Ceramics Professor Brad Schwieger from Ohio University at Athens will visit our campus on October 6 and 7.
October 6 – Thursday
8:30am Meet+Greet at the studio (J-102)
9:00am Artist Talk
October – 7 Friday
12:00pm Snow Hill Pizza Lunch
Professor of Ceramics, Ohio University, Athens, Ohio
NC CONSORTIUM SCULPTURE EXHIBITION Sept. 2 – 30th, 2016
Keynote Speaker Patrick Dougherty
Thursday September 29, Jenkins Fine Arts Building Speight Auditorium 5:00 – 6:00PM
Closing Reception: Thursday, September 29, 2016 Gray Gallery 6:00PM
Lucky Seven, 2016. Astrid Lindgren Näs, Vimmerby, Sweden. Photo: Örjan Karlsson
UNC Sculpture Consortium 2016 Conference
List of panels, participants and demonstrations
Thursday September 29, 2016
Shou Sugi ban- A Japanese process for burning wood for architectural, woodworking and artistic applications. I will also show my own branding process that I developed to use in conjunction with this process.
Morgan Kennedy, Western Carolina University
Excellence in Teaching – from Vision to Realization
What students learn in our classes depends on more than what we know and can do. In this session, we will consider best practices for developing excellence in teaching from “landing your energy” to providing constructive feedback to incorporating Universal Design for Learning in order to meet the needs of more students. Be prepared to share your vision for great teaching and your most successful teaching strategy to realize that vision.
Dorothy Muller, East Carolina University
“Bridges” Building bridges between the students at the Community Colleges and University Art programs to ensure our students are ready to continue successfully when they transfer.
Chair – Kelly Sheppard, Wake Technical Community College, Raleigh
Panel – Pat Wasserboehr, UNC-Greensboro
Erica Hoyt ECU
Phillip Ash, Central Carolina Communty College
Jeff Kieffer, Catawaba Valley Community College
Kate Bukoski ECU
Matt Amanti, Pitt Community College, Greenville
Mark Gordon, Barton College, Wilson
”Making a Sustainable Career as an Artist” Integrating the business of being an artist into the curriculum. Avenues for success, various 3D “maker-type” businesses, Specific avenues for sculptors and how to market artists products.
Chair- Jodi Hollnagel-Jubran, East Carolina University
Panel- Andi Steele, UNC Wilmington
Adam Adcock ASU Boone
Kyle Lusk, Brevard College NC
Morgan Kennedy, WCU
Adam Walls, UNC Pembroke
Frankie Flood ASU Boone
The session is an investigation of 3D printing and 3D design. This interactive session includes an exploration of MakerBot® Replicator® Desktop 3D Printers as well as 3D design. A primer on 3D printing with MakerBot the session is an exploration of the MakerBot 3D Ecosystem with the intent on getting you up to speed on MakerBot’s latest 3D printing technology. Visit ECU’s MakerBot Innovation Center the first of its type on in North Carolina.
Professor Wayne Godwin, ECU School of Art & Design
“New Directions” Are strictly sculpture departments still viable, or is a more encompassing model that includes digital, performance, time mediums, more appropriate? If so, how do programs find the funding for such dramatic changes? And how to build upon the past.
Chair- Pat Wasserboehr, UNC-Greensboro
Panel- Andi Steele, UNC Wilmington
Mark Brown, High Point University NC
Morgen Kenedy, UNCW
Brittany Sondberg, Greensboro College
Hanna Jubran, ECU School of Art and Design
“Making in the Age of Google” the presentation will be focused on the challenges of involving students in craft, handwork, and thought process in a time where the “answer to anything” is on the phone in their pocket.
Mark Brown – High Point University NC
Laser cutting demo
Judd Snapp, ECU School of Art and Design
Gerald Weckesser, ECU School of Art and Design
Paper Casting- Handmade paper is a versatile, lightweight and strong material that can be used in a variety of ways including casting, mold making and as a textural surface element.
This demonstration will present how to create paper from a variety of natural materials and how to use handmade paper and additives that aid in sheet formation, strength and variation to create three-dimensional forms. Tamping wet paper made of malleable fibers over dimensional objects such as plaster molds will be discussed and demonstrated.
Matt Egan, ECU School of Art and Design
Heather Muise, ECU School of Art and Design
Sponsored by: – School of Art and Design, Dean of the College, The Gray Gallery & ECU Sculpture Guild.
For information contact: Professor Hanna Jubran firstname.lastname@example.org or 252-328-1303
The Center for Documentary Studies at Duke University has awarded the twenty-fourth Dorothea Lange–Paul Taylor Prize to American artist, illustrator, and documentarian Steven M. Cozart. His winning proposal, The Pass/Fail Series, primarily explores colorism within the African American community. The $10,000 prize is given to encourage documentary work in the tradition of acclaimed photographer Dorothea Lange and writer and social scientist Paul Taylor and supports documentary artists—working alone or in teams—whose extended fieldwork projects rely on the interplay of words and images.
The inspiration for Cozart’s project came from a piece he created in 2013, a self-portrait in which he argued with himself. “The portrait was intended to be a representation of the internal turmoil that takes place within many African Americans who struggle with their own acceptance or rejection of their identity within the confines of the African American community,” he writes.
The Durham, North Carolina, native began an ongoing body of work meant to spark introspective dialogue about issues of “classism and stereotyping by African Americans toward other African Americans based on several factors, including skin tone, hair texture, gender roles, and other myths and fallacies prevalent in the community.” Cozart started The Pass/Fail Series in Durham, interviewing his parents. He then interviewed, filmed, and photographed family, friends, colleagues, and students—African Americans of various backgrounds and ages—who were “able to engage in conversations about color and social acceptance within their families, social circles, and larger community.”
For The Pass/Fail Series, Cozart makes paintings, drawings, mixed-media collages, and short videos about each subject and “uses the photographs, video stills, and audio excerpts from these conversations to create combinations of imagery and text. The individuals’ portraits and words are drawn on the surfaces of paper bags; the portraits on the side, the words on the bottom. The portraits take on a life of their own when matched with the subjects’ words. My intent is that the viewer imagines they can hear the voices of the individuals speaking.
“The work evokes the ‘brown paper bag test,’ a discriminatory act that was used in some social circles within the African American community to determine whether an individual could have privileges of access. Being lighter than the paper bag was desirable, though colorism cuts both ways, and being of a light complexion has also been used as a means to impugn one’s ‘blackness.’
“My mother, who was of a much lighter complexion than her sisters, is quoted as she speaks about the experiences of my grandmother having to explain her [daughter’s] complexion. Conversely, in my sessions with Officer Watkins, she talked about condescending, passive, and sometimes aggressive commentary she has received throughout her life related to her dark complexion.
“When I began talking to people about a caste system based upon skin tone, I thought that darker folk would have negative stories and lighter ones would have more success stories, but I was only half right. I did hear tales of woe from darkerskinned folk, but was surprised to hear the same woes from lighterskinned folk as well, including my mother. At this point in my journey, I have realized that while I wanted to open the eyes of the public, I have succeeded in opening my own eyes to my own preconceived notions.”
The Pass/Fail Series, Cozart believes, will create dialogues “that promote sensitivity, understanding, self-awareness, and self-love. It is a project with no perceived end, as it involves conversations that must continue to take place in the African American community as we move forward into the future. My ultimate goal is to spark conversations both inside and outside of the community as a means to create understanding and hopefully minimize, or even eradicate, fallacies and preconceptions.”
Steven M. Cozart, who lives and works in Greensboro, North Carolina, received his BFA in art education, with a concentration in printmaking and drawing, from East Carolina University in 1995. Cozart’s work has been exhibited at North Carolina’s Greenville Museum of Art, Center for Visual Arts in Greensboro, Green Hill Center for North Carolina Art, the African American Atelier, and the Randolph Artist Guild, and he has received grants and awards from the Central Piedmont Regional Artists Hub and the Fine Artists League of Cary, among others. Cozart teaches at Weaver Academy for Performing & Visual Arts and Advanced Technology in Guilford County and has been a visiting lecturer at East Carolina University, North Carolina A&T State University, and Guilford College.