Stacy Kranitz will present an installation of her series As it was Give(n) to Me at the 2019 Les Rencontre d"Arles Photography Festival.
Kranitz and the gallery were one of 10 projects shortlisted and the only presentation from the United States.
Kirsten Stolle has been one of several commissioned artists chosen to respond to work from the WPA / Depression-era as part of TOPIC's series, Federal Project Number 2. Stolle's direct influence for the project are the infamous killed neagtives of Roy Stryker, held within the archive of The Library of Congress.
The Asheville Art Museum’s Collectors’ Circle recently selected twelve works to add to the museum’s collection at their 15th Annual Year-End Acquisition Dinner at Celine and Company On Broadway.
The Museum’s Collectors’ Circle supports the proactive development, stewardship, and conservation of the museum’s collection. Over the years, its members have purchased over 160 works of art in all media for enjoyment by the Asheville community and its many visitors. The museum thanks all members of the Collectors’ Circle past and present. This year’s choices consist of art from a diverse array of perspectives produced in a variety of media, further informing the Museum’s educational initiatives and collecting priorities.
The Museum acquired the following two works by Jade Doskow. Montreal 1967 World’s Fair, “Man and His World,” Buckminster Fuller’s Geodesic Dome with Solar Experimental House, 2012, archival pigment print on paper, edition 3/5, 40 × 50 inches. Museum purchase with funds provided by 2018 Collectors’ Circle Member Vito Lenoci and the Lenoci Family in honor of the Nat C. Myers Fund for Photography.
New York 1964 World’s Fair, “Peace Through Understanding,” New York State Pavilion (Fresh Paint), 2017, archival pigment print on paper, edition 1/5, 40 × 50 inches. Museum purchase with funds provided by the Nat C. Myers Fund for Photography.
Interview with painter and Tax expert for creative people, Hannah Cole.
Selective Memory examines the influence of agribusiness and biotech companies on our food supply. Using appropriation, redaction and manipulation, Kirsten Stolle critiques the popular narrative and explores the complex relationship between economy and ecology. Mining source materials such as 20th century medical books, 19th century botanical lithographs, USDA promotional videos and archival photographs, Stolle’s work responds to corporate propaganda and challenges industry narratives.
Kirsten Stolle is a visual artist working in collage, drawing and mixed media. Her research-based practice is grounded in the investigation of corporate propaganda, food politics and biotechnology.
Drawing together nearly 100 works from the museum’s Modern & Contemporary Collection, Under Construction: Collage from The Mint Museum is the museum’s first exhibition to focus on this dynamic, engaging medium. This technique, in which materials from different sources are cut, torn, and layered to create new meanings and narratives, experienced a renaissance after World War II, due in large part to Charlotte native Romare Bearden, whose work plays a special role in this exhibition.
Bearden has long had a special place at The Mint Museum, which maintains a gallery dedicated to his work at Mint Museum Uptown. In this special exhibition, he and his work serve as a point of departure to explore the medium for which he is best known.
Under Construction explores not only classic collages including those by Bearden, but also the wide range of ways in which the technique has inspired artists and impacted other forms of art, from painting and printmaking to photography and assemblage. Featuring more than 30 international artists, Under Construction will explore the growth and impact of the collage technique from the 1950s to the present. It will include more than a dozen works by Bearden, as well as examples by such notable artists as Sam Gilliam, Robert Motherwell, Tim Rollins and K.O.S., Shepard Fairey, Howardena Pindell, Robert Rauschenberg, and James Rosenquist.
Visitors will be able to discover how eight inventive contemporary artists have continued to mine the medium recent years in a section titled “New Directions.” Although drawn primarily from the rich holdings of The Mint Museum, this exhibition will also include special loans from private collections.
The exhibition is organized by The Mint Museum. Media partners are The Charlotte Observer, Pride Magazine, and Peachy.
New Southern Photography highlights the exciting and diverse breadth of photography being practiced in the American South today. The largest photography exhibition at the Ogden Museum to date, this exhibition will feature the work of twenty-five emerging, mid-career and established photographers.
“I paint the daily surroundings that normally go unnoticed—a glimpse of the bookshelf, the manhole cover I walk over on my route to the grocery store, my pliers hanging on a pegboard.
My paintings are at once rooted in the unique experiences of my own life, and in conversation with the larger history of American painting. If you’re an art nerd like me, you may notice some cheeky nods to our painting forefathers; Agnes Martin, Franz Kline, Barnett Newman. I make every mark by hand, without shortcuts. This practice is one part meditation, one part Yankee work ethic.”
The Admissions department at Rollins College in Winter Park, FL has acquired a photograph for their offices by gallery artist Dawn Roe. Roe is currently the Associate Professor of Art and department Co-Chair.
Roe teaches photography and digital imaging courses that align the practice and content of lens-based media. Her research focuses upon temporality, memory and perception in relation to the camera image. Roe's work is exhibited regularly throughout the U.S. and internationally.
The exhibition The End is Where We Start From. On Tsunamis, Nuclear Explosions and other Fairy Tales brings together works of eight international visual artists whose work navigates on the intersection of art and long-term scientific research. While examining the relationship between nature, time and human intervention, and translating this in strong visual work, these artists generate new readings of our surroundings and possible perceived futures.
Collage is one of the most accessible artistic mediums. Requiring nothing more than paper and glue, it is easily achievable by people of all ages and skill levels. Often relying on found imagery, collage circumvents the need to generate new content and is a refreshingly non-intimidating form of self-expression. However, its seeming simplicity belies an influential, potent, and rebellious underbelly.
The method and the word, collage, first became popular through the work of Pablo Picasso and Georges Braque. Happy to upset the status quo, they began pasting paper from various sources onto their paintings. This seemingly small act marks what we now recognize as a pivotal moment in art history. It upset hundreds of years of Western painting tradition and influenced the shape of subsequent movements, such as Dada and Surrealism.
The artists in this exhibition are also breaking with tradition, rebuffing the commonly intimate scale of contemporary collage. The large scale of their work beautifully illustrates the power of the medium. The energizing, bold collages of Rina Banerjee, Manuel Ocampo, and Travis Somerville read as brave declarations. The kaleidoscopic work of Sanaz Mazinani mirrors the inescapable collage of digital media permeating our daily lives. Ben Venom’s iconographic quilts are a sassy blend of collage and punk rock. Ray Beldner and Anne Weber’s creatural forms literally bend the medium by bringing it into three dimensions. The delicacy and seamless detail of Lisa McCutcheon, Catie O’Leary, and Kirsten Stolle reflects their use of paper as a tool for mark making, becoming as much drawing as collage. And Efren Alvarez and Mary Anne Kluth both succeed in tickling the mind with their edible, pulsing colors palettes and playful materials.
The accessibility of collage, coupled with the rebellious spirit of these artists, make this exhibition an exceptional opportunity for you to see art, be inspired, and hopefully remember to indulge your own inner maker.
The 2018 edition of the Rollins Faculty Exhibition showcases new or recent work by Rollins College faculty artists Joshua Almond, Rose Casterline, Dana Hargrove, Dawn Roe, and Rachel Simmons.
Acclaimed photographic artist and art professor Colby Caldwell will present a program on his career and work at the North and South Mills River Community Center, Sunday, February 25 at 3:00pm. The program is free and open to the public.
North Carolina native McNair Evans photographs the American cultural landscape, exploring themes of shared experience and identity as well as the forces of modernization and those individuals most impacted by these changes. His work presents personal, sometimes autobiographical, subject matter in unconventional narrative form and has been recognized for its literary character and metaphoric use of light.
Award-winning photographer, McNair Evans, will be speaking at Ball Hall Auditorium at East Tenessee State University in Johnson City. McNair will speak on his work which explores themes of shared experiences and identity by photographing the American cultural landscape amidst forces of modernizations.
Blue Ridge Public Radio, December 2017
Kirsten Stolle has unwavered through an art career devoted to one concern: The incursion of chemical companies into our food. Stolle merges collage, wordplay and appropriated photos in an exhibition showing through late January at the Tracey Morgan Gallery in downtown Asheville
Collectors' Circle Selects Ken Abbott
The Asheville Art Museum has acquired Ken Abbott's work Silver Water Pitcher, from the series Useful Work, for their permanent collection. Each year the museum's Collectors' Circle selects works to add to the museum collection, and we are honored to be included in this year's acquisition.
Sadie Barnette, Josh Begley, James Bridle, Ingrid Burrington, Harun Farocki, Navine G. Khan-Dossos, Hans Haacke, Jenny Holzer, Khaled Hafez, Mark Lombardi, Kirsten Stolle, Thomas Keenan & Eyal Weizman
Curated by Paolo Cirio
Evidentiary Realism features artists engaged in investigative, forensic, and documentary art.
The exhibition aims to articulate a particular form of realism in art that portrays and reveals evidence from complex social systems. The artworks featured explore the notion of evidence and its modes of representation.
Evidentiary Realism reflects on post-9/11 geopolitics, increasing economic inequalities, the erosion of civil rights, and environmental disasters. It builds on the renewed appreciation of the exposure of truth in the context of the cases of WikiLeaks, Edward Snowden, the Panama Papers, and the recent efforts to contend with the post-factual era.
In profile of Tracey Morgan and Tracey Morgan Gallery.
Web feature on "Representing Place."