This exhibition, organized by Nicolas Morrissey, associate professor of art history, Lamar Dodd School of Art, highlights the Buddhist artistic heritage of ancient Gandhara, a region once heralded as the Crossroads of Asia and now located in present-day northern Pakistan and Afghanistan. Following the conquest of Alexander the Great during the 4th century BCE, the region of Gandhara became a nexus point of diverse and evolving cultural influences.
The annual exit show for the graduating master of fine arts students at the Lamar Dodd School of Art. This year's candidates are Katelyn Chapman, Whitney Cleveland, Annemarie Dicamillo and Kelsey Scharf (painting and drawing); Ally Christmas and Deepanjan Mukhopadhyay (photo and video); Erin Geagon and Johanna Norry (fabric design); Yeonsoo Kim and Karine Lepage (ceramics); Katherine Miller, Ali Norman and Kaleena Stasiak (printmaking and book arts); Pamela Rogers (Art X: video/performance/installation); Katlin Rothacher (sculpture/fibers); and Alexis Spina (jewelry/metals).
Wrestling Temptation: The Quest to Control Alcohol in Georgiatraces the struggle that state leaders have faced in regulating the production, transportation and use of alcohol from 1733 to the present. The exhibit explores issues of morality, economy and personal liberty entwined with the use and abuse of alcohol. It considers what made Georgia different by paying close attention to the adoption of statewide prohibition in 1907 and the reluctance of state officials to repeal that measure even in the face waning public support and dire financial times during the 1930s.
In the history of 20th-century design, Giò Ponti (1891–1979) is widely recognized as the father of modern Italian design. Over the span of a remarkably prolific career of nearly 60 years, Ponti created important works of architecture (including the first skyscraper in Italy), furniture, decorative art and industrial products, using both traditional and modern materials and techniques. He participated in Italian and other international design exhibitions and served as the editor of and frequent contributor to the magazines Domus and Stile.
Gold-digging in Georgia: America's First Gold Rush shares the history of north Georgia from the late 1820s until the Civil War as America’s first major gold rush. This antebellum Appalachian gold rush served as one of the many southern paths to industrialism.
"The Past Is Never Dead: Kristin Casaletto" shows prints by the contemporary Georgia-based artist. Casaletto’s work addresses issues of history and how it is interpreted as well as questions related to identity and race. A relative newcomer to the South, she approaches its complex history from the perspective of an outsider without marginalizing its culture.
The title of the exhibition comes from William Faulkner’s famous statement “The past is never dead. It's not even past.” Casaletto similarly focuses on the importance and influence of history in shaping present mindsets.
The annual exit show for the graduating master of fine arts students at the Lamar Dodd School of Art. This year's candidates are: Thomas Bosse , Reid Brechner, Julia Megan Burchett, Ellie Dent , Jamie Diaz, Arron Foster , Meirav Goldhour, Zachary Harris, Ariel Lockshaw , Shuk Han Lui, Jonathan Nowell, Amanda Scheutzow, Stephanie Sutton and Dan Vu.
The Alexander Campbell King Law Library hosts Women in the Profession: 100 Years of Georgia Women Lawyers, a display created by the Women in the Profession Committee, State Bar of Georgia Young Lawyers Division.
On display through March in the Law Library entrance.
Following the ceremony, a reception with refreshments will be held in the third floor galleries.
La Mostra presents the work of Cortona faculty and students from 2016 in the third floor galleries in the Lamar Dodd School of Art building.
The "Advanced and Irascible" exhibition showcases Jeanne and Carroll Berry’s efforts to gather one work by each of the so-called “Irascible” painters of abstract expressionism. The Irascibles earned their nickname after sending a signed, open letter to the Metropolitan Museum of Art to protest the lack of what they called “advanced” art in its exhibition of contemporary artists in 1950.