Skip to main content

A visitor’s guide to four exhibits at the Gadsden Museum of Art

The Gadsden Museum of Art reopened in mid-July, two months after Gov. Ivey's expanded "Safer at Home" order allowed some entertainment venues to reopen their doors to the public ( in March, museums and other institutions were ordered to temporarily shutter their galleries due to the coronavirus pandemic).

If you haven't yet been back to the Gadsden Museum of Art, here are some things you need to know: The museum is now open to the public Tuesday to Friday from 10 a.m. to 5 p.m., with new hours on Saturday from 11 a.m. to 3 p.m. Patrons who wish to visit the museum outside of these hours are invited to make an appointment. Masks are required and a limited number of individuals are permitted within the smaller galleries to allow for social distancing.

On August 14, the museum opened four exhibits with collections of work from Alabama artists that range from portraits and abstract paintings from Melissa Yes and Ryan Foster, to sculptures by Doug Baulos. The museum will hold a reception for the public to meet the artists and view the exhibits on Friday, September 4 from 5 to 7 p.m.

Here's an overview of the exhibits, which will be on display until September 25:

"The Contemplation of Success" by Doug Baulos (Main Gallery)

Doug Baulos, Root Branch Star installation

"Root Branch Star" installation by Doug Baulos (Courtesy, Gadsden Museum of Art)

Birmingham artist Doug Baulos' art intersects the emotions of the soul to the objects that might trigger how the mind reads. In his artist statement he says, "My work is a reflection on my attempt to live my life in fragile exultation."

"The aim of my work has always been to arouse in my audience (as well as myself) an experience of empathy with my subject matter more than sympathy" he continues.

His work includes three dimensional sculpture made with "retired objects and found papers."

"Hither and Yon, Elsewhere and Otherwise" by Ryan Foster (Second Floor Gallery)

Ryan Foster, Rainbow on Neptune

Ryan Foster (Courtesy, Gadsden Museum of Art)

Ryan Foster, an oil painter now living in Birmingham, brings the audience large-scale paintings of the theatrical nature where each scene creates its own story.

"The paintings," he says "Are tangible thoughts scattered about within an expansive field."

Foster's work generally includes landscapes that are meant to be theatrical and momentous.

"45 Portraits" by Melissa Yes ( Leo Reynolds Gallery)

"George Washington" Melissa Yes

"George Washington" by Melissa Yes (Courtesy: Gadsden Museum of Art)

Melissa Yes, Program Coordinator at UAB, is a multimedia artist who tinkers with the production and consumption of American bodies, landscapes, and cultural narratives. In her show, "45 Portraits," she has created a series of oil portraits where she examines the 45 presidents of the United States of America. She states that "their likenesses are distorted, flattened—a tender violence done to all things captured as an image or written into history."

"Limitless," by LeMarques Manuel McClide (The Courtyard Galleries)

LeMarques McClide, "Mother Sky, day vs. night"

LeMarques McClide, "Mother Sky, day vs. night" (Courtesy: Gadsden Museum of Art)

Atlanta native artist LeMarques Manuel McClide presents a collection of work that ranges from abstract to portraits.

"Art evokes emotions from depictions of realities and dreams based on past and present experiences," McClide says in his artist statement.

When Manuel first started painting this collection, the focus was to depict images that have influenced his culture, the world, and the community in which he came from and grew up.

Details:

Gadsden Museum of Art| 515 Broad Street, Gadsden, Alabama 35901 Hours: Tuesday-Friday 10 a.m.-5 p.m. and Saturdays 11 a.m.-3 p.m. Patrons can also book appointments to visit the museum by calling (256) 546-7365

Note to readers: if you purchase something through one of our affiliate links we may earn a commission.

Comments

Popular posts from this blog

History of Art Timeline

The historical past of art is usually told as a chronology of masterpieces created during each civilization. It can thus be framed as a narrative of high culture, epitomized by the Wonders of the World. On any other hand, vernacular art expressions can even be integrated into art historic narratives, called folk arts or craft. The more intently that an art historian engages with these latter sorts of low culture, the much more likely it is that they will determine their work as analyzing visual culture or cloth culture, or as contributing to fields associated with art historical past, akin to anthropology or archaeology. In the latter cases, art gadgets may be called archeological artifacts. Surviving art from this era comprises small carvings in stone or bone and cave painting. The first traces of human-made gadgets appeared in southern Africa, the Western Mediterranean, Central and Eastern Europe Adriatic Sea, Siberia Baikal Lake, India, and Australia. These first traces are general…

How to Show Art Work when the Gallery Says No Thanks

There are places in the town where you live where you can show your artwork when the big gallery you solicited said, "No, thanks."
Other artists may need to find venues other than galleries to show their artworks as well. Visual artists living in art-rich communities where there is a lot of local competition will need to get creative about display opportunities.

Or on the other hand, in towns without large art venues, it is important for artists to find smaller and less obvious places to show your art.

How to Show Art Work When The Gallery Says No Thanks

1. Show Where You Go

The most successful approach to finding a place in your town to display your artwork is to solicit a place that you go to frequently. Make a list of all the places you go to each day, each week, and each month.

Make a special trip, or the next time you visit note if the establishment currently exhibits any artwork, if it is local, and if it is for sale.

Also note if they have available wall space where a…

Book review (nonfiction): Form or function? In the history of poster art, the two sides are constantly at war

“Who takes the eye takes all,” said Mary Lowndes of the Artists’ Suffrage League in the early 1900s, neatly summarizing the need for striking graphics on the banners that suffragists were making for their marches. Lowndes’ statement could serve as the motto for all those who attempt to persuade by visual means, be they propagandists for political parties or advertisers selling soap. “The Poster,” edited by Gill Saunders and Margaret Timmers of the Victoria & Albert Museum in London, is a beautiful and entertaining account of the history of the medium, illustrated with examples drawn from the museum’s extensive collection.While handbill-sized fliers affixed to surfaces had long been in existence, it was the development of the large-scale color lithographic technique, with images composed of several pieces that could be pasted together into one picture, that made possible the explosion of graphic media campaigns in the 19th century. The first-rate artists who turned th…