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Jeanne Quinn will speak about her work at 7 p.m. May 15, 2014, at HMA. Admission is free. A reception follows. Jeanne Quinn will conduct a three-day workshop at HMA titled “Line Into Form” from 9 a.m. to 4 p.m. May 16-18, 2014. Call (304) 529-2701 for workshop fee information or to register.

Jeanne Quinn received a Bachelor of Arts degree cum laude in 1988 from Oberlin College, Oberlin, Ohio, where she studied art history and baroque music performance. Unsure how to resolve these two interests, after graduating she apprenticed to a woodworker in Tennessee and later to a violinmaker in Italy. Upon returning to the U.S., she got a job in Boston making flutes – an enjoyable position, but one that valued craft over creativity. Quinn desired to invent her own forms, although, like musical instruments, function and a relationship to the human body remained important considerations. She took ceramics classes at a community center and quickly realized clay’s potential for invention, as well as its deep, functional connection to the human body. Following post-baccalaureate study at the University of Colorado at Boulder with renowned ceramicist, Betty Woodman, she earned a Master of Fine Arts degree in 1995 from the University of Washington, Seattle, Washington.

Jeanne Quinn has exhibited widely, including the Museum of Contemporary Art, Denver, Colorado; Robischon Gallery, Denver, Colorado; Grimmerhus Museum, Denmark; Formargruppen Gallery, Malmö, Sweden; Sculpturens Hus, Stockholm, Sweden; and the Taipei County Yingge Ceramics Museum, Taipei, Taiwan. She has been a resident artist at the MacDowell Colony, the Archie Bray Foundation, the International Ceramic Center in Denmark, the Kahla Porcelain Factory, and the Ceramic Center-Berlin in Germany. Her work is published in books such as The Artful Teapot by Garth Clark; Postmodern Ceramics, by Mark Del Vecchio; Sex Pots by Paul Matthieu; A Ceramic Continuum: Fifty Years of the Archie Bray Influence by Peter Held, and Confrontational Ceramics by Judith Schwartz. She has lectured at numerous institutions including Alfred University, Kansas City Art Institute, the School of the Art Institute of Chicago, University of Minnesota, among others. Quinn is an Associate Professor in the Department of Art and Art History at the University of Colorado at Boulder.

Quinn is renowned for hybrid works that combine porcelain in dynamic dialogue with unexpected mediums. In Floating, Quinn examines material culture through the disrupting lens of installation art. Based on an 18th century Italian lace pattern, the installation alludes to the history of decorative arts. It is also a porcelain chandelier that references multiples, materiality, and the human body. By suspending hundreds of precisely arranged ceramic objects, Quinn pushes ornament into space, isolating and celebrating that which is usually thought of as flat, superficial embellishment. The scale envelops, suggesting the softness and movement of textiles. Space itself becomes the place of decoration; the installation, a stage; the viewer, an actor.

The Walter Gropius Master Artist Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum’s Gropius Addition, as well as the Gropius Studios. The Museum is indebted to Roxanna Y. Booth’s son, Alex Booth, for his participation in the concept development of the Gropius Master Artists Workshops.

Most of us know Wayne County, West Virginia, native Herman P. Dean (1897-1978) for his impressive collection of historic firearms which he donated to the Huntington Museum of Art beginning in 1953, forming one of the most treasured legacy collections of the institution. Herman Dean also loved to travel, and was an active sportsman, and a prolific writer. A book titled Travel Notes written in 1957 includes a section he called Eskimoland which chronicles his travels in the Arctic. Today the area is known as Nunatsiavut (Northern coastal Labrador), Nunavik (Northern Quebec), and the territory of Nunavut and the Inuvialuit region (Northwest Territories). In 1950 Dean traveled aboard theM.V. Rupertsland, a Canadian trading vessel registered to the Hudson Bay Company. Embarking from Montreal, Dean sailed up the St. Lawrence River, through the Straits of Belle Island, up the coast of Labrador to Port Burwell on the Northern tip, and into the Hudson Bay. The Hudson Bay Company was engaged in trade with the Inuit People along the coasts of Northern Quebec and Baffin Island and Dean visited many of the ports and villages including George’s River, Ft. Chimo, Payne Bay, Sugluk, Cape Smith, Povungnituk, Churchill, Southampton Island, Cape Dorset, Repulse Bay, Igloolik, Chesterfield, Baker Lake, Lake Harbor, Frobisher Bay, and Paugnirtung. Dean mentions in Travel Notes that “It was my privilege to be the first white man to set foot on the soil at Povungnituk, with the exception of H.B.C. (Hudson Bay Company) personnel.”

On this trip, Dean took more than 400 photographs depicting the Inuit Peoples; sea ice and coastal landscape views; staff of the Hudson Bay Company posts; and crew on the M.V. Rupertsland. During this trip and during other adventures in the Arctic regions, Dean collected art and artifacts created by Inuit artists, including items made for trade such as figural stone and ivory sculptures, and hand woven, decorated baskets, as well as ivory objects used in everyday life such as a knive, snow goggles, and fish hooks. These items were a bequest from Herman Dean’s Estate to the Museum in 1978. A selection of photographs (which have never before been on view), and sculptures will be presented in Gallery Three.

This exhibit is sponsored In Memory of Jim Hollandsworth; Bob and Barbara Kress Bias, In Memory of Herman P. Dean; the Isabelle Gwynn and Robert Daine Exhibition Endowment; West Virginia Division of Culture and History; and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

Tri-State Arts Association

September 6 - October 5, 2014

The Tri-State Arts Association, in conjunction with the Museum, will present this biennial exhibition that promotes the work of artists living and working in West Virginia, Kentucky and Ohio. A variety of media will be represented, including painting, drawing, photography, ceramics, sculpture, glass, wood, textiles, and mixed-media. Interested artists can download the prospectus from the TSAA website. Questions can be directed to Libby Varner at (606) 465-5305.

The Tri-State Arts Association has been in existence since 1953. The association was formed “to encourage and promote a public interest in and understanding of all schools of art, and to create and develop a closer relationship between art and the community.” The Huntington Museum of Art has been showcasing work by members of the Tri-State Arts Association since 1959.

Handwriting is a visual spatial activity and fosters creativity. When we write, we’re not only memorizing the letters on the paper but also the process and the experience of shaping them. Writing by hand allows a feeling of focused peacefulness. A group in our area that has concentrated on the art and techniques of beautiful handwriting for 30 years will be the focus of this exhibit in the Museum’s Bridge Gallery from July 12 – October 12, 2014. The Huntington Calligraphers’ Guild was established in September of 1984. Since the beginning, and still today, the group has held monthly meetings in the studios of the Huntington Museum of Art. This partnership is being celebrated with this display of 20 to 30 works.

Walter Gropius Master Artist Linn Meyers will speak about her work at 7 p.m. September 11, 2014, at HMA. Admission is free. A reception follows. Linn Meyers will facilitate a three-day workshop from 9 a.m. to 4 p.m. September 12-14, 2014. Call (304) 529-2701 for workshop fee information.

This exhibit by Linn Meyers is titled Unintended Consequences, including collaborative works with Anne Seidman; Beverly Ress; Luis Silva; Rachel Farbiarz; Heidi Lau; Nancy White; Gary Gissler; and Elena Del Rivero.

Time is central to the work of Washington, DC-based artist, Linn Meyers, whose practice centers upon the intimacy and directness of drawing. Each dense and intricate ink line drawing is the result of a nearly meditative process by which Meyers lays down consecutive lines into largely organic forms, creating rhythmic repetitive patterns. Meyers’s layering of vivid colors creates a shimmering quality suggestive of light and movement across the surface of the work. Working in a range of scales, Meyers has in recent years moved from the page to creating site-specific wall drawings. Ambitious in scale and labor, these drawings can take several weeks to complete, their shapes responding to the architecture of the space and the surrounding elements.

Meyers completed a BFA at The Cooper Union, New York, NY, and earned an MFA from California College of the Arts, San Francisco, CA. Meyers has had solo shows at the American University Museum at the Katzen Arts Center, Washington, DC; The Phillips Collection, Washington, DC; The University of Maryland, College Park; G Fine Art, Washington, DC; Margaret Thatcher Projects, New York; Gallery Joe, Philadelphia; and Westmoreland Museum of American Art, Greensburg. Meyers has also participated in several international group shows including the Tokyo Metropolitan Museum of Art, Tokyo and Paris Concret, Paris. She has received numerous awards including the Smithsonian Artist Research Fellowship, Artist-in-Residence at the San Jose Institute of Contemporary Art, Artist-in-Residence at the Hirshhorn Museum and Sculpture Garden, Artist-in-Residence at the Tamarind Institute, the Trawick Award, Pollock-Krasner Foundation Grant, Excellence in Drawing Award from The Cooper Union, Artist-in-Residence at the Bronx Council on the Arts, and the Alex Katz Scholarship to Skowhegan. Meyers currently lives and works in Washington, DC.

The Walter Gropius Master Artist Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum’s Gropius Addition, as well as the Gropius Studios. The Museum is indebted to Roxanna Y. Booth’s son, Alex Booth, for his participation in the concept development of the Gropius Master Artists Workshops.

Walter Gropius Master Artist Albert Pfarr will speak about his work at 7 p.m. September 25, 2014. Admission to the public presentation is free. A reception follows. He will facilitate a three-day workshop from 9 a.m. to 4 p.m. September 26-28, 2014. For workshop fee information, call (304) 529-2701.

Brooklyn-based ceramist Albert Pfarr is known for large-scale, free-standing ceramic sculptures composed of hundreds of interconnecting and interchangeable parts that draw inspiration from patterns of construction in both nature and technology. Using a peg-and-hole fabrication technique, Pfarr inserts a variable combination of earthenware spines, flanges and loops into a cylindrical terra cotta core. The resulting non-representational forms “bloom” and develop organically, spontaneously, as he carefully balances and counterweights the numerous components. His assemblages are modular: each contains potential elements of the next, to be recycled into new objects in entirely different configurations. The scale and sheer physicality of Pfarr’s work can be intimidating and otherworldly, yet the familiar resemblance to oversized toys, models of molecular structures, or three-dimensional doodles engages and delights the viewer.

Albert Pfarr received a Bachelor of Arts from the State University of New York – Potsdam in 1984. Following post-baccalaureate study at the University of Massachusetts – Amherst, he earned a Master of Fine Arts degree in 1990 from the New York State College of Ceramics at Alfred University. Pfarr has received numerous awards, research grants, fellowships and residencies, both stateside and abroad. In 2005, he was one of six national Emerging Artists chosen by the National Council for Education of Ceramic Arts. The following year, he was selected as the NCECA Artist-in-Residence for a six-week residency at the Guldagergaard International Ceramic Research Center in Denmark. Pfarr’s work is represented in numerous private and public collections such as the Daum Museum of Contemporary Art, Sedalia, Missouri; the Archie Bray Foundation, Helena, Montana; and the John Michael Kohler Arts Center, Sheboygan, Wisconsin. His work has been featured in The New York Times, Ceramics Monthly, and American Craft, among others. Since 2007, Pfarr has managed the education and studio operations of Greenwich House Pottery, an internationally recognized center for ceramics in New York, N.Y.

The Walter Gropius Master Artist Series is funded through the generosity of the Estate of Roxanna Y. Booth, who wished to assist in the development of an art education program in accordance with the proposals of Walter Gropius, who designed the Museum’s Gropius Addition, as well as the Gropius Studios. The Museum is indebted to Roxanna Y. Booth’s son, Alex Booth, for his participation in the concept development of the Gropius Master Artists Workshops.

HIMG Presents The Daywood Collection

March 15 - November 2, 2014

Between the years 1916 and 1965, Philippi, West Virginia, natives Arthur Spencer Dayton (1887-1948) and Ruth Woods Dayton (1894-1978) carefully selected a superb collection of American and European paintings, prints, sculpture and decorative arts that speak to their personal philosophy of beauty in art. During their years in Charleston (1923-1948), the couple began seriously building their collection. They bought what they liked and what they could afford. They purchased works from art galleries, and over the years built a special relationship with MacBeth Gallery in New York City. They also bought directly from auctions, from prestigious exhibitions such as the Carnegie International, and purchased works directly from the studios of artists whom they admired – both in the United States and abroad. The Daytons kept a detailed and valuable record of where and when objects were acquired.

They were well read on the history of art, especially 19thand 20th century American artists, sharing a penchant for landscapes. The strength of their collection lies in academically trained artists working in the various schools of realism and American impressionism, including masterworks by Childe Hassam, J. Alden Weir, Emil Carlsen, John Twachtman, Willard Metcalf, Frank Benson, Charles Davis and works by “The Eight.” The ideals and works by early American modernists were of little interest.

In 1929, Ruth purchased from MacBeth Gallery an etching titled Calvary Church in Snow by Childe Hassam, and gave it to Arthur as a Christmas gift. Thus began a collection of engravings, etchings and lithographs by a literal “who’s who” of American and European printmakers. The Daytons also had a penchant for small bronzes, especially by women artists working in the late 19thand early 20th centuries, including Grace Helen Talbot, Harriet Frishmuth, Anna Hyatt Huntington, and Edith Parsons. A small collection of Lacy period glass was also part of the collection.

Arthur Dayton died suddenly at the age of sixty-one in May, 1948. With the goal of sharing the collection with the public, Ruth Dayton turned a building on the property adjacent to their home in Lewisburg, West Virginia, into a museum. She called it The Daywood Gallery, combining Arthur’s surname (Dayton) and her maiden name (Woods). The collection continued to grow through purchases and donations. The Daywood Gallery remained in operation from 1951 into 1966. The following year The Daywood Collection was donated to the Huntington Museum of Art.

This exhibit is presented by HIMG and generously sponsored by Carolyn Bagby, In Memory of Patricia Parker Agee; Carol and Brian Bailey, In Memory of Howard and Bettyanne Herbitter; Adam Booth, In Memory of Jeanne Ellen Kaplan; Bennie Breece, In Memory of William Campbell and Patricia Parker Agee; Gayle Cox, In Memory of Joe Cox; Glen Danahey, In Honor of Glen Danahey—PNC Institutional Investments; Halcyon and Jason Moses, In Memory of Garth, the greatest artist we’ve ever known; Katherine Peyton Forbes, In Memory of Patricia Parker Agee; Samme L. Gee, In Memory of Maymie Hanna Gee; Nancy E. Hoey, In Memory of Charlotte and Albert Boos; Mr. and Mrs. Selden McNeer, Jr., In Memory of Roberta Shinn Emerson; Tess Moore, In Memory of John P. Childers, Jr.; Ronald R. Morgan, In Memory of See-More (English Bull Terrier 4/25/2005-11/9/2010); Bill and Marilyn Murdock; Stacie and Jeff Rakes, In Honor of our sons Zachery and Isaac Rakes; Melissa Rowe, In Memory of Everett T. Calaway; Bob and Karen Schwarz in Honor of Bob’s 70th Birthday; Jack Steinberg, In Memory of Edda Steinberg; The Isabelle Gwynn and Robert Daine Exhibition Endowment; West Virginia Division of Culture and History; and National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

Camden Park Presents: Art on a Limb

November 25 - January 4, 2015

Camden Park Presents Art on a Limb is a holiday exhibit that features trees with ornaments made by local and regional artists. The tree in HMA’s Virginia Van Zandt Great Hall will feature hand-painted palettes by local and regional artists.

The Huntington Museum of Art offers its annual gift to the community when Camden Park Presents Holiday Open House from 1 to 4:30 p.m. Sunday, December 7, 2014, at HMA. Admission is free, but visitors are encouraged to bring non-perishable food to benefit the Facing Hunger Foodbank and warm clothes for the Cridlin Food and Clothing Pantry. Holiday Open House features the Art on a Limb exhibit of trees, which is presented by Camden Park. The exhibit includes trees with hand-painted palettes and ornaments created by local artists.

Camden Park Presents Holiday Open Houseincludes a visit from Santa; children’s art activities; entertainment; and refreshments. Here is the entertainment schedule: Tri-State Youth Orchestra performs at 1 p.m.; B’Nai Sholom Choir performs at 1:30 p.m.; Cabell Midland Collegium Musicum performs at 2 p.m.; Santa Claus arrives at 2:15 p.m.; Sixteenth Street Baptist Choir performs at 2:30 p.m.; and Wayne Elementary Honor Choir performs at 3 p.m.

Children’s art activities will take place in the Education Gallery from 1 to 4 p.m. Representatives fromCamden Park will be selling season passes, stuffed toys and Camden Park tree ornaments from 1 to 4:30 p.m. HMA’s docents and volunteers are in charge of refreshments.

For more information, call (304) 529-2701. The Huntington Museum of Art is fully accessible.

Curator’s Choice: Vernon F. Howell

October 18 - January 11, 2015

Opening reception for this exhibit takes place from 5:30 to 7:30 p.m. October 17, 2014. Admission is free.

Vernon F. Howell, a Huntington native, taught art for 30 years (1959-1989), one year in Webster Springs, and 29 years at Barboursville High School. After retiring in 1989, Howell transitioned from being a beloved teacher to a much acclaimed, and sought-after artist. His work has been shown across the state of West Virginia, and beyond. While teaching art, (and coaching basketball, and rearing four children with his wife, Beverly), he still found time to make art. Taking an early retirement, however, has allowed Howell to focus full-time on his artwork, and in the past 25 years he has created a large body of work in a style uniquely his own. Howell’s work has received numerous accolades and awards, and in 2012 the artist was selected to receive the prestigious Governor’s Arts Award for Lifetime Achievement.

This exhibit will focus mainly on work created after Howell stopped teaching, yet in order to show a progression of style throughout his 55 years of making art, a number of imperative, older works will be included. Howell has always worked in a variety of media, including metal and wood reliefs, photography, oil and watercolor painting, pen and ink drawing, transfer prints, and stained glass, but he is best-known for his works in collage and mixed media. Inspiration comes from architecture, grids, maps, mechanical parts, engineered structures, pattern and repetitive designs.

The artist has always been keenly interested in, and drawn to subjects depicting high contrast; studies in positive and negative spaces. These “contrasts” later turned into shallow relief sculptures and shadow-box like constructions in which the artist layered photographs and found images atop one another, separated by glass or Mylar sheets. Recent collage and mixed-media works also experiment with multiple layers and relief. These incredibly detailed imaginary interiors use elements of design and composition to become clever illusions of spatial depth. Humor and visual puns become more apparent the longer one spends with each piece.

This is the sixth Curator’s Choice exhibition presented by the Huntington Museum of Art. A brochure will be available in conjunction with the exhibit featuring an essay by organizing curator Jenine Culligan.

This exhibit is sponsored by the following Friends of Vernon F. Howell: W.B. “Bart” and Doris Andrews; Mary Pat Owen; Rotary Club of Barboursville; Jim and Mickey St Clair; Julie Howell Waldo and Junior V. Waldo; the following Fans of Vernon F. Howell: Anonymous; Dr. Robert and Jackie Alexander; Louise R. Bays, In Memory of Leonard H. Bays; Lois H. Cloke; Josh, Jennifer, Josiah and Jonathan Cochran; Linda Conard, In Memory of Jim Conard; Gayle Cox; Peggy D. Crosbie; Bob and Carol Cummings, In Memory of John and Delphia Cummings; Mr. and Mrs. John D. Cummings; Bob and Nancy Force; Linda W. Giles; Ron and Harriet Haeberle; Donzil R. and Nancy E. Hall; Barbara Haptonstall; Vern and Margaret Reichenbecher; Leslie C. Sharp; Kay and Harry Sowards; Joyce Spencer; Carolyn Templeton; Janet Thacker; Donald R. Watts; Kathy Weekly; Charlotte Wilson; and Linda Lee Zban, In Memory of Bill Zban; and The Isabelle Gwynn and Robert Daine Exhibition Endowment; West Virginia Division of Culture and History; and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

Opening reception for this exhibit takes place November 2, 2014, from 2 to 5 p.m. Admission is free.

Stephanie A. Skolik, M.D., began to paint at the age of twelve. Since then she has always painted. At a point in her early adult years she had to make a decision whether to pursue a career in medicine, or a career in art. She chose medicine, but she still paints, and has been for 40 years – not to be seen by anyone, not even to be seen by herself, but for, as she says, “the journey of painting, the personal experience, the feeling of painting – painting what is in my consciousness onto a canvas.”

Skolik earned a bachelor’s degree from Marshall University in 1981 and graduated from the University’s School of Medicine in 1985. She was a finalist in the U.S. Olympic Trials in basketball in 1980 and a Rhodes Scholarship finalist in 1981. She admits, however, that during her years at Marshall she haunted the fine arts department. She took two years off during her medical studies to pursue her artistic training, but she ended up returning to medicine for her vocation, and for more than 20 years has dedicated herself to improving the lives of West Virginians. She is an ophthalmologist in Huntington, West Virginia, and President and CEO of the Huntington Retina Center. In 2013 she was honored with the Outstanding Woman in Technology Award for her retinopathy research and invention of devices to assist with eye surgery.

“As a physician who works in a field critical to sight and retina care, I am more acutely aware of how to execute my own vision and how the visual representation of what I see, both inner and outer perception, is communicated in my work.” Many muses speak to her, and she experiments with a variety of media (oil paint, watercolor, charcoal, pastel, mixed media) and styles, including realism, surrealism, and abstraction.

This will be the first major exhibit of works by Skolik. It is her wish to make her work accessible to everyone in as many ways as possible and will include reliefs, braille labels, and in-depth verbal narratives. Visitors will be able to enjoy the exhibit using multiple senses including vision, hearing and touch. Thanks to the Robert C. Byrd Institute for Advanced Flexible Manufacturing for their assistance.

This exhibit is sponsored by The American Retina Research Foundation; Anonymous; Anonymous Sister; Oliver H. and Gaye H. Fearing; Annette Polan; Lake and Louise Polan; Marilyn Polan and David King; The Arthur and Joan Weisberg Family Foundation, Inc. Additional financial assistance for this exhibit is provided by the West Virginia Division of Culture and History, and the National Endowment for the Arts, with approval from the West Virginia Commission on the Arts.

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