Within Transitions, contemporary artwork will be put into dialogue with a set of early 20th-century ivories from the KSU Permanent Collection. Together they will explore how an object’s meaning shifts as it is moved from one context to the next. The collecting, crossing boundaries, the removal of resources, and extraction of cultural artifacts changes value, accessibility, and understanding. Through our relationship with objects, Transitions will have us to consider the complexities of identity, geography, ownership, and our relationship with the natural world.
Sleight of Hand will explore the art, ritual, and spectacle of ivories and postcards collected during 19th-century Western colonial expeditions to what is now the Republic of the Congo. The staged scenes in the postcards depict life in the Congo’s communities. They will let us peer into a world that perpetuated ivories into a global commodity and fed into false ideals of an ‘exotic’ Africa for non-African tourists. Through this exhibition, we encourage you to consider how colonialism collides with the artists reclaim power through creative expression.
Versions 2012 is an on-going project that reflects our ever-changing relationship to imagery in the digital world. Copies and remixes increasingly replace the ‘original’ and the internet is revealed as space of representation as well as a place of direct experience. In keeping with the themes of the work, the artist has reworked and re-edited the video over time.
In an educational environment artists are honed and incubated, learning skills and being molded by instructors and mentors before becoming an artist out on their own. For this series of exhibitions, faculty and staff members from the School of Art and Design were asked to invite the students that became some of their protégés to show their work alongside that of the teacher.
Artists: Kristine Hwang and Celianne Pianeta; Carole Mauge-Lewis and Katia Lord; Ayokunle Odeleye and Robert Witherspoon; Joe Remillard and Munroe D'Antignac; Donald Robson and Lydia Day; Dan Sachs and Adam Gates Luck; Maria Sarmiento and Denise Burke; Keith Smith and Nikki Starz; Deborah Sosower and Barry Smith II; Joe Thomas and April Marten; Jeannette Wachtman and Courtney Allen.
Jim Waters' artwork explores perception through light and color. Materials such as glitter, resin and holographic vinyl amplify the symbolic potential of the form. The materials and patterns activate the wall and environment they inhabit.
In this exhibition, Atlanta-based artist Maria Artemis presents a selection of abstract sculptures by Ruth Zuckerman. These sculptures, created from a variety of materials, are juxtaposed with some of Zuckerman's photographs to explore what may have informed her artistic choices and aesthetic. A visual conversation between Artemis and Zuckerman is conducted by the positioning of one of Artemis' own sculptures alongside a set of Ruth Zuckerman's stone working tools, acquired by Artemis from the Bureau of Cultural Affairs Materials for the Arts. The Zuckerman artworks presented in Maria Artemis Selects Ruth Zuckerman are courtesy of the KSU Permanent Collection.
Atlanta-based artist Beth Lilly presents a contemporary cairn to visually track and mark the history of the Zuckerman Museum of Art. Although the word “cairn” comes from the Celtic languages, the idea of piling stones as a monument is pan-cultural and its origins are prehistoric. In treeless uplands around the world, it has been traditional to build stone cairns along a route to mark the way. Each traveler added rocks as they passed so that over time, the cairn became more visible and thus, a better landmark. Marking Time will memorialize the collaborations between artists, the institution, and the public through a collection of stones and other objects.
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