Mel Chin Opening Reception, August 3rd (5:00-7:00) with Mel Chin: High, Low and In Between.—
Mel Chin Opening Reception, August 3rd (5:00-7:00) with Mel Chin: High, Low and In Between.—
By: Jessica Curtis, Communications Intern
The Pianoforte Series, sponsored by Harry Rowney, features a variety of esteemed pianists playing in the Asheville Art Museum’s galleries. Performing for a second time, Teresa Sumpter was the most recent performing pianist in the Pianoforte Series on Sunday, July 22.
Teresa Sumpter is currently an Assistant Professor of Piano and Coordinator of Keyboard Studies at Mars hill College where she teaches applied piano, group piano, and music theory. She earned a Ph.D. in Music Education with an emphasis in Piano Pedagogy and a Master of Music degree in Piano Performance and Pedagogy from the University of Oklahoma. She also possesses a Bachelor of Music degree in Piano Performance from Ball State University.
The program began with:
Ludwig van Beethoven (1770-1827)
Sonata No. 12 in A-flat minor, Op. 26 (1800-1801)
Andante con varianziono
Scherzo, allegro molto
Maestoso andante, Marcia funebre sulla morte d’ un ereo
After the performance, Sumpter stood to address the audience “from the heart”, thanking them for not only attending the performance, but also addressing her personal intentions in performing for the Museum’s Pianoforte Series.
Sumpter described her passion for music through the medium of piano as, “a love story.” Addressing the audience, Sumpter stated how she intended to, “share with you my love story, which is today’s recital.” Sumpter spoke of the music within the program to have been simply, “been strung together by sure will.”
Sumpter’s passion for her musical medium illuminated the East Wing as the audience sat in silent reverence at the tones and melodies rising from the keys. Sumpter’s movement with the music brought about a concept of personal meditation and release. Every note corresponded with an emotion. Sumpter would take long breathes between her sets, almost as if she was releasing the mindset of the previous set and preparing for the next.
Next in the composition performed was:
Arnold Schoenberg (1874-1951)
Sechs kleine Klavierstucke, Op. 12 (1911)
Sumpter spoke of this piece as Klavierstucke’s “journey to which all 12 tones are equal.” Despite the opposing perspectives of the some Classicists, Sumpter states that she defines Klavierstucke’s work as that of a Classicist, and remarks that he “uses a broader language to express his musical thought.”
Following Schoenberg was:
Franz Schubert (1797- 1828) Moments musicaux, D 780
No. 2 Andatino in A-flat Major
No. 3 Allegretto moderato in F Minor
No. 4 Moderato in C-sharp Minor
No 5. Allegro vivace in F Minor
The final piece performed was:
Claude Debussy (1862-1918)
Images, Book I (1905)
Reflets dans l’eau
Hommage a Rameau
Introducing Teresa Sumpter as the featured artist of the summer Pianoforte recital, Mr. Harry Rowney, a Member of the Asheville Art Museum’s Board of Trustees, and a long-time supporter of the Museum, commented on the transition of location. In the past, the Pianoforte Concert Series has been located in Asheville Art Museum’s Gallery 6. It was Ms. Sumpter’s concert on Sunday, July 22 that was the first to be relocated to the Pop Art Gallery in the new East Wing of the Museum. Mr. Rowney and Nancy Sokolove, Manager of the Museum’s Adult Programs Department, asked the audience to comment on the acoustics and presentations on the new space. After the series, Sokolove noted several audience members’ positive remarks in regards to the larger space and room arrangement, making it easier to see the featured pianist.
Overall, the concert was a success, enjoyed by an audience of more than fifty Museum Members and visitors. The audience was captured by Sumpter’s passion, and was inspired by the traditional classical music that this Pianoforte Series presented.
The July 22 recital was the final Pianoforte performance for the summer; however, Pianoforte will return this October with a recital featuring pianist Kimberly Cann. For more information on upcoming events and concerts at Asheville Art Museum, you can visit our website: www.ashevilleart.org or follow us on Facebook: http://www.facebook.com/AshevilleArtMuseum
Summer Art Camp Photos Continued!—
Puppetry and Mask Making
K- 2nd grade
Question: What is your favorite part of art camp?
Kid 1: “They let me bring my American Girl Doll, Hermione.”
Kid 2: “I like all the painting”
Kid 3: “I like that I get to make masks all-day instead of staying at home.”
Question: Why did you come to art camp?
Kid 1: “Because somebody signed me up.”
Kid 2: “Because my mom knows I like art and signed me up.”
Kid 3: “So I can make cool stuff.”
Kid 4: “Because you get to glue, paint, and craft stuff.”
Kid 5: “Because you get to be messy and not get in trouble.”
Question: What is your favorite thing about art?
Kid 1: “I like using all the colors.”
Kid 2: “I like art because you get to play with glue and let it dry on your fingers.”
Kid 3: “I like art because I like messy stuff.”
Kid 4: “I like art because you get to use scissors and color.”
Mask Making Quotes:
Kid 1: “I made a mask of a dozen because I want to wear it and match my dog.”
Kid 2: “I made a mask of a bunny so I can dress up like a bunny and wear it and go here and there.”
Volunteer Art Instructor:
Been an art teacher for ten years and I love being able to work in the Museum with all the art.
I love doing something different with my time, staying active and inspired. “Keeps me young!”
Summer Art Camp Volunteer/Intern
I like working with the kids and watching them make art. I like inspiring the children, because “children are awesome.”
Summer Art Camp is a time for children to discover their artistic talent in a fun and educational environment. Each week a wide variety of classes and art mediums will be explored, such as drawing, painting, printmaking, mixed-media and sculpture—something for every skill level and area of interest.
The Asheville Art Museum’s Summer Art Camp just finished with great success, leaving many children with memories, artwork, and newfound knowledge the whole family can enjoy!
Pianoforte Recital: Featuring Pianist Teresa Sumpter
Sunday, July 22, at 3:00 p.m.
$6 Museum Members; $8 + Museum Admission Non-Members
We are thrilled to have pianist Teresa Sumpter return to our Pianoforte Series with a selection of pieces by Beethoven, Schubert, Debussy, and Schoenberg. Dr. Sumpter has performed in venues throughout the U.S., and teaches piano and music theory at Mars Hill College. Advanced reservations are recommended. Contact the Museum’s front desk at 828.253.3227.
The Big Crafty
Sunday, July 8, 2012
12:00 to 6:00 p.m.
Pack Place and Pack Square
Voted Asheville’s favorite art/craft fair, The Big Crafty returns this July with a lively celebration of handmade commerce. The Asheville Art Museum hosts The Big Crafty in Pack Place. This juried indie craft fair features 100 artists and crafters.
Lunchtime Art Breaks: Friday, June 15
Artist Project Space + Atrium Installations
By: Jessica Curtis, Communications Intern
Lunchtime Art Breaks are a series of gallery talks and presentations hosted by the Asheville Art Museum, typically twice per month on Fridays from 12:00 – 1:00 p.m. Our most recent Lunchtime Art Break featured Asheville residents and artists Hoss Haley and Gabriel Shaffer. Both artists engaged in dialogue and answered questions with participants about their work.
Haley has two featured works in the Museum: the lighting installations in the Museum’s newly renovated Atrium and a large-scale sculpture titled Cycle. Haley’s light installation design takes what the artist calls a “structural approach” that is more reductive than minimalistic. Haley spoke of how his biggest challenge with the light fixtures was “dancing” around the idea of the lighting installation as both a functional light fixture and a work of art. His large enameled steel sculpture, Cycle, was chosen as the inaugural site-specific art installation for the Museum’s new East Wing Artworks Project Space, or artist project space. The sculpture will remain on view through the end of the calendar year before becoming part of the Museum’s Permanent Collection.
Gabriel Shaffer, the artist behind a large-scale graffiti art mural in the Museum’s Atrium, referred to his graffiti work as having raw characteristics, as the art form is often completed without commission or permission. Unlike much of the graffiti art found in the streets of Asheville and far beyond, Shaffer’s mural was especially commissioned by the Museum for the public restrooms in the new Atrium. The Museum recognized a prime opportunity to showcase the talent of a local artist in the space, and to highlight the evolution of graffiti as an art form increasingly utilized in the professional art world.
Shaffer spoke of the local elements reflected in his work, noting the challenge of depicting the community using only a few images. The artist combined images inspired by local music, literary references (Thomas Wolfe), break dancing and street culture, ultimately tying the scenes together with the common thread of what Shaffer described as “the town’s relationship with art deco”.
In his artist statement Shaffer writes,
“The mural is inspired by multiple elements, the predominant influence being the quilts of Gees Bend Alabama. In addition to the quilts being extremely forward thinking and beautiful, they have also become somewhat of a national treasure. Because of my extensive experience with folk and outsider art, I have had the pleasure of viewing these quilts, and have found their arrangements, use of color and recycled fabric to be reminiscent of abstract hieroglyphics.”
Shaffer spoke of the collaborative nature of his mural, which reflects the diverse talent of several fellow graffiti artists from the community who worked closely with Shaffer to complete the installation, demonstrating a collaborative, quilt-like process. Shaffer spoke of several artists on the forefront of Asheville’s street art scene, mentioning Ruiner, Sinker, Mom’s Crew, Graffiti Masons, and the B Team, to name a few.
Shaffer’s intent was to create an open narrative with the mural, allowing viewers to interpret the work for themselves. He felt that this characteristic would allow an additional stream of consciousness to emerge in his work.
Commenting on the unusual balance of showing graffiti art within a traditional museum setting, Gabriel described the delicate issues surrounding the production of graffiti and street art, often perceived as being produced illegally. When visitors questioned the artist about the purity of the mural as true graffiti, he answered that it was a “borderline” example, commenting that graffiti was less offensive to the viewer in this case specifically because it was a legally commissioned work of art.
Always striving to bring new, enlightening and inspiring experiences with American art to the surrounding community, the Museum has warmly welcomed the opportunity to showcase such cutting edge work in a safe, public forum that allows for greater dialogue around the changing role of both art and producer in the realm of graffiti art.
For the second part of the Art Break, artist Hoss Haley spoke with guests about his large-scale sculpture adorning the Museum’s new Artworks Project Space. Having worked in sculpture on an increasingly large scale for more than three decades, the artist’s main resource for the site-specific sculpture installation was enameled steel from area scrap yards.
Haley spoke of how his relationship with the scrap yard over the years has acted as an indicator of economics, witnessing over time a correlation between the current state of the economy and the changing type and quantity of materials coming in and out of scrap yards.
Haley also defined his recycling as being “green before being green was cool.” This habit of wanting to recycle, in addition to his habit of coiling things up—such as wadded paper thrown into a trash bin—has emerged in his art as well. Haley particularly brought attention to the symbolism of “wadding”. Wadding has become a natural human action to express an object’s transition from a resource to waste. However, in practical circumstances, disposing of a material in such a way only takes up more space and density. This idea of wadding has become our ultimate act of declaring something as waste.
Through Cycle, Haley observed the subconscious symbolism of recycling and waste. The artist built special machinery to create large-scale recycled enameled metal pieces representing the appearance of paper “wadded in [his] hand”. Haley spoke of his adventure into the scrap yard as a form of “post-apocalyptic hunting”, using the term “field dressing” when referring to himself and his team of assistants, describing the process of seeking our discarded washing machines and “ripping [them] open and throwing the guts out”, taking only the “skins” or outer shell of the machines.
Expanding on the symbolism of material waste and economic concerns brought to the viewer’s attention through Cycle Haley spoke of the relatively short life span of today’s washing machines—only two years on average. Being either too expensive to service or simply out of date, it has become common practice to discard machines and purchase new ones at an increasing rate. Such fast turnover has made it nearly impossible for metal recycling plants, such as those in Spartanburg, to keep pace. This was a revelation to Haley in his creative process.
In his artist statement Haley writes,
“For decades the scrap yard has been a major source of both raw material and inspiration. As the consumer demand for cheaper products increases, the quality of the products decreases, as does the life span of the goods…Cycle became a way to exaggerate the idea of ‘tossing away’ and to demonstrate the precariousness of this act. In the end there was a satisfying moment in the process when the castoffs became commentary.”
Lunchtime Art Breaks are often not only educational and insightful, but also brimming with humorous undertones and fascinating commentary from the very artists whose works are displayed in the Museum, offering visitors a unique view into the thought process and ideas behind a work of art. During this tour, Haley demonstrated the playful nature of his work, picking up one of the remarkably lightweight balls making up Cycle, and acting as if to climb the sculpture (both of which are not permissible for visitors to the Museum).
In addition to these humorous actions, Haley also commented on the earlier iterations of Cycle, such as his idea to combine three of the balled-up washing machines. He ultimately moved beyond the idea realizing that, “they just ended up looking like snowmen.” Haley concluded his discussion of Cycle by mentioning his more current twist of the Cycle series. Now, he is making the recycled enameled steel balls out of car and truck hoods from the late 1970s and earlier. The new series in progress has more color than this installation of Cycle and is designed to hang on the walls versus being structured in sculpture form.
For more information about Hoss Haley, please visit www.hosshaley.com. For information on Gabriel Shaffer, visit www.gabrielshaffer.com. To learn more about the artists’ current work in the Asheville Art Museum, visit www.ashevilleart.org or call 828.253.3227.—
Art Break: Fire on the Mountain12:00pm - 1:00pm
Lunchtime Art Break
Free with Membership or Museum Admission
The Museum offers a series of gallery talks and presentations, or Art Breaks, designed to engage Museum visitors in dialogue with staff members of the Curatorial and Education departments, Museum Docents and special guests.
Led by Museum Curator Frank Thomson—
The Asheville Art Museum successfully hosted the region’s Fine Art Print Fair! Images above display an array of the dealers, prints, and participants present! A special thank you to all of our Members, Guests, Staff, Volunteers, Dealers, Curators and Sponsors.—