Scientific Methods: Art and Science, an exhibition exploring the interplay between science and art.

Blue Spiral 1 Gallery, May 3-June 29, 2018

38 Biltmore Avenue, Asheville, NC 28801

Exhibiting artists Eleanor Annand, Terry Ashley, Selin BalciAlex Gabriel Bernstein, Arthur Brouthers, Jeff Chyatte, Don Dudenbostel, Susan Goldstine, Miella Green, Judith Kruger, Jennifer Scheuer

   
  
   
  
    
  
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      Terrain Study 20  , 2017, mineral, plant and shell pigments, graphite, 23k gold leaf, collage on mixed papers, 8 ½” x 15” 

Terrain Study 20, 2017, mineral, plant and shell pigments, graphite, 23k gold leaf, collage on mixed papers, 8 ½” x 15” 

 
 
 

I Dwell in Possibilityunconventional work by Penland Instructors

Penland Gallery, Penland School of Crafts

67 Doras Trail, Penland, NC, 28765

March 27-May 13, 2018

“Abandon normal instructions” is a cryptic suggestion from Oblique Strategies, a set of flashcards developed by musician Brian Eno and artist Peter Schmidt to break creative constraints and encourage lateral thinking. Other suggestions,“remove the middle, extend the edges” and “discover your formulas and abandon them,” are part of studio lexicon across Penland’s campus—as infinite doors open to creative possibility.

This exhibition focuses on Penland instructors who have erased dividing lines or untethered themselves from material and creative constraints. They make discoveries within their media and then push beyond the expected. The artists in this small group exhibition are selected from the Penland 2018 workshop schedule. One of threads that runs through the pages of every Penland catalog is that of unfettered creativity—artists allowing themselves to take chances or tread on new ground in pursuit of their ideas. Penland not only embraces that sort of behavior, but also encourages it from both student and instructor.

In her poem “I dwell in Possibility” Emily Dickinson uses the house as a metaphor for comparing prose to poetry—it’s a house with many entrances, exits, and windows wide open for her ideas to pass in and out, and no one right way to interpret her words. Which brings us back to Brian Eno’s prompt to dispense with the rules for the sake of revelation—this is Emily’s “endless roof” and something the artists in this exhibition have made part of their studio practice. Creativity—how the artist mines ideas, interprets inexplicable thoughts, transforms material to make something tangible to share—that is both mysterious and exquisite.

 
   
  
   
  
    
  
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    Biophilia: Specimen 10  , 2015, mineral pigments, gardenia powder, graphite, carborundum, rice paste, Kozo on Arches paper,  22" x 30"

Biophilia: Specimen 10, 2015, mineral pigments, gardenia powder, graphite, carborundum, rice paste, Kozo on Arches paper,  22" x 30"

 

 

Mingled Terrain Solo Exhibition

February 1- April 7, 2018,

Richardson Family Art Museum                                                       429 North Church Street
Spartanburg, SC, 29303-3663     

recent collages, drawings, paintings, and sculptural objects. Through rooted, metaphoric abstraction and the employ of natural matter as art material, Judith Kruger addresses the interconnectivity of diverse environments and the significance of human-environment connectivity. 

The collages have been compiled from a small sampling of over a decade of saved, experimental natural material tests. As discarded fragments that were housed in over-stuffed flat file drawers, they have become a significant index of her work trajectory. Thus, the decision to mend, join and juxtapose them into repurposed work seemed like a natural step towards furthering her dialogue on the importance of mingled terrains. The collage material has become catalytic in driving the formal decisions for making the paintings and small sculptural objects, all newly created for this exhibition.

Artist lecture: Wednesday March 14, 7:00pm, Jerome Johnson Richardson Theatre

Artist talk: Thursday March 15, 7:00 pm, Richardson Family Art Museum      

Judith will be engaging with Wofford students through lecture, teaching and studio visits during her time at Wofford.

 

 
 
   
  
   
  
    
  
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      Terrain Study 39   2017, mineral and plant pigments, red Flashe, Kumohada paper, mixed reclaimed wood construction, 18 ½ x 13”

Terrain Study 39 2017, mineral and plant pigments, red Flashe, Kumohada paper, mixed reclaimed wood construction, 18 ½ x 13”