Richard Segalman, Beach Trio, 2015. Pastel on paper.
Courtesy of Harmon-Meek Gallery.
Gulf Beaches: Paintings and Works on Paper by Richard Segalman
JUNE 4–AUGUST 28, 2016
Gulf Beaches is a colorful celebration of summer in paintings, drawings, and monotypes by the celebrated artist Richard Segalman. A resident of New York City and Woodstock, New York, where he maintains studios, eighty-two-year-old Segalman is considered an American master—he is renowned for his exploration of the human form in many media and in many settings. His work has been eagerly sought-after by collectors for more than fifty years. Richard Segalman was recently honored with his thirty-fifth exhibition at the Harmon-Meek Gallery in Naples, Florida, which has generously lent this work for exhibition here.
Rolland Golden, Maryland Grazing, 2012. Acrylic on canvas.
Courtesy of the artist.
The World of Rolland Golden
AUGUST 6–OCTOBER 30, 2016
Still active at eighty-four, Rolland Golden is one of the most renowned artists to have emerged in the South during the second half of the twentieth century. In addition to the styles of realism and “abstract realism,” he is known for a style he developed, which he calls “’borderline surrealism,’ realistic imagery in a not impossible, but highly unlikely situation.” Golden was born in New Orleans, but his father’s job at AT&T had the family moving with frequency—first to Grenada, Mississippi, and later Jackson, Mississippi, eventually to Montgomery and Birmingham, Alabama, before returning to New Orleans more or less for good. His work has been the subject of more than one hundred museum exhibitions, including, most recently, Rolland Golden: An Alternate Vision at the Ogden Museum of Southern Art and River and Reverie: Paintings of the Mississippi, which was organized by the Mississippi Museum of Art and shown in five other museums in Louisiana and Mississippi.
Aldwyth, What’s Love Got to Do, Got to Do with It,
2007–2009. Mixed media collage. Courtesy of the artist.
Collages and Assemblages by Aldwyth
MAY 18–JULY 27, 2016
Aldwyth constructs intensely detailed and complex mural-sized collages that incorporate hundreds of small shapes cut from printed materials. When seen from a distance, the pieces form a grid-like design. As the viewer moves in, she discovers vignettes and individual stories created by juxtaposed images, text, and color.
Howard Finster, Elvis-at-3, 1994. Oil paint and
glitter on plywood. Morris Museum of Art, Augusta,
Folk Art in the South: Selections from the Permanent Collection
JUNE 11–SEPTEMBER 11, 2016
Drawn from the Morris Museum’s permanent collection, this presentation includes work by some of the region’s best-known folk artists. Though the work of some of these artists may be familiar, much of it has not been exhibited before. Folk artists’ major themes are expressed in many different ways. They employ readily accessible materials—crayons, markers, house paint—as well as found objects, to produce their paintings, drawings, and sculpture, putting mundane materials to fresh and ingenious uses. The present installation underscores the Morris Museum’s status as one of the leading collectors of folk art in the region.
Marty Stuart, Willie Nelson, 1994. Archival pigment print. © Marty Stuart.
American Ballads: The Photographs of Marty Stuart
SEPTEMBER 9–NOVEMBER 27, 2016
Country music icon, five-time Grammy award winner, member of the Grand Ole Opry, and passionate, skilled photographer Marty Stuart has become the unofficial caretaker of the history of country music, capturing backstage moments with such country and bluegrass legends as Bill Monroe, Loretta Lynn, Willie Nelson, and George Jones, as well as images of many of the fans and characters he has encountered on the road.
The exhibition is composed of more than sixty photographs from three bodies of work: “The Masters” of country music; the “Blue Line Hotshots” he has met on his travels on America’s back roads; and the Lakota people of the Pine Ridge Indian Reservation and others in South Dakota in the section “Badlands.” It is accompanied by a fully-illustrated hardcover book. Published by Vanderbilt University Press, it includes a lengthy introduction by Stuart.
Exhibition Opening Celebration
Friday, September 9, 5:30–7:30 p.m.
Meet famed musician and accomplished photographer Marty Stuart. Enjoy food, music, drinks, afashion show featuring eclectic designs by Manuel, Nashville’s “Rhinestone Rembrandt” and designer-to-the-stars, and a talk by Caitlin Arabis, manager of Manuel American Designs. Members, $10; nonmembers, $20. Free forindividuals with tickets to the Marty Stuart Southern Soul and Song concert on September 9. RSVP to 706-724-7501.
Exhibition organized by the Frist Center for the Visual Arts, Nashville, TN.
Victoria Lowe, Burn, 1983. Enamel and metal powder on canvas.
Courtesy of the artist.
Paintings by Victoria Lowe
APRIL 23–JULY 24, 2016
Victoria Lowe was born in 1947 in Birmingham, Alabama. She was educated at the University of Alabama where she earned a BS in education in 1969. Lowe focused on painting in graduate school at the University of Alabama, where she received an MA in Visual Arts in 1971. Two of her professors became important mentors: Melville Price, one of the youngest members of the abstract expressionist movement in New York, and Howard Goodson, who was instrumental in the style’s regional influence. Both revered Hans Hofmann as an artist and a teacher, and both patterned their classes after Hofmann’s method of eliciting creative expression from his students. Over the past four decades, her paintings and drawings have focused primarily on atmospheric surfaces and gradations of color. Consistent throughout this body of work is her concern with energy in its many forms and the viewer’s deep emotional response to color. She has noted that the paintings have their origin in her childhood experiences of stargazing through a telescope, and in her feeling of sublime connectedness to things beyond the physical environment and conscious comprehension. Her paintings are free of narrative or subject matter and offer viewers a way to experience the depth of their own imagination.