdf format
Paper length: 15 -20 pages (double spaced)

Tasmeem Doha 2017 Poster Guidelines:
  • Poster abstracts of no more than 250 words (one page) should be submitted along with a 100-word biographical note to by the NEW EXTENDED DEADLINE of December 8, 2016.
Accepted posters will be exhibited during the conference March 15th & 16th 2017, and published on the official conference website and in the Tasmeem Doha 2017 proceedings to be released in the Fall of 2017.

Note: Poster contributors are encouraged to attend the conference. A travel stipend of $500 USD will be awarded.

Dimensions: Each presenter is provided with a 1.5 meter high by 1.5 meter wide poster board

  • At the top of the poster please include the title, author(s) name and author(s) affiliation.
  • The title should be the same as in the submitted abstract
The text should be brief throughout
The presentation must cover the material as cited in the abstract
The poster should be readable from approximately two meters

Please do not laminate your poster so that it can be recycled

Accepted Papers and Posters will be announced on January 8, 2017.

Tuesday, August 9, 2016

Two Clemson Art Department Students in 4th Annual Juried Exhibition at the Spartanburg County Public Library

Shon by Patrick Owens
Exhibition Dates: August 10th - October 19th

Reception: August 27th, 7:00pm - 9:00pm
In Bloom by Amber Eckersley
Work on Exhibit:
Janet Alden “Reimagine the Possibilities”
Elizabeth Bagwell “Beautiful Mishap I” &
“Beautiful Mishap II”
Mike Baker “Home Place”
Kara Bender “A Foolish Sheep Makes the Wolf Her Confessor”
Brad Carraway “Tiger of the Sky (Great Horned Owl)”
Jim Creal “Edisto Island: Avenue of Oaks”
Demorris Giovonni Dodd “Shaq”
Andrew Donnan “Reflexion”
Amber Eckersley “In Bloom”
Marion Myers Edmonds III “Grace Kelly”
Harold Endsley “Cat Lover”
Aaron Fields “Triumph”
Drew Fields “Shrine”
Chuck Frank “Iris” &
“East Bay Street”
Sarhel Franklin “Unanswered” &
“Our House”
Carol Funke “Vermillion’s Wave”
Kendall Garner “Speak up” &
“Difficult Conversations”
Dian Hammett “Stairway Mystique” &
“Up, Up, and Away”
McKenzie Hare “Father Figure” &
Susan M. Hopps “Amphibians-Canaries in the Coal Mine”
Gesa Hueckel “A Bouquet for You!”
Elizabeth Kabakjian “MJ”
Patricia Kabore “Joy Gate” &
“Market Woman”
Brian Kelley “Train Track” &
Katherine Klauber “Level 5”
Crystal K. Knope “Sunset at West Bay”
Glen Miller “Portrait in Blue” &
“Figure in Red”
Anna Mintz “Southern Snow” &
“The Incoherent Fence”
Aldo Muzzarelli “ The Discreet Charm of a Butterfly”
Yelitza Diaz Muzzarelli “Small Being on Square World I” &
“Small Beings on Square Worlds III”
Celina Odeh “The Hare”
Pat Owens “Shon”
Ethan Peeler “Flatfile”
Chuck Reback “Sunday Morning”
Margaret Riedy “Rising and Falling” &
“Cut After”
Peter L. Schmunk “Tauromachia (after Francisco Goya)”
Beth Shoemaker “Actions Speak” &
“Questionable Reality”
Michael Shoolbred “Four Houses”
Donald Spencer “Lily Art”
Chris Thompson “Mr. College Park”
Michael Thorstad “Paper Cut”
Lydia Turbeville “Milkbath III”
Doris Turner “Scary Thoughts” &
“Sing a Song of Sixpence”
John Turner “Raku Bowl with Swirls”
Robert Urban “Something to Believe In”
Amy Weaver “Butterflies for Jennifer”
Joan Wheatley “Love Where You Live”
Robert W. Wilson “Bobby Allison Racing Legend”
Fred Wood “Freedom”
Kathleen B. Wood “Spirit Rising”
Virginia Worrell “Pink Study” &
“Mama and the Ruined Roses”
Caroline Wright “Brother”
Greg Wright “Voice of Angels”

151 South Church Street, Spartanburg, SC 29306 864-596-3500