Kate Hooray Osmond has been named Griffith-Reyburn Lowcountry Artist of the Year by the Coastal Community Foundation of South Carolina.
In conjunction with this award, an exhibition of 20 new paintings by Osmond will be on view at the Redux Contemporary Art Center in Charleston. The show, titled “Get Low”, runs through November 10. For more information, click here.
Osmond’s paintings – depictions of industry and coastlines from aerial view – offer a different perspective “from how we usually view our life.” She continues, “we go through life each day and drive on streets that are familiar; when we get to view a bigger picture of that daily experience, things shift inside of us.”
Academy 2017 is the 17th annual invitational survey of outstanding work by MFA/ BFA students in the Washington/ Baltimore area. This year’s exhibition will be held online while construction takes place on the new Connersmith gallery space at 1013 O St., NW, Washington, DC, in the heart of the Shaw Historic District.
Representing Institutions: American University; The Catholic University of America; Corcoran School of the Arts and Design; George Washington University, Columbian College of Arts & Sciences; Maryland Institute College of Art; University of Maryland, College Park.
To view works, click here.
For more information on the artist, go to damonarhos.com.
In her recent paintings, Caitlin Albritton examines the gym as a stage-like, artificial space where competition, gender issues, body politics, and the propaganda of progress are intensified.
As gym culture continues to grow, the grounds are quickly shifting with regard to gym fashion, body trends, and the commercialization of strength, self-confidence, and happiness. Taking inspiration from trips to her local gym, Albritton is interested in exploring the politics of looking through both male and female gazes
CUNSTHAUS is housed at Tempus Projects, 4634 N Florida Avenue, Tampa FL 33603.
This exhibition will run until Friday, October 6, 2017.
For the full press release and more information, click here.
For over a decade, Chris Sims has been photographing the simulated war zones where US soldiers train for deployment. On these dusty back roads at American military bases, live scenarios and constructed sets are designed to resemble urban centers and villages in the war zones of Iraq and Afghanistan to prepare soldiers with believable immersive experiences.
Sims, who serves as the undergraduate education director for Duke University’s Center for Documentary Studies, has photographed training grounds at Fort Polk, Louisiana; Fort Bragg, North Carolina; Fort Irwin, California; and the Hohenfels base in Germany. His forthcoming book, Theater of War: The Pretend Villages of Iraq and Afghanistan, is a compilation of his photographs.
To read more, click here.
On Thursday, September 14 at 7:00 p.m. Bart O’Reilly will give an artist lecture at McDaniel College. The event will be held in in Peterson Hall, Room 104.
McDaniel College is located at 2 College Hill in Westminster, MD 21157.
“My work is concerned with the actions of time, light and human activity on places and their objects,” says O’Reilly. “Within this framework I try to open a space for imaginary and poetic intervention. Using physical objects or specific places I explore their history and materiality. A claim to truly know or understand seems at best arrogant and at worst extremely dangerous. I try to explore the slippage between what we perceive and what we claim to know.”
For more information, please click here.
Damon Arhos reflects on his recent thesis exhibition, Targets and Trophies, on MatthewsPlace.com, the official blog of the Matthew Shepard Foundation.
Through a series of mixed media two and three-dimensional works, Arhos conducted an investigation of gay culture as an ongoing target of discrimination and violence.
“As a studio artist, I wanted to emphasize how horrific events often make things better for others — how the tragedy of someone like Shepard (or Harvey Milk, whose portrait I also painted for the exhibition) also creates hope.”
To continue reading, click here.
In Laura Borneman’s work, perception of place is fictionalized into invented structures and scenes that are not literal, but are expressive of states of mind, imagination and fantasy. Working between sculptural form, painting and drawing allows the artist to explore the psychological aspects of interior space, whether it be imaginative or reflective of actual structures. By stacking a variety of modalities she addresses the absurdities of the human condition and the urgent search for stability and clarity through everyday pursuits. Borneman juxtaposes shapes and structures that suggest impermanence, giving shape to anxieties. Rather that presenting clear answers or sound solutions, the work accepts the absence of any singular path or prescriptive guideline for seeing and experiencing the world.
On view through August 4, 2017.
For more information, click here.