Posts Tagged ‘Wyoming Arts’
Helen Shirk’s Nothing Remains as It Was, is one of the juried works of art in University of Wyoming’s new Visual Arts Building gallery inaugural exhibition, “Metal Inkorporated.” Â The exhibition, currently on display, remains up through March 31. A reception will be held on Friday, March 23, 6-8:00 pm, at the gallery. The show is curated by metalsmithing professor Leah Hardy, who paired 30 artists from around the country. Each artist, says UW’s Art Department website, was given ” a few months to produce [their] half of the work before mailing it to [their] partner.”
“The process creates an informal dialogue between the two artists, initiating a fresh new approach to materials,” Hardy says.
For more information, email Diana Baumbach at dbaumbac@uwyo.edu.
On the evening of March 9, at 5:30 pm, the Art Association presents its popular fundraising sale, Whodunnit?, at the Jackson Hole Center for the Arts Theater Lobby.
An annual favorite, Whodunnit? is a one-night event, exhibiting and selling many dozens (that’s my best estimate) of small works (6 x 6 inches) that sell for $99 each at the close of the evening. The twist is two-fold: 1) Artist identities are unknown 2) Works are sold by lottery to one of the list of bidders listing their name as wanting to purchase the art. Artists’ identities are revealed at the end of the evening, once works are purchased. Bidders might go home with works by well-known local artists, or participating artists from around the country. Some of the finest works are created by folks not necessarily familiar to Jackson’s arts community.
Are you able to recognize many local artists’ styles? Well, you may guess correctly about who created what some of the time…but usually, there are many surprises. Artist names known, artists names not-so-known; it doesn’t matter, the talent and diversity of works speak for themselves. Check it out! www.artassociation.org
Mari Andrews’ Like a Language and Rakudo Naito’s Nature Constructed share an opening reception at the Tayloe Piggott Gallery on Friday, February 10, 5-8:00 pm. The white light in the work conveys winter’s soft delicacy, its silence and ability to allow us to see new the shy details of bare branches, spores, and the simple lines of a leaf. Fluid femininity and structural systems wrought from nature are explored. The show remains up through March 27, 2012.
I’m going for it here: Andrews’ constructions of wire, pine needles, delicate branches and what looks, in press materials, like lichen, are certainly–at least in part—meditations on women’s reproductive organs. Nature as feminine. Tubular constructs terminate in mossy, circular portals. Flattened ovary and fallopian-shaped sculptures are heavily textured and the color of shells mixed with seaweed; expanded hearts. White, lacy blossoms float airily. Beaker-shaped pods and vessels intertwine—the fairest of mermaid necklaces. Indeed, Andrews’ work is highly intimate. Continue Reading
From the Buffalo Bill Historical Center comes this release:
According to Michelle Anne Delaney, Curator of the Photographic History Collection at the Smithsonian’s National Museum of American History, New York photographer Gertrude Käsebier embarked on a deeply personal project in 1898.
“Her new undertaking was inspired by viewing the grand parade of Buffalo Bill’s Wild West troupe en route to New York City’s Madison Square Garden,” Delaney explains. “Within a matter of weeks, Käsebier began a unique and special project photographing the Sioux Indians traveling with the show, formally and informally, in her 5th Avenue studio.”
Delaney brings Käsebier’s work to the Buffalo Bill Historical Center in an exhibition titled: Buffalo Bill’s Wild West Warriors: Photographs by Gertrude Käsebier, on view in the John Bunker Sands Photography Gallery April 10 – August 8. On Friday, April 9, 5 – 7 p.m., a Patrons Preview for Historical Center members precedes the public opening April 10.
Delaney describes the collection as “original platinum and gum-bichromate photographs printed from original glass negatives, pictograph drawings made by the Sioux Indians while at Käsebier’s studio, historic camera and studio equipment, and select items representing Buffalo Bill’s Wild West from the Smithsonian and Historical Center collections.
“These prints rank among the most compelling of her celebrated body of work,” Delaney continues. “Eventually, she became the leading portraitist of her time and an extraordinary art photographer. Since 1969, more than one hundred of these photographs have been preserved in the Photographic History Collection at the National Museum of American History in Washington, DC.”
The man responsible for conceiving the initial idea for the Papers of William F. Cody documentary editing project, “one of the most significant scholarly works in the history of the Center,” is leaving the Buffalo Bill Historical Center (BBHC) to take a new post as Director of the Church History Museum in Salt Lake City, Utah.
Dr. Kurt Graham has, in four years of phenomenal expansion at the BBHC, made possible the digitizing of “tens of thousands of historical photographs, documents, correspondence, and maps…” Graham spearheaded the launching of the digital project–now available on line–throughout the U.S. and Europe. Graham’s tenure also brought new staff and equipment, updated space, and a remarkable $1.5 million in grant monies to the BBHC.   The Papers of William F. Cody launched with editors throughout the U.S. and Europe.
Graham, the Housel Director of the McCracken Research Library and Co-director of the Cody Institute for Western American Studies at BBHC, is the creative force that made it all happen. So says Maryanne Andrus, Director of Education and Co-director for Western American Studies.
According to Andrus, as managing editor, Graham “…assembled a team of editors in the United States and Europe who are producing edited print volumes and a digital archive of Cody-related material. This papers project will literally take Bill Cody and Buffalo Bill’s Wild West to the world once again and will be a feather in the cap of the Historical Center for many years to come.” The project, she says, is among the most significant scholarly works in the BBHC’s history.
Graham, who was raised in Wyoming’s Big Horn country, says he’s not leaving because of a sense of running his course at the BBHC; rather, an opportunity to direct the Salt Lake institution “fell out of the sky.” He says he and his family will miss Cody and the experience of being such an integral part of the BBHC’s evolution as a potent cultural presence.
“Kurt’s myriad contributions to the Center in leadership and scholarship have been stunning,” Andrus continues. “His vision for extending the reach of the Center beyond the walls of the museum will be sorely missed. Under his direction, the McCracken has taken on a completely different look and feel. The McCracken is a completely different institution than it was before.”
For more information, phone the BBHC at 307.578.4014.  To see the BBHC’s digital collections, click here.
