SCAD Museum of Art Announces Fall 2022 Exhibits

SAVANNAH, GEORGIA – The Savannah College of Art and Design hosts a new season of exhibitions at the acclaimed SCAD Museum of Art, bringing together an international roster of emerging and established artists whose practices reflect vital conversations in contemporary art discourse. This season’s diverse range of performances represent varying mediums, approaches and contexts, and include a major presentation of the work of Roxy Paine, whose large-scale multimedia sculptures examine complex systems, from biological to geological to industrial, ultimately deeply engaging existential themes of humanity and the natural world. SCAD MOA also proudly presents the first solo exhibitions in the United States for Anna Park, Maria Nepomuceno and Shi Jinsong, whose practices each uniquely materialize the complexities and contradictions of culture within capitalist societies, as well as the group exhibition Aaron Douglas: Sermons at the museum’s Evans Center for African American Studies, which explores the Harlem Renaissance artist’s profound influence on creative practice today.

Many of SCAD’s top-ranked study programs – including painting, photography, sculpture, fibers, illustration, animation and architecture – are reflected in the exhibitions and event programming additions to this season, demonstrating the museum’s ongoing mission to enrich the high caliber of education and cultural life for students, alumni, and the community of Savannah and beyond.

“We are thrilled to share these wonderful new exhibitions at the SCAD Museum of Art. This fall, we are showcasing a geographically diverse range of artists who create compelling works varying in media and approach. With an assortment of impressive solo exhibitions and thoughtful group exhibitions, the museum will buzz with a vibrancy that is sure to inspire the creativity and wonder of our students and visitors.

–Daniel S. Palmer, Chief Curator of the SCAD Museum of Art

Featured fall exhibits at the university’s award-winning SCAD Museum of Art in Savannah include:

ROXY PAINE (born in 1966, New York), sedimentary lens, On view until January 23, 2023

Throughout her decades-long career, Roxy Paine has investigated the tensions between human intention and the power of the natural world. The artist’s multifaceted practice includes large-scale multimedia sculptures that examine complex systems, from biological to geological to industrial. Through the expression of these interrelated systems, Paine’s work ultimately addresses themes of time and decay, a crucial reminder of the accelerating devastation of the earth at the hands of humanity and our own impending mortality. sedimentary lens features newly created and precisely executed relief paintings, similar to stratigraphic bisections that merge divergent references on the same image plane. Mixed manifestations, including mushrooms, barrels of oil and the surface of the moon, slip between abstraction and representation. The exhibition also features Paine’s pixelated paintings, intricate constructions that accumulate thousands of tiny dots of paint to represent the macro and micro, as well as the artist’s dioramas, meticulously glazed environments that mimic the format of screens. of natural history while complicating their function, ultimately illustrating humanity’s failures to control in the face of natural forces such as death, decay, and entropy.

GISELA COLON (born in 1966 in Vancouver, Canada), The divine feminist, On view until January 2, 2023

Gisela Colón’s dynamic sculptures offer variable perceptual experiences through the refraction, reflection and emission of light. Generated with advanced production methods such as the casting of carbon fiber intended for aerospace applications, Colón’s curvilinear forms exude an alluring, iridescent glow, the color of which fluctuates with environmental conditions and the viewer’s position in relation to the work. Colón coined the term “organic minimalism” to describe the dual condition of his work: reductive, yet active and seemingly alive. Although situated in the lineage of minimalism, Colón’s practice refuses the stasis and rigidity of the structure typical of the work of his male predecessors, embracing the transformative and the transcendent. Informed by the natural world and rich biodiversity of her native island of Puerto Rico, her work invokes the “divine feminine” as a method of creating space for underrepresented peoples.

ANNA PARK (born in 1996 in Daegu, South Korea), Last call, Sept. 21, 2022–Jan. 2, 2023

In her first solo exhibition in a museum in the United States, Anna Park presents large-scale charcoal drawings with a formal dynamism that articulates the frenetic pace and chaotic iconographic landscape of the information age. Park’s monumental works expand the parameters of drawing to a level comparable to that of history painting, simultaneously straddling the boundary between abstraction and figuration. She incorporates recognizable images from memes and other contemporary cultures into her work while complicating it with an almost cubist fragmentation. This elusiveness reflects the way his dense black and white compositions convey a heavy emotional turbulence amid the uncertainty of our times, communicating the complexities and contradictions of American culture today.

MARIA NEPOMUCENO (born in 1976, Rio de Janeiro, Brazil), Dentro e fora infinitelyOn view until December 26, 2022

Over the decades, Maria Nepomuceno has developed a collaborative and generative relationship with a group of artisans in northeastern Brazil, renowned for weaving carnauba palm straw, native to the region, into functional objects. Nepomuceno experimented with this medium, inventing new shapes, patterns and forms that incorporate traditional techniques while integrating less conventional materials such as beads, raw clay, ceramics, resin and rope. Emerging through the evolution of this labor-intensive method, the resulting works oscillate between collage, painting and sculpture. In Dentro e fora infinitely, Nepomuceno’s first solo museum exhibition in the United States, features woven structures that reflect the spirit of his practice, with references to Brazilian flora and fauna. Each work appears as its own complete and beautifully balanced ecosystem, made up of a seemingly endless and complex web of interconnected and overflowing elements.

Shape Studies, On view until December 26, 2022

Fit studies is a collection of collaborative works by Seher Shah and Randhir Singh. Comprised of six portfolios with 121 prints in total, the series examines modernist architecture through the medium of cyanotype, an early photographic process and precursor to blueprinting. Shah and Singh’s interdisciplinary approach to the history of architecture combines photography, printmaking and drawing to isolate specific building elements and analyze architectural principles of scale, materiality and mass. Disregarding form, Shah and Singh scrutinize the built environment and offer a compelling expansion of the canon of modernism. Drawing on their personal archives, the artists have selected photographs of concrete architecture built in several cities in the 1960s and 1970s. By fragmenting the images of these buildings, Shah and Singh dissect their forms with the aim of representing the experiential qualities and poetics of their spaces, to reassess their modernist social aspirations and to reflect their respective contexts.

SHI JINSONG (born in 1969, Wuhan, China), Waiting for an answer that we may never get, Sept. 21, 2022–Jan. 2, 2023

Shi Jinsong’s first solo exhibition in a museum in the United States, Waiting for an answer that we may never get is a meditation on the human need for speed. Materializing the impact of rapid urbanization on traditional Chinese landscapes, Shi Jinsong transforms the gallery into an immersive indoor sculpture garden in which the artist’s “tree-bikes” idle amidst mechanical bamboos. In these iconic works, Shi Jinsong transforms the anatomy of machines and natural forms to create new variants, connecting ideas of environmental growth and decline with the production and waste of capitalist society. The artist’s über-stylized bamboo sculptures hybridize the archaic and the futuristic, the analog and the digital, to express the simultaneous acceleration in the speed of technological and artistic productivity across millennia. As society continues to produce, consume, communicate and compete at a breakneck pace, Shi Jinsong urges us to look back at what powers us and contemplate the future that awaits us if we stay in the race.

ALLISON SCHULNIK (born in 1978 in San Diego, California), Grim and crude beauty, On view until January 16, 2023

Mesmerizing and filled with a macabre sense of foreboding, Allison Schulnik’s mesmerizing stop-motion clay animations are simultaneously brimming with compassion, humor and hope. Similar to “paintings in motion,” Schulnik’s animations are characterized by colorful biomorphic mismatches that emerge from the physical nature of his painting style in which thick pigments transform into three-dimensional figures. Sinister and crude beauty brings together all of the artist’s video works to date. Non-narrative and psychedelic in tone, they encourage close attention to movement and sound as they avoid linear narratives and didactic interpretations. In addition to the artist’s animations, the exhibition features a selection of Schulnik’s alluring impasto paintings, highly textured sculptures that bear palpable traces of the artist’s hand, and 131 drawings used to create the animation. Mound (2011). Combining a deep sense of theatricality with intense emotional vulnerability, Schulnik’s honest, complex and nostalgic work creates a dreamy space for us to contemplate creation, death, love, madness and farce.

JOHANA MOSCOW (born in 1981 in Bogotá, Colombia), Between invisible systems, On view until October 31, 2022

Between invisible systems presents a new body of textile works by SCAD graduate Johana Moscoso (MFA, sculpture, 2009) that uncovers the hidden systems of oppression in our daily lives. In the works on display, Moscoso sews vibrant layers of laser-cut fabric by hand using the traditional Mola technique, a method of reverse application created by indigenous communities in Latin America in which layers of fabric of different colors are sewn together, almost invisibly, then worked or cut to reveal a design. Embracing the beliefs of the Kuna people that evil spirits dwell in the unworked spaces of diapers, Moscoso saturates each brightly colored textile panel with intricate embroidery, obscuring seams and structures. She salsa dances over each piece with her bare feet covered in glue, simultaneously preparing the surface of the fabric for a metallic foil transfer as a final embellishment. For Moscoso, the artistic process is a practice of cartography, tracing the migratory journeys of the artist and his family using the ancestral knowledge of sewing, embroidery and dance so inherent in his personal and cultural histories.

About Margaret L. Portillo

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