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3thurs · 4 years ago

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Third Thursday events and exhibitions for February 18

The next Third Thursday — the monthly evening of art in Athens, Georgia — is scheduled for Thursday, February 18, from 6 to 9 p.m. All exhibitions are free and open to the public. Several of the venues are closed or in between exhibitions. It is recommended that you contact a venue in advance to confirm its current status, especially in light of the potential for changing circumstances during COVID-19.

Georgia Museum of Art, University of Georgia

“Emma Amos: Color Odyssey” — This survey exhibition ncludes approximately 60 works produced by Black feminist artist Emma Amos over the last 60 years.

“In Dialogue: Look, Paint, Repeat: Variations in the Art of Pierre Daura” —This exhibition uses the museum’s recent acquisition of Daura’s “View of Saint-Cirq-LaPopie” to highlight how the artist depicted certain subjects over and over again.

“Contemporary Japanese Ceramics from the Horvitz Collection” — This exhibition presents Japanese pottery and porcelain created by three generations of master ceramic artists. Made with both ancient and modern materials and methods, their works are exceptionally diverse. They share the exceptional craftsmanship and sophisticated design characteristic of Japanese contemporary ceramics.

“Power and Piety in 17th-Century Spanish Art” — Works by premiere Spanish baroque painters such as Francisco de Zurbarán, Bartolomé Murillo, Pedro Orrente and others, on loan from Bob Jones University Museum & Gallery.

“Modernism Foretold: The Nadler Collection of Late Antique Art from Egypt” — An extraordinary assembly of Coptic objects dating from the 3rd to the 8th century CE belonging to Emanuel and Anna Nadler.

The museum’s days of operation have changed to Thursday – Sunday, and a free timed ticketing system is now in place to limit the number of people in the building, along with new policies for safety during COVID-19. Reserve a ticket and see our policies at https://georgiamuseum.org/visit/.

ATHICA@Ciné

On hiatus until March 2021, when a new exhibition by artist Jacob Wenzka opens.

Hotel Indigo, Athens

“Athens Facades” — Photography by Mike Landers. The artist took these building portraits at dark downtown and in Five Points between 2000 and 2002. His first building portrait shows what had been The Gap on Clayton Street, which left a beautifully symmetrical illuminated façade and an empty interior. Landers finds this an exercise of looking in and looking out.

“Diorama” — A new installation by Jaime Bull in the Glass Cube. Imagine going to the natural history museum and looking through the glass window into another world. Instead of woolly mammoths or sub-Saharan zebras, Bull’s installation is populated with large-scale assemblages of wicker furniture painted in a psychedelic color palette. Supported by the 2020 Arts in Community Resilience Award through the Athens Cultural Affairs Commission (ACAC) and Athens-Clarke County Unified Government.

ATHICA: Athens Institute for Contemporary Art

Online Event, 7 p.m.: Streaming Music Night with Old Friends from Near and Far — Featuring Annie Leeth, A Good Pleasure, and Klypi. Free tickets required: https://athica021821.eventbrite.com

On View: “2021 ATHICA Members’ Showcase” — Featuring works by ATHICA members.

Lyndon House Arts Center

3THURS Virtual Artist Talk, 6 p.m.: ”Athens Together,” an exhibition of documentary photography of local rallies featuring the work of Penny Noah, Nathaniel Burkins, Sean Dunn and Lucy Calhoun. Please email [email protected] to register.

“Lobby Case: Flywheel by Luka Carter” — A window display that captures snapshots of energy and objects suspended in place. The artist composes sketches, studies and found objects into a realized mood board of the different facets of his life that keep him moving and inspired.

“Lounge Gallery: Mind the Body, Works by Victoria Dugger” (opening day) — Victoria Dugger’s work is an investigation of herself — and of you. Her work often explores the dynamic relationship between ourselves, our body and the world around us. This exhibition is curated by Lilly McEachern.

“Window Works: Noraa James” — Window Works is an outdoor project located at the entrance of the Lyndon House Arts Center. Using the banks of windows as a palette, Noraa James has designed a triptych and diptych inspired by love, the Black body and primary colors.

We require face coverings, social distancing and follow all CDC guidelines. As we navigate through these unusual times, we recommend visiting our website, social media or calling the Arts Center for further information regarding procedures for visiting the galleries. Please note gallery hours and numbers of visitors at one time are subject to change and will follow CDC guidelines. For more information, please call 706.613.3623. Please visit us at accgov.com/lyndonhouse or on Facebook and Instagram.

Lamar Dodd School of Art Galleries, University of Georgia

“Down and Dirty” — A comprehensive two-person exhibition celebrating the pioneering sculptors Bonnie Rychlak and Jeanne Silverthorne, in the Lupin Gallery.

“Meet Me at The Double Crown” — In the Margie E. West Gallery is a tribute to karaoke’s power to find transcendence in the performance of ourselves. Dodd MFA candidate Ronika McClain presents a series of videos that uses confessional storytelling to discuss the importance of coming together as a community and the recent disconnection wrought by the pandemic.

“Taking Care” — Jane Ritchie, Dodd graduate advisor, and Isys Hennigar, Dodd MFA candidate, consider the complex ways in which humans engage the living world. The works in the exhibition explore the language of care through slow processes, delicate balances, meticulous adornment and attention to the fragility of living things.

“The Unstitute of…” — Facilitated in the School of Art’s Bridge Gallery throughout February 2021, the Unstitute of… is an alternative one-person “MFAPHD” research program, faux institution and autonomous “school” hosted and developed by its only participating administrator and student, doctoral candidate in art education Lisa Novak.

tiny ATH gallery

“Melody Croft’s Black Lives Matter”

Safety precautions in place for tiny ATH gallery:

Please, please, please WEAR YOUR MASK (we will have gloves and sanitizer and extra masks readily available as well).

4 people will be allowed in at a time or a larger family group that has been sheltering together.

ENTER through front porch door, EXIT through back of gallery (one-way traffic).

Please consider parking on Pulaski St. or Cleveland Ave. to alleviate parking issues, and allow for extra space for the entry line.

Please follow signage instructions and maintain safe 6-feet-plus distancing while waiting to enter the gallery.

Feel free to mingle (6 feet safely away from one another) on the back patio area.

If you feel unwell or have been in contact with anyone who has been sick, please stay home.

The Classic Center

No art is on view this Third Thursday.

Creature Comforts Brewing Co.’s CCBC Gallery

No art is on view this Third Thursday.

—

Third Thursday was established in 2012 to encourage attendance at Athens’ established art venues through coordination and co-promotion by the organizing entities. Rack cards promoting Third Thursday and visual art in Athens are available upon request. This schedule and venue locations and regular hours can be found at 3thurs.org.

Contact: Michael Lachowski, Georgia Museum of Art, [email protected].

#art #free #athensga #downtownathens #uga #museum

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outerrsspace · 8 years ago

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"Under a Cloud" — Jeanne Silverthorne (2003)

#art #my photo #albright knox art gallery #still one of my favorites ever #clouds #sculpture

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distinktionsfetzen · 22 days ago

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Check out Jeanne Silverthorne, Banshee (Self-Portrait at 73) (2023), From Shoshana Wayne Gallery

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abbeysnysemester-blog · 6 years ago

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Galleries Of Week 2

Jeanne Silverthorne - Marc Straus (floor 4)

Jeanne Silverthorne’s exhibition was held on the fourth floor of the Marc Straus Gallery. Although it had the smallest room to encapsulate, it was the most sculptural, and the most visually impactful. When you first walk into the room, there is a large chandelier hanging around a foot off of the floor, the chandelier is black and covered in an archival-esque material that makes the surface look almost chalky and waxy at the same time. Cords erupt from the chandelier and sprawl across the ground and wall, connecting to other cords in a snakelike embrace. The all-black cord gathering trails up to an iconic EXIT sign, one would see at perhaps a movie theater. The sign is also covered in the same black material as the chandelier, and the red glow of the letters becomes more sinister in this context. Across from the exit sign, there is a book on display that looks similar to a diary, and has words sprawled out that are quite challenging to read. I overall enjoyed this exhibition and was intrigued by the processes that were evident on all of the pieces, and was intrigued by the use of the cords as a joining material to connect each piece spacially.

Chris Jones - (2nd and 3rd floors)

The pieces in Chris Jone’s exhibition reminded me very strongly of a pop-up children book, with 3D cut-outs in paper, and backgrounds emphasized and shapes coming to the forefront. Those I was at the gallery with seemed very interested in these works, however I saw them in a more kitsch light. I thought that they were interesting craftsmanship-wise, but wasn't able to really see an entry point to discuss them or think about them on a further level than that. With some added mechanics like a moving coffee cup I just did not feel specifically drawn to these pieces for anything other than a nostalgic memory of the books it reminded me of.

Ulf Puder - (2nd floor)

Ulf Puder’s paintings were extremely visually interesting to me yet simple at the same time. Many of the paintings gave me a gloomy, apocalyptic feeling. Complete with broken down houses or a water level much higher than our current one, Puder’s paintings are definitely evocative of a time that could be to come in the future. I was especially impressed with Puder’s balance of both the realism of the landscapes and houses he provided, that were offset by shapes of gradients. The gradients in place of specific shapes, say a garage door for instance, add to the mystique of each painting. The gradients give a lot of the visual interest to me, and keep me questioning the intention behind the placement of each one, this is what I enjoyed so much about each painting, they all gave me a very specific feeling overall, but when I broke each aspect down more I was questioning as to why?

Zlatan Vehabovic - (first floor)

The exhibition on the first floor consisted of works by croatian artist Zlatan Vehabovic, who embarked on a five-week residency program to the Arctic Circle, extensively documented his trip, and then returned to his studio to create the paintings in this exhibition. At first glance, one may look at these works and see landscapes of the frozen tundra mixed in with some portraiture, however, when looking closer, you can see how each piece has specific fragments repeated time and time again, as if you are either looking through a kaleidoscope, or perhaps having double vision. These ‘shards’ that nestle themselves among the background of the paintings are sometimes less evident, as in the piece entitled, “Ursa Major,” (2018) in which is a portrait of a person hiking, and are sometimes more evident and almost collage-like, as shown in the piece, “Builder of Things,” (2018.) I overall was very interested in these paintings, and especially in the viewpoint of the artist of this specific landscape that is showcased in these works.

Rafael Rozendaal - Postmasters

Rozendaal’s show at Postmasters is at first, deceptively minimalistic. On the gallery wall’s hang squares of white steel sheets that have various shapes cut into each. These are pieces of their own, that can function as a drawing, a sculpture, a design, etc. They are considered “shadow objects,” by the artist, which I assumed would refer to the shapes cast by the thick steel onto the white of the space not cut out. The press release statement by the artist was probably the most interesting aspect to me, which spoke about how the artist is not a maker and doesn't ‘work with materials.” Which is quite an interesting statement for an artist to make! This intrigued me, along with the comment about how Rozendaal’s work is searching for the path to the fastest production - a computer design to a computer cutting out the shapes in the steel.

Borders - james cohan

Borders at James Cohan Gallery was a very interesting group show discussing borders as political, ideological, and formal. The show included works by many artists of all different disciplines, however a few specific pieces were very intriguing to me. The first piece was a brick wall structure made by Jorge Mendez Blake and was titled, “Amerika” (2019.) At first glance the wall looks like it is just that - a brick wall, but once you take a look at the gallery’s information sheet, it says that the wall is made of editions of Franz Kafka’s novel of the same title, “Amerika.” I found this to be very interesting, considering I had originally just assumed it was a brick wall and had admittedly somewhat overlooked the sculpture as I didn't see much to digest as a wall has been synonymous with America in the recent political climate. The next pieces that I was interested in were two video pieces, the first was entitled, “18 Days,” by XU ZHEN, which details a faux documentary invasion of Myanmar, Mongolia, and Russia using toy cars, and the second a video piece by Hiraki Sawa called, “Dwelling,” (2002,) which is of a airplane flying around the artist’s room showing the crossing of ‘borders’ related to the childlike and imaginary.

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sardiabai-blog · 6 years ago

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taxicabmag · 7 years ago

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Three Artworks by Isabel Twanmo

In my work with sculpture and mixed media I explore ways in which a scientific approach can fuel artistic exploration from a process-based perspective. I observe the biological process of fermentation in kombucha brewing as my sculpting medium, SCOBY (Symbiotic Culture of Bacteria and Yeast), is formed by weaving chains of glucose into disks of cellulose. When bent, layered, and dried, these cellulose pellicles become soft, paper-thin, and leather-like scenes depicting abstract landscapes in orange-brown. I often hang my SCOBY sculptures on walls or windows where light can pass through and emphasize each layer and fold of material.

When I am not working with SCOBY, my interest in science drives how I approach a new piece, learn from a material, and use new or existing knowledge to achieve a definitive result. In particular, I am interested in using the scientific process as a model for my approach to making. That is, questioning, hypothesizing, gathering information, and experimenting. As part of this experimental approach, I am always trying to learn new techniques and progress with new and familiar materials as a means of maintaining curiosity, innovation, and adaptability. These materials have included paper, wood, string, water, paint, pastels, charcoal, and ink, though I have also enjoyed working in metal, limestone, and plaster.

Top to bottom.

Untitled, Kombucha SCOBY, 2017

Untitled, Transfer paper on Stonehenge, 2017

Untitled, Multimedia, 2017

Isabel Twanmo is a visual artist and student at Bennington College studying how the scientific process can fuel artistic exploration in process and product. She has spent time working for New York City-based sculptors Daniel Wiener and Jeanne Silverthorne, the Bio Art Lab at the School of Visual Arts, and Red Marble Media. Recently, Twanmo interned in the art department of the Netflix show “House of Cards.” She plans to continue working and studying as a visual artist, while exploring freelance work in film and TV.

#visual art

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nofomoartworld · 8 years ago

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Hyperallergic: When Experimental Music Resonated with Abstract Art

‘Nothing and Everything: Seven Artists, 1947–1962,’ installation view (image courtesy of Hauser & Wirth; photo by Genevieve Hanson)

Next to the signature on Philip Guston’s “Untitled” (1952) is the dedication “for Morty.” This hangs in the central gallery of Hauser and Wirth’s 69th St. show Nothing and Everything: Seven Artists, 1947 – 1962, curated by Doug Dreishpoon. In the back room, recordings of compositions by Morton Feldman and John Cage play on loop, including Morty’s “For Franz Kline” (1962). Upstairs is a selection of paintings and works on paper by Kline. This ricochet of dedications is one of the more explicit modes of social and aesthetic networking that bind together the composers and artists in this rich exhibition.

The title of the show accentuates what composer Christian Wolff — the last living member of the New York School of composers and briefly a student of Cage’s — characterized as the “interesting differences, held in a kind of cheerful suspension” that can be heard in “Radio Happening I” (1966), a conversation between Cage and Feldman. Excerpts of that revealing exchange alternate with a recording of Cage’s “Lecture on Nothing,” quietly looping at the entrance of the gallery. The exhibition spans three floors and includes original and facsimile scores by Cage and Feldman, paintings by Guston, sculpture and works on paper by Louise Bourgeois and David Smith, and oil paintings by Joan Mitchell.

Philip Guston, “Untitled” (c. 1951), gouache on paper, 44.5 x 57.8 / 17 1/2 x22 3/4 in (image courtesy the Estate of Philip Guston and Hauser & Wirth; photo by Genevieve Hanson)

The tension between the worldviews of Cage and Feldman immortalized in “Radio Happenings” is representative of the show’s variety. These artists and composers gathered together at The Club and the Cedar Tavern, talked, and supported one another, but they had divergent aesthetic outlooks that were allowed to stand because of the friendship. Recently, while visiting Brigid Cohen’s “Musical Experimentalism: Poetics and Politics” seminar at NYU, Wolff said he wasn’t sure the artists liked their concerts very much, but they were supportive and would show up. The slender monoliths of Bourgeois’s “Breasted Woman” (1949–50; cast 1989) and David Smith’s “Forging IX” (1955) represent contrasting approaches to the gendered social positions of the artists: Culturally embedded into Smith’s title, masculinity enlists a deceptive neutrality; Bourgeois hangs the feminine body on the work.

Louise Bourgeois, “Breasted Woman” (1949–1950; cast 1989), bronze, paint, and stainless steel, 137.2 x 8.9 x 8.9 cm / 54 x 3 ½ x 3 ½ in (© The Easton Foundation/Licensed by VAGA, New York NY; courtesy Hauser & Wirth; photo by Christopher Burke)

Looking at Bourgeois’s sculpture “The Blind Leading the Blind” (1947–49) strains my body into a perpetual tiptoe as I both carry off a body and am myself borne away. The wood tapering vertically to the floor plunges me into the vertigo of modernity of which Baudelaire wrote; the horizontal elements direct me to a vanishing point from which I came or to which I am being led. Like a sound, her works radiate their effect beyond visual boundaries.

Kline’s works of black paint on newspaper have a fascinating parallel with Cage’s ideas about listening. At 13:00 of “Radio Happening I,” Cage tries to convince Feldman that the transistor radios that so bothered Feldman were only “making audible something that you were already in.” For Cage, the radio actualizes a selection of the noise in which we are immersed. In the history of Kline’s work, a projector stands in for Cage’s radios: At de Koonings suggestion, Kline projected a drawing of a chair onto the wall at an enormous size, and he found “the strokes expanding as entities in themselves, unrelated to any entity but that of their own existence.” Kline’s black figures seem to be the actualization of some subset of the virtual noise of newsprint on which they stand. As in Feldman’s vanishing instrumental works, the materials become isolated amid space or silence, depending on your medium.

Though Kline’s works may zoom in on isolated existence, they look good together, taken in at a glance, just as Cage found it congenial to have his works played simultaneously. In contrast, Mitchell’s paintings are lonely, asking you to get lost in the frame as if nothing else existed in the universe: Enter with only your memory of life. We are meant to engage them with a question on our lips, as is the case with Feldman’s music from this period. Later in his career, Feldman’s works ask the questions for us, but at that point we don’t mind, thanks to the hard-won eloquence of the later pieces such as “Triadic Memories” (1981).

‘Nothing and Everything: Seven Artists, 1947–1962,’ installation view (image courtesy of Hauser & Wirth; photo by Genevieve Hanson)

The press release presents the show as a group of artists pushing “their respective mediums to new realms of abstraction.” But the notion of “abstract music” is a troubled one; music becomes “abstract” mostly by association with art that is so named. Feldman’s sparse instrumental works actually throw us back to the material — a single pluck of a cello string sounds, unmoored from its aesthetic symbolic order. Cage’s cacophonous “Williams Mix” (1952) hurls the material at us: horns, frogs, and voices ordered by many flips of the coin and assembled through a score that functions like a dressmaker’s pattern. (The original score on display is well worth examining.) In the works presented, it is primarily the absence of an intelligible grammar of melody that prevents the familiar and emphatically abstract structures of music from cohering; it renders the sounds starkly and concretely associated with their bodily sources. There is no attempt to enlist virtuosity to transcend the instrument, to make a piano sound either happy or sad according to a recognizable code.

The exhibition text’s comparison of silence and space is a more fruitful theoretical joining of the disciplines, but the leap from sound to space is not so easily made technically. I found the audio volume in the “specially designed listening room” frustratingly low and uneven. Sitting there on a rainy day, I could hear the sniffles of other visitors better than the music. I kept getting distracted by someone talking in another room and only later realized that it was Cage’s “Lecture on Nothing” chiming in over Feldman’s “Projection I.” I think Cage of the “Radio Happenings” era wouldn’t have minded any of that — he thinks he wrote it all anyway. (Listen to 5:00–5:30 for that side of Cage and 0:00–2:15 for the backstory.) He probably wouldn’t even have minded when another visitor sitting in the room with me answered her phone (“…you’re a wonderful daughter, see you at the restaurant…”) and then made a few more calls (arranging meeting Dorothy and Thomas at the restaurant). But it’s a shame that the fast-ride-in-a-loud-machine that is Cage’s “Williams Mix” recedes into the silence of the gallery.

‘Nothing and Everything: Seven Artists, 1947–1962,’ installation view (image courtesy of Hauser & Wirth; photo by Genevieve Hanson)

Feldman’s music is particularly poorly served by the aural intrusions, but even more to the point, in this snapshot of New York c. 1950, the artifacts presented are incomparable. We look at the actual paintings and sculptures. We listen only to recordings of the music. Feldman’s “Projections I” is for cello, not a recording of a cello. The difference is as significant as that between a sculpture and a photograph of a sculpture. Cage once quipped, “I’ve always been a proper member of the musicians’ union, in favor of live music.”

Happily, the programing that accompanies the show offers two very different types of live performances. Coming up on March 16, Janine Antoni, Petah Coyne, Rona Pondick, and Jeanne Silverthorne will read from Louise Bourgeois’s writings at Hauser & Wirth’s 22nd St. publications space. On March 1, Christian Wolff curated a performance of music by Cage, Feldman, and himself at the Jewish Museum that presented nine works dating from 1950 to 1956 and Wolff’s “Six Melodies Variation” (1993), which was written as part of a memorial after Cage’s death in 1992. Wolff, who met Cage and Feldman in 1950 when Wolff was only 16, heard a couple of these pieces for the first time. In fact, it was Wolff who gave Cage a copy of the I-Ching, which Cage used to compose “Music of Changes III” (1951). At the beginning of the program, Doug Dreishpoon asked the 100+ person audience how many people had seen the exhibition — about five of us raised our hands. From listening to the chatter around me, it seemed that this was a crowd of music lovers. Where were the art lovers? I wonder how many experimental music fans will go to see the sculpture and painting.

‘Nothing and Everything: Seven Artists, 1947–1962,’ installation view (image courtesy of Hauser & Wirth; photo by Genevieve Hanson)

Nothing and Everything: Seven Artists, 1947–1962 continues at Hauser and Wirth (32 East 69th Street, Upper East Side, Manhattan) through April 1.

The post When Experimental Music Resonated with Abstract Art appeared first on Hyperallergic.

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albrightknox · 8 years ago

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Under a Cloud is a portrait of the artist’s mother, Regina Silverthorne (1926-2011). The figure was modeled by hand in polymer clay, using photographs for reference, sewing needles for sculpting tools, and several magnifying lenses for enhanced visibility. Once completed, the clay figure was then cast in rubber. The “cloud” is an image of the depression from which the subject suffered. It too is rubber. Finally, the actual hair of the subject was glued on, one strand at a time.

Hair was also sent to laboratories for DNA analysis, providing both a matrilineal ancestry report, showing where Regina’s DNA had been geographically for the last 15,00 to 18,000 years, and her genetic fingerprint, that part of her DNA that was unique. These DNA reports are an unseen component of the finished portrait.

Under a Cloud is one of a series of cast rubber portraits made between 2000 and 2015 that similarly used small scale and DNA information to convey vulnerability, loss, and continuance. They constitute one aspect of a melancholy archeology of the ruined studio, haunted by vanished voices.

—Jeanne Silverthorne, New York, New York, April 2016

See work by Silverthorne and twenty-six other artists in Defining Sculpture, which offers a perspective on the medium’s remarkable development and hybridity from the postwar years to the present. The exhibition is on view at the Albright-Knox through October 9, 2016.

Image: Jeanne Silverthorne (American, born 1950). Detail of Under a Cloud, 2003. Rubber, synthetic hair, Aqua-Resin, and Styrofoam, artist’s proof from an edition of 3 and 1 AP, figure: 4 x 1 3/4 x 3 inches (10.2 x 4.5 x 7.6 cm); cloud: 12 x 15 x 10 inches (30.5 x 38.1 x 25.4 cm). Collection Albright-Knox Art Gallery; Albert H. Tracy Fund, 2003.

#AlbrightKnox #Albright-Knox #Jeanne Silverthorne #Portrait #Sculpture #Art #Museum #Defining Sculpture #Buffalo #Under a Cloud

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3thurs · 4 years ago

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Third Thursday events and exhibitions for January 21

The next Third Thursday — the monthly evening of art in Athens, Georgia — is scheduled for Thursday, January 21, from 6 to 9 p.m. All exhibitions are free and open to the public. Several of the venues are closed or in between exhibitions. It is recommended that you contact a venue in advance to confirm its current status, especially in light of the potential for changing circumstances during COVID-19.

Georgia Museum of Art, University of Georgia

“In Dialogue: Cecilia Beaux’s ‘Twilight Confidences’” — A look in detail at Cecilia Beaux’s “Twilight Confidences,” an important recent addition to the museum’s collection and the artist’s first major exercise in plein-air painting.

tiny ATH gallery

Lucy Calhoun’s "Touch in the Time of Covid" — This photography exhibition will open with a socially distanced reception on Third Thursday from 6 to 9 p.m. This project was funded by an ACAC Resiliency Award. https://touchinthetimeofcovid.com/

Safety precautions in place for tiny ATH gallery:

Please, please, please WEAR YOUR MASK (we will have gloves and sanitizer and extra masks readily available as well).

4 people will be allowed in at a time or a larger family group that has been sheltering together.

ENTER through front porch door, EXIT through back of gallery (one-way traffic).

Please consider parking on Pulaski St. or Cleveland Ave. to alleviate parking issues, and allow for extra space for the entry line.

Please follow signage instructions and maintain safe 6-feet-plus distancing while waiting to enter the gallery.

Feel free to mingle (6 feet safely away from one another) on the back patio area.

If you feel unwell or have been in contact with anyone who has been sick, please stay home.

Ciné

No art is on view this Third Thursday.

Hotel Indigo, Athens

ATHICA: Athens Institute for Contemporary Art

No art is on view this Third Thursday.

Lyndon House Arts Center

“Lounge Gallery: Mind the Body Works by Victoria Dugger” (opening day) — Victoria Dugger’s work is an investigation of herself — and of you. Her work often explores the dynamic relationship between ourselves, our body and the world around us. This exhibition is curated by Lilly McEachern.

Creature Comforts Brewing Co.’s CCBC Gallery

No art is on view this Third Thursday.

Lamar Dodd School of Art Galleries, University of Georgia

“Down and Dirty” — A two-person exhibition celebrating the pioneering sculptors Bonnie Rychlak and Jeanne Silverthorne, in the Lupin Gallery.

“La Mostra,” the annual Cortona Exhibition, in the Margie E. West Gallery.

The Classic Center

No art is on view this Third Thursday.

—

#athensga #free #art #uga

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