NOW ON EXHIBITION
through December, 2020

All Is Possible –
Mary Ann Scherr’s Legacy in Metal

In the Historical Residence

Highlights of one of the first female industrial designers, and the first woman designer to work in the automobile industry. Curated by jewelry historian Ana Estrades, “All is Possible” includes numerous examples of Scherr’s innovative jewelry, body monitors, and design work.

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NOW ON EXHIBITION
until early May, 2021

Objects of Intention

art pieces by Stephen Althouse

In the Black-Sanderson Gallery

Beginning as sculptures, these powerful and startling images of age-old agricultural implements provide a visual language used to comment on the human condition. The photographic prints are extremely large scale, 9 feet wide in some cases, and feature sculptures created by sculptor-photographer Althouse using manmade objects, cloth, tools, and simple farm machinery.

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NOW ON EXHIBITION
until June 27, 2021

Animate Earth – Adventures in Mimetolithia by Andy Nasisse

PHOTOGRAPHS AND CERAMIC OBJECTS by ANDY NASISSE

In the Woodson Gallery

For the past several years, Andy Nasisse has explored the figure in the landscape, engaging with what is probably the most basic impulse of the human imagination:  the tendency to “see things in things.” Nasisse plays with this deeply planted instinct by focusing his lens on naturally eroded rock formations in the Southwest and South, while making clay pieces that challenge the viewer to discern the intentionality that went into creating them.

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IN PROGRESS – The Installation

ON EXHIBITION
until July 18, 2021

A Thousand Throws –

AN INSTALLATION BY DANIEL JOHNSTON

In the Adams Gallery

Johnston combines his interest in architecture, engineering, installation art, and various traditions of making pottery to create works that control space and environment. By changing the way people interact with the pots by altering light, position, and how the pots exist in the spaces he creates, he intends to evoke emotion, and feed the viewer enough information so they might take a journey. At his studio in Seagrove, NC, Johnston uses local clay to make his pots, and fires them in a 900-cubic foot kiln that reaches temperatures of 2400 degrees. In 2008, he began numbering his large pots – often 4 to 5 feet tall and 2 to 3 feet in width – in an effort to keep track of the progression of his work over his career. The installation at the Gregg will include his one-thousandth large pot, reflected in the title of the exhibition.

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