Snowmen!

July 16, 2009

Several foundation/2-D Design and painting students contributed their time and talents in an effort to decorate downtown Georgetown with funky, whimsical snowmen and snowwomen. On view throughout the holiday season, the display features 54 snowmen – all individually decorated by Scott County artists.

The themed, “public sculptures” will be auctioned off in February, with proceeds benefiting several charities. Fifteen GC art students contributed ten snowmen to this worthwhile effort. The styles ranged from natural and basic to artificial, complex, and ornate. Twigs and a plaid scarf ornament the snowman from “Twisted Twigs”; in contrast, splattered paint (in the style of Jackson Pollock) greets customers at Central Bank.

 


Kappa Pi Open Studio

KAPPA PI @ Georgetown College Art Department

openstudioad

 

For questions, contact Dr. Juilee Decker 502.863.8173

: FREE : FREE : FREE : FREE : FREE : FREE : FREE : FREE : FREE : FREE :


On Site Visits

wardhall


Student Show

studentshow


Student Mural Projects

Georgetown students have been hard at work on the college campus. They have completed three murals: one in the student center, REC building, and on the side of the eminence building facing the quad.


Lock & Key

“With Interest: Georgetown College Art Exhibition”
For a limited time only. No purchase necessary ­ in fact, many works are not for sale. More than 40 works by over a dozen Georgetown College student-artists demonstrate a range of media including: calligraphy, pastel, drawings, photographs, digital prints, linoleum prints, as well as paintings in acrylic, watercolor, and oil.

Exhibition on view from February 2 until March 24 at the Lock & Key Coffee House and Cafe located at 201 E. Main Street, Georgetown, Kentucky. 502-867-1972. Exhibition sponsored by Kappa Pi, the honorary art fraternity at Georgetown College. Kappa Pi President,
Mary Carlton, is the Lock and Key exhibition coordinator. Way to go, Mary! With special Thanks to Lock and Key owner, Jim Davis!

February 2 until March 24 at the Lock & Key

Participating artists include:
Rachel Brewer, Becky Burkich, Mary Carlton, Megan LeMaster, Amy LeMay, Clark Lester, Laura Medley, Sarah Moberly, Robyn Ryan, Amy Monroe Walters, Chris Wagner, Karis Walblay, Emily Wallace


Kappa Pi goes to Atlanta

Twelve GC students and faculty attended the annual College Art Association
meeting in Atlanta from February 16-19. Students served as room monitors
during the conference and were able to take in the sights, sounds, and
tastes of Atlanta. Highlights of the trip include visits to the Regional MFA
show (organized by CAA), High Art Museum , Atlanta College of Art, and CAA
sessions. Kappa Pi advisor, Dr. Juilee Decker, stated the importance of this
trip, “This was a wonderful opportunity for students to travel to a truly
southern — yet cosmopolitan — city, meet new people, make friends, and,
of course, experience the art and culture of the deep south. We are truly
grateful to the College and the hard work of all members who helped make
this trip happen and we look forward to another great trip next year.”


Duchamp’s Urinal

Duchamps Urinal
Grace Becknell
December 14, 2004

If you have ever studied any modern art history then you have undoubtedly had a debate about Marcel Duchamp.  For those of you unfamiliar with Duchamp he was an artist in the early nineteen hundreds who allowed himself to think outside of the norm and create art from the discarded and ordinary objects around his home. To me, Duchamp was the first artist to clearly juxtapose the position of modern art with commercial objects. Duchamp’s most famous and controversial piece was entitled Fountain, which was a urinal turned on its side, placed on a stand and signed with the name “R. Mutt 1917”.  I was asked to do a report on Duchamp in my Modern Art class to which I soon found myself explaining, encouraging, and defending Duchamp’s ingenious and foresighted vision of art.  For the majority, people have a hard time accepting a urinal on its side to be art, but the real accomplishment of Duchamp was his ability to challenge the aesthetic value of commonplace objects.  Duchamp gained recognition for the Fountain, which opened the door for his ideas for art to challenge traditional ideas and the rigid structures of the past.  Even today this art is misunderstood and controversial.  I enjoyed researching Duchamp and presenting his art and his ideas to my class because I knew there would be mixed opinions about his art.

During my presentation I took the class on a field trip that I hope impacted their understanding of Duchamp’s creativity.  We ventured into the depths of the men’s restroom on the first floor of the art building, where I created my own version of Fountain.  Luckily we captured a visual record of this event, so that the world can now see how Duchamp has even affected our dear Georgetown College Art Department.  Not everyone likes Duchamp’s art, we even have some students here who hate his work, but no matter who you are or your opinion on him, he undeniably changed the idea of art forever.

The men’s bathroom no longer has the recreation of Duchamps work on display, but we do have pictures of the event!(photos courtesy of Amy LeMay)


Contexture

July 11, 2009

The title of the exhibition takes its cues from Zakic’s multi-layered and many-surfaced contributions to this exhibition. These two installations – which take on new meanings when encountered in new settings – consist of oil panel paintings and an oil on linen installation.[1] Using the term “context” as a starting point, I selected “contexture” as the binding thread among the works on paper, sculptures, paintings, found objects, and installations that each of the three artists has contributed to this exhibition.

Contexture literally means “the process of weaving together separate strands…to form a complex but coherent whole.”[2] This is precisely the method employed in curating this exhibition. While artworks are frequently selected one-by-one for exhibitions that are often grounded upon a theoretical premise, theme, or discursive argument, here each artist has offered works that are chosen for personal, artistic reasons. However, there was an additional need – to install works that, while remaining individual and distinct, also contributed to the larger gallery experience. As opposed to an entirely pre-determined display, the artists considered the phenomenological gallery experience: how the works relate to one another, how they relate to the space around them, and how they confront the viewer’s space. This, of course, means “curating on-the-spot” to determine what might stay in the show or be removed to the artist’s studio. However, the end result yields an assemblage of works that become, by virtue of their placement in the gallery and inclusion in this exhibition, a crucible of artistic talent – a place where works and the individuals who created them are shifted, contained, restrained, and balanced by others.

By italicizing the term “text”, the word’s root and relationship to other word forms becomes apparent; text is literally embedded between a prefix and suffix. I wanted to emphasize the extent to which “text” forms the basis of three words: context, text, and texture. Each artist employs “texture” in such a way that we look to their works as structures that push the boundaries of the surface material to the fullest extent that each media allows. Siobhan Byrns, Stacey R. Chinn, and Boris Zakic also address “context” in the spatial and cultural senses. The contexts of the works become the references from visual and social culture as well as the immediate context surrounding the works in the exhibition gallery. Each artist also addresses text implicitly or explicitly. For Byrns and Zakic, text forms a part of the aesthetic discussion through the presence of fonts that have been created, manipulated, and mutilated. Chinn suggests text through a title that responds to her reading of Sylvia Plath’s poetry.[3]

[1] Context Project, oil on 12 panels, 24”x6” each, 2004 and Translations #30: From Text to Texture, oil on linen, 72”x90”, 2003.

[2] Microsoft Encarta Dictionary, encarta.msn.com/dictionary_1861599912/contexture.html accessed 12/8/04.

[3] I Am Not the Baby in the Barn (Portrait of the artist in Stage 1), pigment-based archival print, 2005. This print was inspired by two events: Chinn’s reading “Ariel” Poems by Sylvia Plath and, in particular, the poem “Nick and the Candlestick” and the verse “You are the baby in the barn” .


Faculty News Fall 2008

August 1, 2008

Rachel Brewer has joined our department as our new Gallery Director and Curator of Collections at Georgetown College. Rachel recently completed her M. A. in History at the University of Missouri-St. Louis with certification in Museum Studies. Rachel served as an intern at the St. Louis Mercantile Library at UMSL where she performed collections management involving research and data entry. She served also as an assistant to the Curator and Director of Education at the Contemporary Art Museum in Saint Louis. At the Contemporary, Rachel helped to coordinate the docent program and wrote texts for the museum publics. The search committee was quite impressed with Rachel’s credentials as well as her excitement about the responsibilities that this position offers. Please stop by her office to introduce yourself. The Gallery Director’s office is located in the Jacobs Gallery in the Ensor LRC; Rachel’s phone is 502.863.8399. Let Rachel know if you are interested in a tour of the Jacobs Gallery, the outdoor sculptures, or our new exhibition in the Anne Wright Wilson Fine Arts Gallery.

 

Dr. Decker taught a summer course in the May Term entitled “Art History, Theory, and Criticism.” Students in the course visited fifteen exhibitions over the course of the semester. Highlights included the tour of the home of Dr. Donald L. and Dorothy Jacobs, the Cincinnati Art Museum, and the Cincinnati Science Center for the exhibition “The Bodies.” Decker attended the AAC&U conference on General Education with colleagues from Georgetown College’s General Education Task Force. The conference was held May 30-June 4 on the campus of the University of Minnesota. Other participants from Georgetown include: Drs. Rosemary Allen, Barbara Burch, Brad Hadaway, and Bill Stevens. Further information is located on the Gen Ed website. The general education review and reform process continued going strong, throughout the summer, with the Synthesis GERC workshops which were held on May 22, June 24, July 22, and August 12. Full faculty meetings to distribute and discuss the Gen Ed reform will be held on August 28 and October 23. Email Dr. Decker if you have any questions.

Professionally, Dr. Decker continues to research public art and public sculpture. She served as guest-editor of the Spring and Summer issues of the award-winning journal, Collections, from AltaMira Press. In June, Dr. Decker spoke at the National Consortium for Teaching about Asia meeting held at Belmont University. She serves as Membership Coordinator for Public Art Dialogue and Second Vice President of the Historians of British Art, both of which are CAA-affiliated societies.

 

Daniel Graham taught two summer courses. The undergraduate course was a studio course in the basics of furniture making. The graduate level course, entitled “Art on a Shoestring”, was geared toward arts and humanities teachers who work with grades P-12. Daniel has been active in exhibiting and was recently included in the Bluegrass Biennial hosted by the Claypool-Young Art Gallery at Morehead State University in Morehead KY. Works purchased were added to the private collection of collector Suzan Goldstein of Lexington KY. He has been busy coordinating the Karakuri workshop study abroad opportunity for our students and beginning the process of bringing Japanese students here for a blacksmithing workshop. Daniel recently returned from a Visiting Artist lecture and workshop at Bowling Green State University. He has a number exhibitions coming up in the fall that he is preparing for as well as preparing for some new classes coming up in the fall including a Sketchbooks class in the fall consisting of bookmaking, collage, and book arts. In the spring  Daniel will teach a Digital Dimensions class using multiple sculptural processes along side 3d rendering work as well as the ever popular silkscreen class, this time infused with monoprint.

 

During the summer, Professor Darrell Kincer was involved in a number of projects, ranging from the redesign of his website (darrellkincer.com) to the preparations and hanging of a solo show at Asbury College. Other accomplishments include improvements to the department’s digital lab and traditional darkroom. He also invested time researching a practicing a number of non-silver based photographic techniques in preparation for a special topics class in the Fall where students will explore a range of imaging methods, from Holgas (toy cameras) to Kallitypes and other “alternative” processes. Last but certainly not least, the biggest excitement of the summer came from three back to back events: 2008 Commencement, photographing a wedding, and the birth of his first child, Evelyn Grey Kincer; all in the course of nearly 24 hours. “Evy” is doing well and has been a wonderful blessing. It might also be noted that she provides a wonderful new subject for photographing!

During the Fall, Darrell will be involved in a few specific projects: helping the 2009 seniors prepare for their springtime senior show, making preparations for a photography course abroad to London and Dublin over the winter break through CCSA, and producing another solo show to be exhibited in the Wilson Art Gallery for this coming January.




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