June 7 – September 15 , 2019
Toys Exhibition Series
This colorful exhibit invites both children and the young at heart to “take a trip back in time… back to when there were no cell phones or video games, and batteries were never included.” Participants can engage with tumbling, sliding, rocking, spinning, dancing, and flying folk toys that demonstrate the effects of gravity, inertia, rhythm, harmonic motion, and mechanics. Many of the wooden toys can be traced to early civilization, but what is most interesting is how they have been a part of American culture since the day our country was settled.
Toys as Art
As artists and their works have evolved through the decades, so have the materials that they utilize in their art. From canvas to marble to bronze, the options are endless. The exhibition examines the work of artists who use toys to produce inventive works that address “the kid in all of us.” These engaging artworks invite the viewer, young and old, to reimagine how we play and the toys and memories of our childhood. Artists include Peter Emanuel, Christian Faur, Freya Jobbins, Margaux Lange, Jonathan Lopes, Billie Grace Lynn, Ryan Lytle, Wade Mickley and Monique Sarfity.
Based in Los Angeles, Mitchel Wu creates and crafts stories through toy photography…capturing the illusion of motion and emotion where none exists. He received his degree in illustration from the California College of the Arts in Northern California and has been focused on creativity throughout his career. Prior to embarking on a career in photography, Wu worked at the Walt Disney Company followed by creative collaborations with Sony Pictures, Warner Bros, Lucasfilm and Cirque Du Soleil.
Kyleigh Parker (Dangerous Pixels) is a figure photographer and collector from the Midwest. As a Nintendo Brand Ambassador, Parker loves all things video game and anime. She strives to bring the world of toys to life through her photos and miniatures! Many hours each week is devoted to creating this content. The behind the scenes work includes crafting the props, developing ideas, shots to actually traveling to the locations.
Brian Korte: Brickworkz
Most of us played with LEGO toys when we were younger- in fact, LEGO reports that this year more than 400 million people around the world will play with LEGO bricks.
Brick artist Brian Korte got his first LEGO set early in his childhood and has been infatuated with the medium ever since. This exhibition includes work that combines art, popular culture and LEGOS.
In 2007, Brian was commissioned to design a Guinness World Record-breaking Lego mosaic, the “Largest Lego image” in the world! The piece was more than 44 ft long x 22 ft high, and contained more than 1,200,000 LEGO parts.
September 28, 2019 – January 5, 2020
Go Figure Exhibition Series
Get Real: Figurative Sculpture by Women (Ferguson Gallery)
The term figurative sculpture has been most associated with historical works created in traditional materials such as bronze or marble, such as the Auguste Rodin’s The Thinker or Michelangelo’s David. Artists have created sculptures to represent each other and to represent people whom we have lost. Figurative sculpture is not just meant to be contemplated but also to have an effect on the viewer.
Insightful and provocative, this exhibition examines the artistic strategies employed in recreating the human form. The works on view consider how we see ourselves and others, and to think deeply about our common humanity. We look at the influence of women in today’s arts community and their role in contemporary art.
Work from Chrysler Museum of Art, Hermitage Museum and Gardens, Muscarelle Museum of Art and Hampton University Museum. Artists include Bessie Potter Vonnoh, Elizabeth Catlett, Margaret Foley, Edris Eckhardt, Harriet W. Frishmuth, and Rose Pecos-Sun Rhodes.
Contemporary artists include Betty Branch, Susana Bruzos Barthelemy, Pamela Conyers-Hinson, Jane Jaskevich, Sophie Kahn, Lynne Mills, Julia Rogers, Elise Siegel and Sarah Vaughn.
Girolamo Ciulla (Ranhorne Gallery)
Born in Sicily, Ciulla began to exhibit at the age of 17. In his early 30’s he was drawn, as so many artists are, to Pietrasanta, the Italian village where sculpture has been a dominant industry since the Middle Ages. He still lives and works there today, but his following is worldwide.
The roster of Ciulla’s exhibitions is extensive, and recent entries include shows in Paris, Florence, Seoul, Venice, Rome, London and in the Biennale in Venice. Large-scale works have been installed in churches and public sites in France, Japan, Italy, South Korea, Egypt and Kenya. Ciulla has been commissioned to create work which will be placed in the Newport News Park through the Newport News Public Art Foundation. This exhibition will feature drawings and smaller works that he has created during his career.
What I Keep: Photographs of the New Face of Homelessness and Poverty (Ascending Gallery)
Photographer Susan Mullally explores ideas of class, race, ownership, value, cultural identification and faith. We collaborated with members of The Church Under the Bridge in Waco, Texas, a non-denominational, multi-cultural Christian church that has been meeting under Interstate 35 for twenty years. Many of the people have had significant disruptions in their lives, experienced periods of homelessness or incarceration, addiction to drugs and alcohol, mental illness or profound poverty and hopelessness. Many are working toward a new measure of stability and accomplishment through the programs and opportunities offered through the church. Other members have more stable lives and are drawn to service at the Church Under the Bridge. Mullally asks each person what he or she keeps and why it is valued.
Jeanne Goodman: Refugees (Halsey Gallery)
“Most of my work is derived from photographs. Often I will begin by focusing on a single person or element within that photograph, then I let my imagination take over. Where I place a figure on the page, whether it is centered, in a corner, or on the side, influences the feeling evoked in the viewer. My intent is to explore the interaction between the subject and the surrounding space. Just as manipulating a figures placement enhances its psychological dimensions, so too does exaggerating and distorting the image impart a feeling that cannot be conveyed by a realistic representation. By keeping a subject’s physical characteristics vague, for example, I encourage the viewer to complete the figure with his/her own personal vision.”