The Center for Visual Arts – Lee Gallery at Clemson University is known to be a catalyst for showcasing the research of art students, faculty, national and international artists. What is not commonly known is that it also offers an internship opportunities to Bachelor of Fine Arts (BFA) students. The program is run by the gallery director, Denise Woodward-Detrich. Student interns gain hands on experience and professional development by working on real life projects. Students also receive custom course credit based on hours not to mention valuable experience to put on their resume.

The program involves students researching and writing about artists and events, handling artwork, welcoming guests, and preparing interviews for artist visits. This semester, 11 student interns have worked on a variety of projects on campus in addition to traveling to art lectures and artist studios. One visit even included Skype meeting with the Director of the Andy Warhol Museum.

Earlier this semester, interns learned to hang frames for the installation of the most recent student juried show, Connections and Conversations. This exhibit is currently on display in the College of Architecture, Arts and Humanities Dean’s office. They also drafted questions for a studio visit with David Detrich after representing Clemson in a forum on public art at the Anderson Arts Center the previous week.

Interns, Hannah Cartee and Leah Brazell developed and delivered a gallery talk with interactive activities to almost 50 middle school students. Activities took place at a permanent art installation in Hardin Hall and at MFA alumnus, Richard Lou’s,  Stories On My Back installation in the Lee Gallery. Additional projects include introducing visiting artist, Richard Lou at his artist talk and writing an article for the Master of Fine Arts (MFA) thesis exhibition, Solastalgia, which is scheduled to open in the Lee Gallery later this month on Monday, Oct, 31.

Most recently, student interns, Johnny Murphy and Caroline Herring prepared condition reports for the Foundations exhibit. In addition, Hannah Cartee and Leah Brazell worked in the woodshop to make frames for an upcoming photography exhibit in the spring.

Interns not only execute tasks for the Lee Gallery, but also learn by preparing future projects which is an essential practice of gallery work. Reliability, efficiency, and knowledge of art are all characteristics displayed by good interns. Lee Gallery functions with the contribution of the student interns, who in turn, benefit by gaining rich professional skills of hands on activities and communications as undergraduates.

This week, BFA alumna, Stephanie Raspet ’04 brought almost 50 of her art students from Glenview Middle School to tour the Center for Visual Arts – Lee Gallery’s installation, “Stories On My Back” and the public art piece, “Ontogeny Recapitulates Phylogeny” in Hardin Hall after enjoying a performance and viewing their artwork displayed at the Brooks Center for the Performing Arts.

The students visit with the Center for Visual Arts consisted of Lee Gallery interns guiding a discussion about the visual artists, the formal and conceptual aspects of the art as well as making connections between their own school art projects with the installations. Students listened to a talk about the installation by Richard Lou, “Stories On My Back” in the Lee Gallery. The students explored the gallery and recorded their responses to the installation. Afterward, students shared their responses, asked questions, and learned about new ways of using art as a storytelling device, just as Lou has done with this multimedia installation.

In Hardin Hall, students visited the permanent ceramic wall tile installation, “Ontogeny Recapitulates Phylogeny” by Kathy Triplett. Students learned about the artist and how this public art references biology and historical landmarks at Clemson University. This on campus public art is one of the works of art managed by the Creativity Inquiry program, Atelier InSite.

The visit exposed these young students to performance and visual arts, the work of established artists and abstract ways to represent ideas with art. The School of Arts is committed to expanding young minds by guiding conversations that will allow students to think creatively. Currently, Glenview Middle School art student artwork can be viewed in the Brooks Center for the Performing Arts. There will be a free reception to recognize these students at 6 p.m. on October 27, 2016.

As the spring semester came to a close, Art Foundations students at Clemson University installed pieces in the Center for Visual Arts – Lee Gallery and a reception drew faculty, staff, friends and family to enjoy the wide range of unique student art. This exciting event celebrating the hard work of these students is invaluable to the creative growth process.

The Art Foundations end of the year visual review provides art students the opportunity to achieve preparing and organizing a display of artwork in a professional manner. It also allows students time to reflect upon the work created in the first few years as an art major in order to prepare for moving forward through the department of art curriculum.

Any undergraduate art student who has completed all four studio foundation courses is invited to participate. The department of art classifies Art Foundations I, Art Foundations II, Foundation Drawing I and Foundation Drawing II to be the four classes required to complete this fundamental phase. Every student submits eight to ten works of art of their choosing, keeping in mind the idea of displaying a cohesive collection of the best work to date. The students also submit a written statement analyzing their collections.

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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.

CLEMSON — Top artists in Master of Fine Arts (MFA) programs at Clemson University, University of South Carolina and Winthrop University teamed with honors students at Clemson University in an undergraduate English Accelerated Composition course to explore and interpret the theme Corporeal Complexities: Bodies in Process. The end result is a statewide juried exhibition of MFA work curated by the honors students. The Coordinator of Museum Interpretation at the High Museum of Art in Atlanta, GA, Virginia Sweeney juried the exhibit. The exhibition runs until Jan. 29 with a Juror’s Discussion and Reception occurring Friday, Jan. 16, 6 – 7 p.m. in the Center for Visual Arts (CVA) – Lee Gallery on Clemson’s campus.

Corporeal Complexities: Bodies in Process Exhibit allows the participating artists to explore how an apparently permanent world of seemingly unchanging humans is actually changing quite rapidly. Changes add and intersect with one another to create layers of complexity. The MFA students have explored these complexities, placing the human body in context of an ever-changing world. The artists selected for this exhibition include Laken Bridges, Tanna Burchinal, Vivianne Carey, Lindsey Elsey, Alex Giannell, Lee Ann Harrison, Nina Kawar, Mary Jane King, Joel Murray, Brent Pafford, Caley Pennington, Thomas Seay, Hilary Siber, Moses Tsai, and Samantha Valdez.

This exhibition is the product of an extended collaboration between the Center for Visual Arts (CVA) and undergraduate honors students in English at Clemson University through the Clemson Curates initiative. Clemson Curates is the product of an interdisciplinary collaboration across the University to promote the arts. Faculty teach experiential-learning courses through a partnership with the CVA, allowing students to gain practical knowledge of how arguments are constructed and analyzed both within classrooms and in the broader world. These courses encourage students to consider different ways of constructing arguments as a core component of Clemson’s mission to emphasize writing across the disciplines. Students learn to consider the arts and visual rhetoric from a variety of perspectives and fields, providing them with a more comprehensive view––taking students from classroom-based knowledge to broader applications both inside and outside the arts.

The contributing honor students are Caroline Bales, Dustin Brecht, Jon Brownfield, Matthew Carson, Jonathan Drake, Meredith Ellis, Jake Flynn, David Gundana, Alexander Herd, Ethan Kirkland, Joseph Litts, Hannah Mace, Andrew Moore, Sophia Porach, Peter Rowan, Andrew Shumaker, Taylor Thompson, Katie Tobik, and Sean West. These students collaborated with several members of the Clemson University faculty and staff: Denise Woodward-Detrich, CVA Lee Gallery director; John Morgenstern, visiting assistant professor of English; Kathy Edwards, research and collection development librarian for the Gunnin Library; Jan Lay, Clemson computing and information technology technical learning instructor; Meredith Mims McTigue, CVA/art department marketing and public relations director; and Nathan Newsome, CVA Lee Gallery intern.

The Center for Visual Arts – Lee Gallery at Clemson University will be open for this exhibit M – TH, 9 a.m. – 4:30 p.m. (excluding University holidays) and is located at 1-101 Lee Hall. The street address is 323 Fernow Street, Clemson, SC 29634.  The Exhibit  as well as Juror’s Discussion and Reception occurring Friday, Jan. 16, 6 – 7 p.m. in the Lee Gallery is free and open to the public thanks in part to CVA generous donors.  For more information about the CVA – Lee Gallery, contact Denise Woodward-Detrich, Director at woodwaw@clemson.edu.

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Opening Day!

Take a study break and come to the Lee gallery at 9:30 a.m., for the opening of Corporeal Complexities: Bodies in Progress. In celebration of the exhibition’s opening and the culmination of a semester of work, we’ll have hot coffee and delicious donuts with all the different art pieces as the perfect finals-week combination. Get your first look at this exhibit’s amazing pieces! READ MORE

CLEMSON — Artists in Master of Fine Arts (MFA) programs at Clemson University, University of South Carolina and Winthrop University teamed with honors students at Clemson University in an undergraduate English Accelerated Composition course to explore and interpret the theme Corporeal Complexities: Bodies in Process. The end result is a juried exhibition of MFA work curated by the honors students. The Coordinator of Museum Interpretation at the High Museum of Art in Atlanta, GA, Ginia Sweeney juried the exhibit. The exhibition opens Dec. 10 and closes Jan. 30 with an artist reception Dec. 10, 9:30 – 10:30 a.m. and Juror’s Discussion and Reception occurring Jan. 16, 6 – 7 p.m. in the Lee Gallery on Clemson’s campus.

Corporeal Complexities: Bodies in Process allows artists to explore how an apparently permanent world of seemingly unchanging humans is actually changing quite rapidly. Changes add and intersect with one another to create layers of complexity. The MFA students have explored these complexities, placing the human body in context of an ever-changing world. The artists selected for this exhibition include Laken Bridges, Tanna Burchinal, Vivianne Carey, Lindsey Elsey, Alex Giannell, Lee Ann Harrison, Mary Jane King, Nina Kawar, Joel Murray, Brent Pafford, Caley Pennington, Thomas Seay, Hilary Siber, Moses Tsai, and Samantha Valdez.

This exhibition is the product of an extended collaboration between the Center for Visual Arts and undergraduate honors students in English at Clemson University through the Clemson Curates initiative. Clemson Curates is the product of an interdisciplinary collaboration across the University to promote the arts. Faculty teach experiential-learning courses through a partnership with the CVA, allowing students to gain practical knowledge of how arguments are constructed and analyzed both within classrooms and in the broader world. These courses encourage students to consider different ways of constructing arguments as a core component of Clemson’s mission to emphasize writing across the disciplines. Students learn to consider the arts and visual rhetoric from a variety of perspectives and fields, providing them with a more comprehensive view––taking students from classroom-based knowledge to broader applications both inside and outside the arts.

The contributing students are Caroline Bales, Dustin Brecht, Jon Brownfield, Matthew Carson, Jonathan Drake, Meredith Ellis, Jake Flynn, David Gundana, Alexander Herd, Ethan Kirkland, Joseph Litts, Hannah Mace, Andrew Moore, Sophia Porach, Peter Rowan, Andrew Shumaker, Taylor Thompson, Katie Tobik, and Sean West. These students collaborated with several members of the Clemson University faculty and staff: Denise Woodward-Detrich, Lee Gallery director; John Morgenstern, visiting assistant professor of English; Kathy Edwards, research and collection development librarian; Jan Lay, Clemson computing and information technology technical learning instructor; Meredith Mims McTigue, CVA/art department marketing and public relations director; and Nathan Newsome, CVA-Lee Gallery intern.

The Center for Visual Arts – Lee Gallery at Clemson University will be open for this exhibit M – TH, 9 a.m. – 4:30 p.m. (excluding University holidays) and is located at 1-101 Lee Hall, 323 Fernow Street, Clemson, SC 29634.  Gallery talks and reception are free and open to the public thanks in part to CVA generous donors.  For more information about the Lee Gallery, contact Denise Woodward-Detrich, Director at woodwaw@clemson.edu.

by Joshua Kelly and Jackie Kuntz Published in The Tiger Newspaper

Hey guys, welcome to the final Perspective column of the semester. For our last culturally enlightening time together, we are going to take a brief look at the Bachelor of Fine Arts students that are graduating this December, previewing their shows and looking quickly at their work. We have a great group of students putting on work this semester, and these are three shows that you are not going to want to miss that will provide a cultural getaway from all the studying that you should be doing for exams in the next few weeks.

“Analogue Interactive” provides viewers with plenty of chances to interact with cutting edge digital technology and see what a space infected with paranoia and obsession looks like.

The artists in the show “Fabricated Perception,” on display in the Lee Hall Gallery from Dec 2-6, deal with creating experiences for their viewers that hope to alter the way that we think about (or often times overlook) everyday happenstances.

Wendy Escobar’s drawings, Jackie Kuntz’ paintings, Kep Pate’s sculptures and Katie Ruggerio’s instillations all share one thing in common — they examine a different facet of human interaction. When viewed all together, the artists and work in “House Blend” help to form a rather complete picture of the human experience, blended together and distilled down to be presented in very personal and very refined formats.

Analogue Interactive

Joshua Kelly:

Joshua Kelly’s work is contingent upon the experience of the viewer within the gallery context and the progression of the narrative as one continues through the space. Kelly has constructed a gallery within a gallery, an intimate space for this diorama of tragedies to reside. The story line is based on an allegorical character with aggrandized mental anomalies and personality disorders who has a vision he is destined to a prophetic calling. He finds himself unsatisfied with this role and seeks alternative means of directing his own fate. This pursuit, and a misuse of power, only destroys — wiping out populations in its path — leading him in a final moment of pure transcendence, resolving to rectify these transgressions through self denial and his own ultimate sacrifice. This production deals with notions of fate, prophecy, duty, the divine and destruction as well as inevitable systems of chaos that characterize the world, representing our own want and need for control in our lives. After following the story of this self-destructive hero through this plastered grotto, the viewer turns the last enclaved corner to find him, a dissolving sculpted form, writhing, trapped, tortured, and reaching out — yearning to tell his tragic saga — his last penitential deed.

Nate Newsome:

Bringing attention to the side effects of existing in a digital world and being immersed in technology, the interactive projection works by Nate Newsome are sure to captivate and engage viewers in a way they didn’t think possible at a gallery show. He describes his work as “interventions that cause people to think about how we interact and communicate with other people and also [how we interact] with technology itself. People don’t think enough about the effects of constant connectivity and putting all their personal information out on the web.” His employment of some of the latest interactive-projection-based technology in work talking about the dangers of technology may at first seem counter intuitive. However, he hopes that by drawing the viewer into interacting with his piece he can then encourage them to think about just how much of their personal space they willfully but unknowingly forfeit to all of the latest technology.

Fabricated Perceptions

Karl Bolinger:

The asphalt road we drive on, streets we cross, dewy fields, spans of dessert, the mountains that crown the horizon: be it urban, country, oceanic or interior, we cannot exist outside of the context of a landscape. Karl Bolinger’s sculptures bring the viewers’ attention to the necessity, beauty and character of the “systems of landscapes” around us. Bolinger uses natural materials collected from the local landscape to highlight “specific details such as the invisible and visible features, elemental forces, the inhabitants, neglected landscapes, interstitial spaces and landscapes of devastation and beauty.”

Morgan Cole:

The Internet. Most of us have lived through its creation and development. We learn, shop, research, travel, do business, advertise, promote, explore and connect with others; who can remember a time without it? We all know what the Internet does for us and its impact on our lives, but rarely do we try and intellectually pin down its intangible and substantial nature. Through her paintings, Morgan Cole strives to do just that. She implements architectural references, icons of technology and even some ties to molecular science. The fluorescent blue of her canvases seem to hum with the swarms of data and pixilated information that overwhelm the composition. Deep shifting spaces and seams of portals allude to the possibilities of where this illusive crutch in our lives might reside. With references to the sublime and cosmos, and painted with a luminosity that parallels James Turrell, these futuristic “landscapes” portray the ethereal construct of the technology that now runs and betters our lives.

Ryan Powers:

Inspired by human anatomy, science fiction and personal experiences, the life-size ceramic human figures that Ryan Powers constructs bring to focus pain, suffering and the vulnerability of the human body. Powers said, “Clay is important as my medium because it records the tactile experience of building my figural fragments, and its surface references the tension of skin.” The conceptual backing for his work comes from personal history. “The inspiration for my project is due in part to the physical trauma I have experienced and the resulting possible nerve damage. This produces peculiar sensations such as: crawling, tingling, wriggling, constricting, stabbing, prickling and pulsating.” The way he has replicated these sensations with the textures applied to his forms is captivating. Oftentimes in classical sculpture, the human form is used to depict a heroic action. But Powers’ work attempts to undermind that association. His figures, which depict pain, highlight the fragility of the human form and the ease at which they can fall to suffering.

Emily Sorgenfrei

Emily Sorgenfrei deals with an issue that many Americans are very familiar with — the drive to consume. Her instillations, made of familiar items like shopping receipts and paint chips, are overwhelming instillations of otherwise recognizable information and artifacts from a consumer-minded culture. However, the purpose of the work is not to critique the need to consume, but simply to analyze and organize the data we encounter in our day to day lives, prompting her viewers to simply be aware of the fact that consumption is a vital and central part of everyone’s lives. Her work shows an alternative method of dealing with the bombardment of consumerism related material and leaves the viewer with a feeling of being overwhelmed by information but also a different perspective on consumerism.

House Blend

jackie Kuntz:

In her paintings, Jackie Kuntz explores the once prevalent but now seemingly lost dialogue between the written and visual arts. Her process is simple. Start with a poem which she resonates with, read it, meditate on it, absorb it; then paint the image that comes to mind. That is not to suggest that her paintings are mere illustrations of poems she likes — far from that. The symbolic and often allegorical landscapes she creates upon reflection of the chosen poem often do not show an expected rendering but allow the viewer a voyeuristic glance into the mind of the artist. By putting her own process of thought digestion and interpretation on examination in her work, Kuntz’ prompts the viewer to think more critically about the written word, visual narratives and the associations that we have between the two.

Katie Ruggerio:

Using both man-made objects and objects from nature, Katie Ruggiero’s instillations focus on the relationship between humans and their natural surroundings. According to Ruggerio, she is “interested in the paradoxical relationship [humans have with] nature, which is marked by feelings of wonderment, fragility and disconnect.” For “House Blend,” her sculptural work will highlight the cultural phenomenon of wanting to be closer to nature juxtaposing the general failure to care for nature that is a common happenstance in the course of human action. “We see nature as something that can be consumed, replaced, cultivated and reproduced continuously. I want to show our ever-increasing disconnection from our environment and the surrounding natural world.” The aesthetic employed in her work is refined and shows influences of minimalism and modernism. Ruggerio’s works offer the viewer quite moments of contemplation about the state of human and nature interaction while being visually captivating in their simplicity and exactness.

Kep Pate:

Kep Pate’s sculptures “embrace the adventure of youth’s unquenchable curiosity and merges it with the optimistic spirit of a child’s endless desire to play.” The cartooned styles and references of childhood strike a chord with any viewer who finds themselves approaching the work with an untraced knowing … what is it that they recognize? Whether beginner, student or professional, seasoned wisdom, matured soul or young wonder, Pate’s work does not discriminate. Each piece serves as an invitation to the inner child. Imaginatively built structures, one like a sand castle another a horse, awaken that spirit — no matter how long it may has withered, dormant. The viewer must remind themselves of the gallery confines as they fight the urge to explore, touch, grab and climb — thinking to themselves “the fun I might have had with that as a kid!” If his work had a grin, its corners would be kissed with mischief and sly humor. Won’t you come out and play?

Wendy Escobar:

Wendy Escobar’s drawings and paintings are a cognitive portrait of their creator. Autobiographical and narrative, these scenes illustrate the physical, mental and emotional impact of the journey through hardship as they rise, climax, wind, explode and disperse feebly like smoke. In these other worldly spaces, fantastical characters wrestle with the burden of stifled emotions and brace for the prowling danger that lurks by. Though horrifically marred in their affliction, the viewer can’t help but feel sadness for these figures, scarred, writhing and struggling in their bound confines. But pain is not the only fate that characterizes Escobar’s work. The comfort of an embrace, a trace of offered incense, the steadfast roots of an old, twisting tree … slivers of hope whisper a resonance in the work as the characters find a personal grounding within themselves to draw out a relentless strength. In a beautiful build up of bright colors, violent charcoal and torn medium, nothing is more real and raw than the perspective lens and forms of her brilliant but haunting imagination.