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Clemson Visual Arts

The Clemson University Center for Visual Arts hit the ground running in 2017

February 10, 2017

Meredith Mims McTigue, Center for Visual Arts

CLEMSON — The Center for Visual Arts (CVA) at Clemson University has hit the ground running in 2017, having already opened four new exhibits, hosted an artist talk and celebrated the sale of the spring 2017 shares of Community Supported Art (CSArt) student-created work.

The CVA’s calendar continues to unfold and reveal more events to attend, including new artists and innovative workshops. From visiting artists to student exhibitions and seminars, the CVA calendar has unique and transformative experiences for all. Thanks to generous supporters, the vast majority of CVA events remain free for the public. Check out the ongoing and upcoming opportunities the CVA is offering this spring. For more information and to access the full calendar of events, visit clemson.edu/cva.

Clemson National Print and Drawing Exhibition
Feb. 15–March 15 • 9 a.m.-4:30 p.m. Monday-Thursday • Lee Gallery
Artist Reception • Feb. 7, 3:30–4:30 p.m. • Lee Gallery
Exhibition • Feb. 15–March 15 • 9 a.m.–4:30 p.m. Monday-Thursday • Lee Gallery

Since the beginning of our time on Earth, we have responded to the impact of change in every aspect of our human experience. In the ever-expanding social, technological, biological and digital era, change is taking place at unprecedented speeds while the world is becoming a much smaller place. The 2017 Clemson National Print and Drawing exhibition explores change in a wide range of approaches to unpacking this idea.

Passport to the Arts
March 3 • 6-9:30 p.m. • Order tickets now at clemsonpassport.org

Now in its seventh year, the “Passport to the Arts” continues to be an exciting “town and gown” event. Join the Lee Gallery at Clemson University and The Arts Center of Clemson for an evening of fine art, entertainers, live music, drinks and exceptional food showcased at four different locations.

The Clemson Area Transit (CAT) shuttle will take you on a visual arts tour of Clemson for a fun-filled evening. All shuttles feature entertainment, making your ride to each venue even more enjoyable. Our locations this year include The Arts Center, the CATBus Terminal, the Lee Gallery at Clemson University and Cox Hall at Clemson Little Theatre in Pendleton.

Tickets are $40 per person and can be purchased at clemsonpassport.org.

Jeff Beekman artist talk
March 2, 5:30–6:30 p.m. • 2-301 Lee Hall

Jeff Beekman is a multidisciplinary artist whose artwork since early 2000 has explored the interrelationships between land, memory and human activity. His work has been exhibited at venues across the U.S., as well as New Zealand, Australia, China, Vietnam, England, Hungary and South Korea.

Ink Travels
March 31–Oct. 4 • 8 a.m.–4:30 p.m. Monday-Friday
Sikes Hall Showcase, ground floor

“Ink travels” refers to the constant challenge of keeping an active print shop clean. In the context of this exhibition, the term also refers to the wide-reaching influence of Professor Sydney A. Cross’s teaching and mentoring. Similar to how “ink travels” this exhibition showcases Cross’s legacy as an educator and illustrates the positive impact she has had on artists across the nation. The exhibition is a thoughtful tribute to the quality of Cross’s teaching and a reflection on the Clemson family in the visual arts.

Sense of Place: Picturing West Greenville Exhibit
April 3 – July 28 • 8 a.m.–5 p.m. Monday-Friday
Center for Visual Arts-Greenville, fifth floor, 1 N. Main St., Greenville

This exhibition examines the people, places and the cultural life of West Greenville in a project organized by the Center for Visual Arts- Greenville. Artists invited to participate in the project demonstrate relevant experience in creating a collection of works using environmental portraiture or storytelling. The goal of the project was to build community, convey and bring together a significant exhibit meant to honor West Greenville residents and the surrounding community. The artists selected to participate in the project and exhibit are Dawn Roe of Asheville, North Carolina, and Winter Park, Florida; Dustin Chambers of Atlanta; Kathleen Robbins of Columbia; and Leon Alesi of Asheville and Austin, Texas. Works in this exhibition are not for sale as they are part of the CVA Art Collection. No lectures or receptions are planned for this exhibition.

SmART Series Seminar 7 with Jeffrey Baykal-Rollins
April 3 • 5:30–6:30 p.m.
1-100 Lee Hall

Jeffrey Baykal-Rollins is an American multimedia artist and educator now based in the greater New York City area after living in Istanbul for more than a decade. His “art as social practice,” combines drawing with performance, alternative education, institutional critique and cultural studies.

Two Cents: BFA Senior Exhibit
April 17–26 • 9 a.m.–4:30 p.m. Monday-Friday • Lee Gallery
Reception: April 21, 6-8 p.m. • Lee Gallery
Artist talks: April 21, 6:30–7 p.m. • Lee Gallery

Artists explore how humans relate to themselves, experience the world, and examine their history. Two Cents is an exhibit of works by graduating Bachelor of Fine Arts students in the disciplines of drawing, painting and photography.

A Sense of Place: Clemson • Drawings and Watercolors by James F. Barker
April 24–Oct. 11 • 8 a.m.-4:30 p.m. Monday-Friday
College of Architecture, Arts and Humanities Dean’s Gallery • 101 Strode Tower

As an architecture student, alumnus, dean, president emeritus and now professor of architecture, James F. Barker gives a unique perspective. His exhibit captures a sense of community that portrays a richness, depth and love for the Clemson campus. Reception to be announced at a later date.

Spring Ceramics Studio Sale and CSArt Share Pick Up
April 26, 10 a.m.–5 p.m. • Lee Gallery Hallway

Student ceramic work will be on sale in the Lee Gallery Hallway for purchase. In addition, Community Support Art (CSArt) spring 2017 shareholders are invited to the annual CSArt Pick Up to receive their shares and celebrate another successful semester of student artwork.

CURRENTLY ON DISPLAY

Pliable Instance: Paintings by Todd McDonald
On view until March 28
8 a.m.–4:30 p.m. Monday-Friday
Center for Visual Arts–Greenville, fifth floor, 1 N. Main St.

Through abstractions of architectural structures, Todd McDonald’s images explore the contemporary visual rhetoric where the virtual and material collide. Throughout history, painting is used as a vehicle to describe spaces and locations that do not actually exist. Now society is confronted with new digital tools that are shaping the character of visual culture.

Foundations I: Department of Art Student Exhibit
On view until April 17 • 8 a.m.–4:30 p.m. Monday-Friday • CAAH Dean’s Gallery
101 Strode Tower

The Foundations exhibit features students who have completed the Foundation level studio courses in the department of art at Clemson. The showcase is a reflection of explorations with visual expression and problem-solving.

Gathering Lines: Drawings by Kathleen Thum
On view until April 27 • 1–5 p.m. Monday-Friday • Brooks Center Lobby Showcase

Kathleen Thum’s exhibition of drawings, paintings, collages and large-scale wall installations abstractly reference pipeline infrastructures to bring awareness and a visual presence of our society’s dependence on petroleum.

END

Thin Ice: Art professor saves National Park glaciers as woodcut prints, work acquired by national galleries

February 1, 2017

Clinton Colmenares, Media Relations

February 1, 2017

Todd Anderson, assistant professor of art and printmaking at Clemson University, displays one of his reductive woodblock prints in “The Last Glacier”, an artist book of 23 image plates of glaciers in Glacier National Park, Montana, by him, Bruce Crownover and Ian van Coller.
Image Credit: Ken Scar / Clemson University

CLEMSON — With a heavy mug of coffee in one hand, Todd Anderson moves through his personal studio like a chef moving through a four-star kitchen: fluidly, efficiently, among the tools of his trade: neatly stacked cans of paint sorted by color, saws and drills tucked away without a hint of sawdust, brushes hanging neatly, chisels gleaming. Every label of every can and jar and bottle faces outward, lest confusion disrupt the rhythm of his work.

Anderson, an assistant professor of art at Clemson University, is a printmaker, skilled at transferring beauty and wonder from landscapes onto paper to share his experiences with the public.

When guests arrive at his studio, which used to be his garage, Anderson slips on a pair of shoes, turns off a stream of classical jazz and begins to tell a story about his latest project, which recently gained national attention.

“I think we all understand that the world is changing in sweeping and dramatic ways,” Anderson says, his voice quiet and earnest. “My belief is that those places need to be seen, they need to be experienced and they need to be creatively documented.” It’s a holy trinity that guides his work.

Since its founding 100 years ago, Glacier National Park has lost more than 80 percent of its glaciers. Over the past six years, Anderson says, he hiked more than 500 miles through that park for a project called “The Last Glacier.” He and two collaborators, painter Bruce Crownover and photographer Ian van Coller, recently finished the project, resulting in original artwork that includes 15 specially bound 25- by 38-inch books with Anderson’s original prints, Crownover’s paintings and van Coller’s photos.

“My intent as an artist is to share the beauty of a changing world,” Anderson says.

In demand

The Metropolitan Museum of Art in New York and the New York Public Library are sharing the work; they each bought a book on the spot. The Library of Congress bought another. Clemson’s Emery A. Gunnin Architecture Library, the University of Wisconsin-Madison, Yale, and several private collectors have also invested in the artistic, historical records.

The Last Glacier quickly garnered the kind of attention artists dream of. But Anderson couldn’t look lighter, more carefree. He says he spent a great deal of his life camping, hiking and climbing his way through the Rocky Mountains, sleeping with the stars overhead. It’s easy to picture him on a mountain in a three-day beard and a worn flannel shirt, accidentally hip.

On being outside, Anderson says, “If you’ve felt frost on a sleeping bag, or seen dew on cobwebs in the woods, you can understand the value of that experience.”

Rock climbing shaped his arms and hands; they’re strong, purposeful. His blue eyes sparkle with an infinite appreciation for wonder, reflecting a scientist’s curiosity and exacting patience. There are stories in those hands and eyes, and a quiet urgency to tell them.

An Anderson woodcut print of the Grinnell glacier in Glacier National Park.

In the late oughts, Anderson heard the Rockies’ glaciers were melting. “My first thought was, this is the environment that I love, these alpine environments, the beauty of these places. I felt sad, first and foremost. And then I thought, ‘Well, who is documenting these places?’”

When months of searching for someone recording the glacial recession turned up empty, Anderson decided to do it himself. “It was really out of a sense of responsibility,” he says.

The three collaborators are currently wrapping up a second project, documenting glaciers in Rocky Mountain National Park. Anderson is also waiting to hear about a grant from the National Science Foundation that would send him to Antarctica.

The Last Glacier is a compelling and invaluable work, said Gary Machlis, the University Professor of Environmental Sustainability and scientific adviser to the director of the National Park Service for eight years until early January 2017. “Climate change is the environmental challenge of our age, and responding to this challenge requires a constellation of voices — including those of artists like Todd.

“Art can be a portal for understanding in a visceral, emotional way what science attempts to demonstrate through theory, data and analysis,” Machlis said. “Todd’s work is powerful, and his collaborative team is unique and so committed to their task. Viewing the images in ‘The Last Glacier’ is a reminder of what is at risk and what might be lost if we do not act.”

In 1910, there were 150 glaciers within the new 1 million-acre Glacier National Park in Montana’s Rocky Mountains. When Anderson started his work, in 2010, all but 25 had melted.

Glaciers, the marvelous remnants of the last ice age, are made from the bottom up by layer upon layer of snow that melts into ice, the accumulating weight pressing the earth, picking up and setting down boulders as they slide incrementally. For the past 7,000 years, the glaciers in the park have stretched for miles, like giant beached whales caught between mountains and frozen by time.

Melting ice, rising seas

Lakes dot a valley in Glacier National Park that a glacier once filled. Photo courtesy Todd Anderson. When glaciers melt they don’t simply disappear, they become water. Increasingly, they’re adding to rising sea levels.

Melt from all the glaciers and ice sheets in the world are responsible for two-thirds of global sea level rise (the rest is attributed to warming seas), according to Andrew Fountain a glaciologist at Portland State University in Portland, Oregon, who agreed to write a scientific note about the next project by Anderson and his colleagues.

Twenty years ago, Fountain said, alpine glaciers, like the ones in Glacier National Park, were the first to melt. “Now Greenland is beginning to melt,” he said.

By 2040, with a 2-degree Celsius increase in global temperature, sea levels will rise significantly along 90 percent of the world’s coastlines, affecting hundreds of millions of people, according to a study in the Proceedings of the National Academy of Sciences.

Fountain has introduced many artists to the wilderness in Antarctica, where he conducts some of his research. When Anderson asked him, out of the blue, to contribute to an artistic project, Fountain considered it a way to tell more people about the melting glaciers.

“Getting this information out to people is super important,” said Fountain. “It’s a gateway to science. I might be attracted to the subject by graphs and plots, but others might be attracted by art.”

It’s a symbiotic relationship, Anderson said, as scientists wrap the art in a scientific context.

“Working with scientists is very critical to my projects. We’re trying to bridge gaps and we’re trying to connect with as many folks as we can,” Anderson said. “What the scientists provide is things that we can’t provide – analytical analysis and whole, unique perspectives of what’s going on with the landscape.”

There is also common ground among artists and scientists, and aficionados of each. Science, Fountain said, can be incredibly creative, like when it’s time to choose the right approach to finding a solution. And when looking at Anderson’s art, the glaciologist sees clues to the glacier’s life, such as whether it’s advancing or retreating.

Democratic medium

After graduating from the University of Wisconsin-Madison, Anderson found work at Tandem Press, an international printing house affiliated with UW’s School of Education. Tandem has a tradition of attracting famous artists to experiment and print in its studio. David Lynch, Chuck Close, Art Spiegelman and Judy Pfaff are among its alumni.

Essentially, Anderson worked with artists accustomed to producing singular pieces of art and helped them create prints that “would be totally and wholly unique, but you could make 20 or 30 of these things and more people could have it.”

Printmaking, he said, “is an inherently democratic medium, and for me that was really what grabbed me.” “The Last Glacier” project is similarly intended to be shared with the masses, Anderson said. “Our mission is to get the work into the public sphere,” he said.

And he wants future masses to experience the work, which makes acquisitions by the Met, the New York Public Library and the Library of Congress special.

“One of the things I want to do as an artist is to talk about the immediacy of things going on in the world. But art, as I understand it and the way I approach it, it’s a multigenerational conversation,” Anderson said.

In museums, “when we look at a painting from the 1800s it helps us understand what people’s values were, what people thought about.

“It’s just as important when future generations who go to museums and get to see this work. It’s not just saying, ‘Oh, there used to be a glacier here,’ but it’s also saying, ‘This is a little bit about us.’ In a very, very small way. Of what we valued as a society and what we thought about, the challenges we were trying to face and engage.”

Working with collaborators also amplifies the message and grows the audience. Anderson initially planned to work alone, but the glaciers were so vast and distant – 10 to 15 miles from an access road – that he enlisted Crownover and van Coller to help cover the territory.

The result, Anderson said, is “three very unique artistic visions of essentially the same thing. The hope is that by presenting the viewer with three different versions of three different artists, that folks might be able to latch on. If they don’t like my work, maybe they’ll really like Bruce’s. Or if they don’t like Bruce’s, maybe they’ll like Ian’s.”

Todd Anderson, assistant professor of art and printmaking at Clemson University, carves out a “stamp” to create a reductive woodcut print of a glacier for “The Last Glacier”. (Photo by Ken Scar)

Mirroring the glaciers

If you’ve stood on a glacier, or on a mountain two miles high, standing in front of Anderson’s finished prints will stir a familiar chill in the air, as if someone opened a window 10,000 feet up. The prints reveal scars from the violent upheaval, subduction and collision of the Earth’s crust. You’ll feel the cool blues of the ice, the ancient gray of the rock and yellow, purple, pink and blue of sunrises and sunsets seen through thin air.

Anderson spent weeks each summer working in situ, researching the glaciers – which ones to document, how to access them, seeing them at different times of day as the sun shifted shadows and revealed new details. He hiked, sketched and photographed, getting to know each one before it ceased to exist.

Back in his studio, where the prints come to life, a mixture of fluorescent bulbs balance the blues, reds and greens to shine as white as possible.

In the middle of the space sits a printing press, perched atop tiny feet, perfectly level. The press is new; at least it’s new to Anderson. It arrived recently by freight to his home in one of Clemson’s leafy neighborhoods. The press is his six-burner gas range, where the ingredients of his art – science, nature, light and the wonder of the Rocky Mountains — mingle and fuse.

Slowly, they develop as reductive woodcut prints in a process involving time, pressure and the deliberate carving of a landscape until nothing is left but a picture, a life cycle that mimics his subjects. Anderson chose to recreate the glaciers as woodcut prints because, he says, he wanted “an organic, visual language,” and woodcuts, by their nature, provide a “visual texture.”

Both glaciers and prints are constructed of layers, but while glaciers are built from the bottom, prints begin at the top. They require the artist to complete the piece in his mind, then work backward.

Anderson transfers a sketch to a rectangular block of basswood, imported from Japan, then begins working in negative space – using fingers and hands that once routinely clung to rock to slowly, expertly, carve away wood, creating an image by removing what he doesn’t want in the print. The first layer he carves away, from the top of the block, will be the first image on the paper, the bottom layer of color.

“I might do that 10, 15 or 20 times. So I’ll have 15 or 20 sheets of paper that look the same,” he says. “Once I’m done doing that, I’ll take that same block of wood, clean it off, carve it out a little bit more, I’ll ink it up with a new color this time, then I’ll print it on top of what I printed before.”

He has to print light colors first, and he’s constantly calculating “the value of the color and the opacity of my ink, so that I can make a whole image look right. At least in my mind how it looks right.”

One layer, one carving, one color, one pressing at a time, all the while thinking backwards, or upside down, removing negative space from the top that becomes the bottom. Eventually, the full image appears. But, at a cost.

“By the time I get done making these artworks, the blocks themselves are really exhausted, and there’s no way of going back and remaking the artwork,” Anderson says. “The process is mirroring the fate of the glaciers themselves.”

Anderson said he doesn’t create “message” art. He’s not delivering a political statement. Not directly, anyway.

“There’s a complexity to these ideas” of art, experience, climate change, he said. “What I’m trying to present as an artist is visual complexity. But there’s moments where, when it works right, you can get lost in these things and you start seeing the cobwebs. You start seeing things. There’s an experience that art can give you, which is just wonder, and that’s what I’m trying to do.”

Anderson received funding from the South Carolina Arts Commission, the Sustainable Arts Foundation and the National Endowment for the Arts for this work.

For more information, and to see the work by Crownover and van Coller, go to TheLastGlacier.com.

Anderson’s print of Salamander Glacier in Glacier National Park.
Image Credit: Todd Anderson

Department of art’s annual fall Ceramic Bowl Sale to be held November 16

November 3, 2016

CLEMSON — The ceramics studio in the department of art at Clemson University will hold the annual Fall Ceramics Bowl Sale from noon to 5 p.m. Wednesday, Nov. 16, in the hallway in front of the Lee Gallery in Lee Hall.

This popular annual sale is a fundraiser that supports student travel to the upcoming National Council on Education for the Ceramic Arts conference as well as other professional activities that help further student research and collaboration.

A selection of bowls and other functional works by ceramics undergraduate and graduate students and faculty will be available in a variety of price points. The Clemson Ceramics Association’s homemade soup will be served free with the purchase of a bowl between noon and 1 p.m. The annual Spring Ceramic Sale will be held April 26, 2017.

For additional information, contact the department of art’s associate professor of ceramics, Valerie Zimany, vzimany@clemson.edu.

Master’s candidates display final thesis via a ‘solastalgia’ exhibition

November 2, 2016

CLEMSON – “Solastalgia,” an exhibition by Clemson University Master of Fine Arts candidates Deighton Abrams and Haley Floyd opened this week and will run until Nov. 11 at the Center for Visual Arts-Lee Gallery. The public is invited to a reception with artist talks beginning at 6:30 p.m. Nov. 11.

Through the sculptural work of ceramist Abrams and photographs by Floyd, “Solastalgia” explores the physical, psychological and emotional relationship between the environment and human identity. Connected to the concepts of solace and desolation, solastalgia is used by environmental philosophers to describe the human distress associated with environmental sickness regarding home. Both artists reflect on this relationship through their personal experiences of home.

This final research thesis exhibit showcases a culmination of research in which students go through a series of critiques as master’s candidates helping build a body of work of the students’ choosing.

The Center for Visual Arts – Lee Gallery at Clemson University will be open for this exhibit 9 a.m.–4:30 p.m. Mondays-Fridays. It is located in 1-101 Lee Hall, 323 Fernow St. The exhibition, artist talks and reception are free to the public because of the generous support given to the Center for Visual Arts. For more information about exhibitions in the Lee Gallery, as well as other Center for Visual Arts galleries and venues, visit www.clemson.edu/cva.

Why MFA Grad Student, Kymberly Day Chose Clemson Over a Big City School

October 14, 2016

2016-10-14 Artist Friday - Kymberly Day Since October is a popular month for visual arts undergraduate students to begin researching and applying for graduate schools, I’d like to share some reflections from current MFA sculpture candidate, Kimberly Day as to why she chose Clemson University over a big city school.

Although many students are drawn to Clemson University because of its reputation for having a highly ranked football team, this was not on Kymberly Day’s list of criteria when looking for a strong MFA program. After graduating with her BFA, Kymberly joined a Greenville independent studio. During this time she applied to “big city” graduate art schools, two Portland universities and Clemson University. Some of Kymberly’s main concerns were affordability, living proximity, the program’s reputation, and the pace. Clemson’s MFA program ranked highly in each of these categories, making Clemson University Kymberly’s first choice.

The year-round paid teaching assistant position was a huge influence in Kymberly’s monetary minded decision. Clemson is in a rural location and has a lower cost of living comparative to some bigger city schools she was considering. Working in large three-dimensional sculptures and not having to rely on public transportation was a huge advantage as well. Clemson’s program is also known for placing graduates in teaching positions which is a rarity with other schools. Lastly, Kymberly found that the pace and social environment of the program was very supportive, a refreshing reality to more cut throat programs.

If you are looking to apply to the Clemson MFA program, search for dates and application requirements at http://www.clemson.edu/caah/departments/art/academics/graduate/applying.html or contact our MFA Program Coordinator, Dave Detrich, ddavid@clemson.edu.

Art Students Gain Valuable Experience Through Lee Gallery Internship

October 7, 2016

Lee Gallery Intern, Hannah Cartee 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.

Lee Gallery Interns - Making Frames 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.

Artist and Sculpture Professor, Dave Detrich’s Shares his Studio Process

September 30, 2016

Dave Detrich - Studio Visit2 Earlier this month, Center for Visual Arts-Lee Gallery at Clemson University interns visited the studio of sculpture professor and the Master of Fine Arts (MFA) graduate program coordinator, Dave Detrich. All of the art department professors are not only teachers, but they are working artists. Interns were able to view his sculpture in person and they had an opportunity to ask him questions. Here is a summarized account of his answers.

What is your visual arts background?

Detrich was initially interested in architecture. His mentor and professor, Dan Lowery, at Southwestern Illinois College, served as huge inspiration and motivation towards a career in art. He received his BFA from the Kanas City Art Institute, Missouri and his MFA from Alfred University, New York. Viewing the building of the St. Louis arch inspired questions about the anomaly on the landscape within his work.

Has your industrialized location influenced your work?

St. Louis’s urbanization, industrialization, and its city parks are all cultural initiatives that have inspired Detrich’s sculpture. His father’s job working on a motor assembly line also influenced the direction of his work.

What is the context that your work presents itself?

Detrich focuses heavily on preparatory research and values originality of content he is addressing. Often, he extracts elements discourse subjects to create irony.

Is there a reason you have been using wall sculpture versus sculpture in the round in your current work?

The wall is a place he consistently goes to as a building site. His current work considers consumerism in the automotive and fashion industries. He is using a coring tool to create circular cuts in magazines of these subjects and arrange these chance cuts into connected images.

Is there a reoccurring starting point that you return to for inspiration?

Through collecting, Detrich tries to find the ironic connections between things unrelated. Many of his ideas are the result of months of processing through ideas, making the forecast of his work unpredictable.

You wrote that your sculpture is most successful when it poses a question rather than make a statement. If it does this, what action do you want your viewers to take?

He believes his work is successful when it invites his viewers to ponder rather than answer a question for them. He does not seek an editorial approach, but rather one that initiates a dialogue.

Detrich’s current works are investigating the poetry of paint chip names, the intersections between automobiles and fashion, and the elements of Piet Mondrian’s minimalism.

The visit was enlightening to the students. They were able to understand Detrich’s artistic journey, his particular mode of working, and his translation of ideas through his sculpture and its impact on viewers.

Visual Arts Students Travel Around the World Thanks to Awarded Scholarships

September 23, 2016

Each year, the Department of Art hosts a potluck dinner for all of Clemson’s BFA and MFA students. At the potluck, students have the opportunity to enjoy a meal, talk with their classmates and hear exciting and crucial information regarding internship, scholarship, research and travel opportunities. This year’s potluck was full exciting presentations highlighting the Clemson Fine Arts students working and learning around the world.

Casey Bunda, BFA, traveled to London, United Kingdom for an internship she obtained through City Internships, a third-party internship placement organization. Bunda landed the perfect job as a social media and photography intern at a co-working creative space in the heart of London. Bunda researched and interviewed for the position via Skype. After receiving her offer, Bunda worked with the Dept. of Art to receive course credit for her internship.

Deighton Abrams, MFA (Ceramics), was the recipient of the Jeanette S. Dreskin Award, general Department of Art Fellowship and a Professional Enrichment Grant (PEG). These scholarships and awards are obtained through Clemson University. They are awarded based upon the hard work and merit of the applicant. Deighton’s graduate thesis project won him these awards. He chose to use his scholarships to attend the International Society for Ceramic Art Education and Exchange (ISCAEE) Symposium in China. Deighton also traveled to Iceland for further graduate thesis research.

Dalia Delanuez, MFA (Sculpture), received a Department of Art scholarship to travel to Italy and Honduras for graduate research. She applied for this scholarship through the Department of Art and worked with faculty to best utilize her time and scholarship during these two separate excursions.

Hannah Gardner, BFA, obtained a scholarship from the Calhoun Honors College. She used this award to supplement a three-week art program excursion to Tanzania, Africa. While in Tanzania, she was exposed to numerous art careers, including shadowing art therapists and teaching art classes to neighboring villages.

Megan Hueble, BFA, was a summer intern at the Museum of Fine Arts in Boston, Massachusetts. During her time as an intern, Megan shadowed several teachers to learn about the numerous studios and options within art education. Additionally, she was able to take full advantage of her unlimited access to the entire museum. This internship was made possible by an award she received Department of Art scholarship committee. potluck, Lacey

Lacey Miller, MFA was able to use her Department of Art scholarship to attend the National Council on Education for the Ceramic Arts (NCECA ) annual conference in Kansas City, Missouri. While at the conference, she experienced numerous ceramic lectures, demonstrations and artwork.

Carey Morton, MFA (Sculpture), spent his summer at the Penland School of Crafts in Spruce Pine, North Carolina. While at Penland, he was a part of a team hand carved Fox Canoes. Morton acquired unique building technique skills and expanded his artistic knowledge with this special opportunity.

Teisha Holloway, BFA, worked as an intern at The Bascom, an art gallery and visual arts center in Highlands, North Carolina. Holloway learned how to run a gallery space. She also helped to design exhibitions and displays, worked in the community with partners and learned about several forms of art professionalism.

potluck, Teisha We are so proud of all of the impressive things our students were able to experience and accomplish over the past few months. The Department of Art is committed to continue to provide scholarship, internship and travel opportunities to students who have shown dedication to their work in and out of the classroom.

An artist returns to his roots: Clemson’s Center for Visual Arts hosts “Stories on My Back”

August 19, 2016

Meredith Mims McTigue, Center for Visual Arts Stories on My Back

“Stories on My Back,” an installation by Clemson Master of Fine Arts (MFA) alumnus Richard Alexander Lou, ’86 will open the 2016-17 season in the Center for Visual Arts – Lee Gallery on Aug. 22 and run until Oct. 13. On Friday, Sept. 23 at 5:30 p.m., the artist will give an artist talk about his work with a reception to follow in the gallery.

Lou was born and grew up in San Diego, CA with a biracial family, which was spiritually and intellectually guided by an anti-colonialist Chinese father and a culturally affirming Mexicana mother. After earning his bachelor’s degree in San Diego, CA, Lou continued his education at Clemson University, citing a handwritten note from the Chair of the Department of Art, a tradition that is still practiced today, as the decisive factor that led him to choose Clemson out of almost one hundred potential graduate schools. Lou has exhibited internationally and has over 30 years’ experience teaching in higher education, 20 years as an arts administrator most recently serving as Chair of the Department of Art at University of Memphis in Memphis, TN.

He has been invited back to campus to showcase his traveling multimedia installation that combines photography, found objects and sound walls of tamale husks. The artist writes, “As a contemporary image-maker I am interested in collecting dissonant ideas and narratives, allowing them to bump into each other, to coax new meanings and possibilities that dismantle the hierarchy of images. The work serves as an ideological, social, political and cultural matrix from which I understand my place in this world and to make a simple marking of the cultural shifts of my community.”

“Stories on My Back” art installation was featured in the recently released book, The Routledge Companion to Latina/o Popular Culture by Guisela Latorre, PhD, as a reference to the increasing proliferation of Lantina/o culture in modern American popular culture.

This innovative art collaboration with Richard A. Lou, ’86 is part of the Center for Visual Art’s commitment to support the 2020 ClemsonForward strategic plan to provide educational activities to attract and retain outstanding students by “providing an exceptional educational experience grounded in engagement.” In addition, Richard collaborated with four other artists, three of whom are Clemson University alumni: Chere Labbe Doiron, Jo Carol Mitchell-Rogers ’87, Robert Spencer ’86 and Chris Wallace ’86.

The Center for Visual Arts-Lee Gallery at Clemson University will be open for this exhibit 9 a.m.–4:30 p.m. Mondays-Thursdays. It is located in 1-101 Lee Hall, 323 Fernow St. The exhibition, artist talks and reception are free to the public because of the generous support given to the Center for Visual Arts. For more information about exhibitions in the Lee Gallery, as well as other Center for Visual Arts galleries and venues, visit www.clemson.edu/cva.

Art Students Reflect Through End of the Year Exhibition

April 2, 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’s signature town-gown event tickets almost sold out, ‘Passport to the Arts,’ 2016

February 22, 2016

CLEMSON — Clemson University and the city of Clemson will host the popular and unique celebration of the arts with the signature town-gown event “Passport to the Arts” 6-9:30 p.m. March 4.

Now, in its sixth year, the always sold out Passport to the Arts continues to be an exciting and popular “Town and Gown” event. Join the Center for Visual Arts (CVA) – Lee Gallery and the Arts Center of Clemson as they host an evening full of art, entertainers, live music, drinks and exceptional food showcased at four different locations.

This year, City and University leaders have embraced this comprehensive event to highlight the incredible local talent housed in the small college town of Clemson, S.C. Currently ranked no. 1 in the nation for “Town Gown Relations” by the Princeton Review, Clemson has supported this event that is truly an exceptional evening showcasing the beauty of this nationally renowned relationship.

Attendees receive a “Passport” at an announced starting location, and stamp their books at several venues as they travel through Clemson on provided transportation. There will be an opportunity to view more than 200 works of art by more than 80 artists. Many of the pieces are on sale and being debuted for the first time in the four gallery venues. Additional highlights from this year’s event will be catering provided by Rick Erwin of Clemson at the Patrick Square Town Center venue.

At each new venue, a new batch of local food, music, art, and creativity will be on display. During Passport to the Arts, entertainment is at every turn — even on the shuttle; local musicians greet participants with their talents as you travel through Clemson. This innovative combination of art and entertainment has made Passport to the Arts the “Town and Gown” event of the year.

Clemson Area Transit (CAT) offers transportation for the Passport to the Arts tour. All shuttles feature entertainment, making the ride to each venue a destination in itself. The locations this year include The Arts Center of Clemson, the Clemson Area Transit facility, the Center for Visual Arts (CVA) – Lee Gallery at Clemson University and Charles K. Cheezem Education Center, home of the Osher Lifelong Learning Institute (OLLI) in the Patrick Square Town Center.

Passport the Arts is proud to announce a new partnership with United Methodist Church’s College Ministry, Clemson Wesley. Students of this ministry are offering childcare for children of parents attending the Clemson Passport to the Arts from 5:30 to 10 p.m. Rates are $20 per child with a cap at $50 per family. Contact Abby Barnett at barnet7@g.clemson.edu for more details. Funds received for this service will help support spring break missions trips to the Island of Eleuthera and Miami, Fl.

Only a few tickets for Passport to the Arts are $40 at clemsonpassport.org. The ticket price includes transportation, food, drink and entertainment. This event anticipates another sold out event this year so the public is encouraged to purchase their tickets as soon as possible.

For more information contact CVA Marketing and Public Relations Director, Meredith Mims McTigue, mmims@clemson.edu.

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Event partners and sponsors

The following businesses Passport to the Arts2 and individual sponsors made this event possible:

Carolina Real Estate, Charles K. Cheezem Education Center, Clemson Area Transit, Clemson Downs, Clemson Home, Clemson University, Clements Electrical, Inc., Edward Jones-Lee Woods and Jim Hill of Clemson, Greg Shelnutt and Family, Osher Lifelong Learning Institute (OLLI), Patrick Square, PrintSmart, Rick Erwin’s of Clemson, Tom Winkopp Realtor/Developer, LLC, United Methodist Church’s College Ministry, Wells Fargo, The Willis Candela Group of Wells Fargo Advisors, LLC., Wendys.

Exhibition Features Works by Department of Art Faculty

September 30, 2015

Clemson University in Clemson, SC, will present the Clemson University Department of Art Faculty Exhibit, featuring works by the Clemson University faculty, Oct. 5 – Nov. 12. Guests are invited to interact with the exhibiting artists and hear about the work during the Artist Talk to take place Oct. 8, at 2:30 p.m. and Oct. 28, at 11 a.m. An exhibit reception will be held on Oct. 8, 6–8pm in the Center for Visual Arts – Lee Gallery, 1–101 Lee Hall.

The participating artists include: printmaker Todd Anderson, sculptor David Detrich, digital media artist David Donar, sculptor Joey Manson, painter Todd McDonald, digital media artist Christina Nguyen Hung, sculptor Greg Shelnutt, functional ceramicist Denise Woodward-Detrich, photographer Anderson Wrangle, drawer Kathleen Thum, and sculptural ceramicist Valerie Zimany.

Relationships dominate our human experience. These experiences shape us into who we are as individuals and how we interact with the rest of our environment as a society. This existence between ourselves and our environment is a constant balancing act of impacting and being impacted by the vast conglomeration of experiences.

Having the faculty’s work accessible in the gallery adds a new dimension to the teaching environment at Clemson University, allowing students and visitors to see into the thoughts of the artists. In this exhibition, the work prompts questions to the viewer of human engagement in natural, societal, and personal environments.

The work of David Donar, Kathleen Thum, Todd Anderson, and Joey Manson turn our view outward into the natural world. David Donar uses a mixture of traditional and new media to explore the landscape before human influence. In his film, he looks at Lake Ouentironk, also known as Lake Simcoe, a fresh water lake north of Toronto, Ontario. Through the use of watercolor painting he creates “vibrant and moving picture to capture the various seasons as well as the fluid changes of water, land, and sky” to render for the viewer an area as it was over four-hundred years ago.

Interested in the human species’ relationship to the earth, Kathleen Thum examines complex relationships between nature and humans through the use of intricate line. The tubules are given a life of their own as she examines how they might be affected by pressure, gravity, fluids, and gases. In her current work, she specifically examines the relationship a species has with its environment, and how environmental changes cause species to flourish or perish. In the case of the relationship humans have with Earth’s natural resources, she asks: “Are we, as a human species, at our maximum Carrying Capacity in regards to the earth’s natural resources?”

Through the work of Todd Anderson, the viewer is challenged to make a connection between themselves as part of the human population and the greater environment. Where Thum studies natural resources, Anderson makes a study of human impact on the environment by documenting the retreating glaciers of Waterton-Glacier International Peace Park in Alberta, Canada and Montana, US. Over the course of his documentation he has seen 25 glaciers reduced to 18 since 2010. Expected to disappear by 2020, Anderson seeks to use his field data of sketches, watercolors, and photographs to create original fine art woodblock prints. He hopes The Last Glacier “will serve as a historical record of this momentous time of change within the park and offer unique insights into the larger issue of climate change”.

Joey Manson works with industrial materials to make large scale sculptures that embody organic qualities. These abstracted representations of our present environments, technological and natural, become “an exploration of our built, social, and environmental constructs”, says Manson.

Following is an examination of our social environment by Valerie Zimany, Greg Shelnutt, Anderson Wrangle, and David Detrich. With the use of sculpture and ceramics, they pull apart and clash together cultural elements.

Valerie Zimany’s bright colors and imagery clash on the softer surfaces of her ceramic sculptures, where she uses these “forced relationships” to “question compatibility.” After graduating with a BFA from the University of the Arts, Philadelphia, PA, Zimany went on to study at Kanazawa College of Art as a “Fellow” in Kanazawa, Japan. With a foot in these two backgrounds, Zimany uses her work to study how these cultures intersect. “In my current work,” she says, “I visually examine complex relationships between the East and West, nature and technology, and intimate and public worlds.”

The work of Greg Shelnutt has a narrative quality inviting the viewer to “question accepted notions about culture.” His use of materials such as metal and wood give a rustic quality and depth to his work. The storytelling these objects provide shifts between subtlety or forwardness. He couples recognizable objects in American culture with strong phrases, sparking conversation with his viewers. “As an academic artist living in South Carolina,” he says, “–I feel that part of my obligation to the profession is to engage with the broad public.”

Similarly, Anderson Wrangle uses black and white photography to document a moment that will forever impact our history.

David Detrich describes what drives his work as “paradoxical tensions that are created when oppositions find a common ground.” Using color wheels and swatch groups, he creates an interesting narrative of color and poetry. Detrich asks, “How is aesthetic taste derived?” Is it experienced intuitively or learned by an external force? Contrasting commercial design with high art practices, the viewer is invited to discover what drives their taste.

Todd McDonald, Denise WoodwardDetrich, and Christina Nguyen-Hung turn the viewers attention from the outside world of nature and culture, and into the more intimate realm of home and self.

Through his vibrant paintings, Todd McDonald explores how humans perceive their environment and how this perception has evolved to include digital media as a lens. He catalogues the change in perception through painting, one of the original lenses for which humans recorded their environment. McDonald says, “As methods of image making evolve we are confronted with new visual qualities that affect the way we see and consequently create models of ‘our world’.”

Fascinated with the idea of utility, Denise Woodward-Detrich investigates the interaction between functional objects and our day-to-day activities. In a study of balance, her beautifully glazed ceramics take on interesting shapes as they equally embody functional, visual, and tactile intrigue.

Christina Nguyen-Hung zooms the scope of her study to microscopic levels. As an interdisciplinary artist who combines electronic and biological media, she is interested in thinking about “material relationships between the individual (human body) and its environment in new ways.” To explore these relationships, Nguyen-Hung uses a common chicken egg and its mutable properties to study how common household items can transform the egg through what she describes as “little kitchen science.”

Lee Gallery hours are 9 a.m.-4:30 p.m. Monday-Thursday.

The exhibition, artist talks and reception are free to the public because of the generous support given to the Center for Visual Arts.

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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.

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