HTC Distinguished Teacher- Scholar Exhibition
September 5 – October 7 2022
Charles Clary was born in 1980 in Morristown, Tennessee. He received his BFA in painting with honors from Middle Tennessee State University and his MFA in painting from the Savannah College of Art and Design.
A CCU faculty member since Fall 2015, Clary teaches foundational courses for majors and minors in the Department of Visual Arts. He also teaches upper-level courses as well as the senior capstone for visual arts majors. He is active in CHROMA, the department’s student art club. Clary has assisted with the museum studies class co-taught by Katie Clary, Ph.D., and Carolyn Dillian, Ph.D., which created two exhibits that were displayed at the Horry County Museum: Printing the Past: SC in 3D and Waccamaw Indian People: Past, Present, and Future. To date, he has amassed 189 exhibitions, including 22 museum exhibitions, 32 solo exhibitions, and 144 group and juried exhibitions.
Erin Elizabeth Turns Out
July 11 – August 26 2022
Erin Elizabeth received her B.F.A. from The School of the Art Institute of Chicago and her M.F.A. from Illinois State University. Her recent bodies of work utilize carriers of celebration such as cake, sprinkles, and confetti in addition to über traditional and loaded symbols such as gold leaf in an attempt to understand the paradoxical hierarchy of experiential value.
Elizabeth's works have been featured in national and international solo and group exhibitions. Notable exhibitions include Dittmar Memorial Gallery at Northwestern University, Happy Gallery, and The University of St. Francis (two-person). Elizabeth has received press in The Chicago Tribune and Indianapolis Business Journal. She has work in the permanent collections of Harold Washington Community College and the Limerick School of Art and Design in Limerick, Ireland. Elizabeth lives and works in Chicago, IL.
April 25- May 13 Exhibition
Thursday, May 5th Reception 4:30-6:30 p.m.
Featuring works by graduating seniors with degrees in Graphic Design, this exhibition is the culmination of four years of study and features projects completed during their senior year.
Please join us to see the work of the next generation of designers from Coastal Carolina University! Logan Beasley, Keely Campbell, Callie Chestnut, David Davis, Teagon Dillon, Jazmyne Dolson, Micaela Freile, Madison Harms, Keiona Houser, Crayton Linen, Laura Moore.
DENNIS MCNETT EXHIBIT
February 24, 2022 - March 24, 2022
Dennis McNett’s award-winning work, which spans the fine art and design worlds, includes masks, installations, performance pieces, sculptures, handcarved wood carvings, and traditional relief prints. He has shown his work internationally, as well as in the window displays of Barney’s in New York City; on dozens of Antihero skateboards; and in public murals in New York City, Philadelphia, and Richmond, Va. McNett has been featured in The New York Times, Juxtapoz Magazine, and NPR. He graduated from Pratt Institute in 2004 and taught there until 2012, and has also contributed as a visiting artist/lecturer at more than 30 universities, colleges, and art centers.
Alumni Invitational Exhibition
January 13, 2022 - February 17, 2022
Celebrating the 20th Anniversary of the Edwards College, the Alumni Invitational Exhibition invites a selection of our prestigious alumni to return to campus to share their creativity and successes. The Edwards College is proud to showcase work of art and design students who have leveraged the lessons they learned at Coastal Carolina University to connect with and impact viewers across the nation. In recognition of the 10th anniversary of the graphic design program, Timothy Bardlavens ’12, cultural strategist and DEI consultant, will speak prior to the gallery reception. Bardlavens’ career has included design leader roles at Facebook and Zillow.
November 29 – December 11
Coastal Carolina University Students display their skills with works selected by our prestigious juror, April Dauscha. Please join us to see the work of the next generation of artists from Coastal Carolina University!
Jessica utilizes drawings and installations with antique objects to transform spaces into psychological realms that are suggestive of maternal figures and ancestral and social narratives. Starting with the concept of the living room as the first gallery or museum space, Jessica seeks to explore conversations related to historical recollection and memory. Initially, living room chairs represented matriarchal presence and have currently expanded to ancestry. Jessica’s work addresses issues in identity, heritage, culture, and society’s rapidly disintegrating connection to the past.
In performance, Jessica's body becomes a catalyst for altering the social dynamic of a space. Every aspect of her presence is considered important to the ephemeral work, from the details within the antebellum era clothing (inspired by the drawings of chairs) to the object-filled vessels that are carried during the performance. Whether the audience is inside of a gallery or on a sidewalk outside, Jessica's presence silently demands attention through slow and graceful movements. During Jessica's presence, the physical and social self (or character) creates a psychological mark within the room and in the audience upon its completion.
September 1-30 on Campus
September 10- October 2 Conway Visitors Center
Rebecca Randall Bryan Art Gallery & Downtown Conway
Featuring works by the Visual Arts Department Faculty, this exhibition showcases the amazing talent found in Coastal Carolina University’s Visual Arts Department! A variety of work in design and studio arts will be presented by faculty who have worked to build the program over the last twenty years. Please join us and celebrate Edwards College’s 20th anniversary year with face old and new!
A time-based exhibition featuring works by thirty-four individuals and collectives. On display in multiple locations throughout the university. Enjoy works in performance, animation, and film on continuous view.
Uncompressed List of Participating Artists
In the video performances, Just Below and Pratfall I perform premeditated falls referencing the rehearsed yet precarious slips of physical comedy. As both the director and target of the mishaps, I attempt to control my own demise, creating visual contrast between probabilities of security and calamity. The conscious attempts to control bodily risk, admit the inability to actually do so, and tensions are stretched regarding the exact moment of the fall (a factor that I cannot regulate). The formal and minimal constructions additionally reference Minimalism’s finitude and certainty; through the breakdown of these hypermasculine structures, I create alternate interfaces where uncertainty and the loss of control are charged with possibility. Inserting my own anxiety into this space, it can no longer exist as neutral or essential, instead they capture intimate self-portraits of my body in physical uncertainty.
Julia Barbosa Landois
video and cut paper animation
My videos, installations, and performances tease profundity and absurdity from the everyday and examine the relationship between the intimate and the public. I like to draw attention to small things that hold big meaning.
My most recent series considers climate change, non-linear temporality, and the vulnerability of bodies caught in the middle of it all. The images in Container Cycle 3, an ouroboros of interlocking plastic containers and wheels of arms bailing water in buckets, are inspired by storm recovery and Gulf Coast industry as well as medieval European, Pre-Columbian, and Buddhist depictions of time and the cosmos. Sidesteps (Purslane) contemplates a common native plant as a symbol of resilience in the face of environmental and familial trauma. Both videos employ animation made from my own cut up old silkscreen prints.
A conceptual interest in the lineage of previous use, as well as a desire to conduct a more sustainable studio practice, inform my commitment to valuing the materials that are already all around me and repurposing my old work to make the new.
Wendy Park (Dave's Bag)
GENERAL ARTIST STATEMENT
In our modern world, there is a struggle to monitor appetites and avoid overindulgence. I am in constant observation of thoughtless choices, noticing that we often do not realize the weight of the impact we have on ourselves and our environment. In response to this, I frame instances of uninhibited consumption and the damaging consequences they often bring. The recent way this
is being explored is in my video series Foreign Bodies. For this I am capturing moving images of instances where human-made and non-human nature interrupt each other, going where they're "not supposed to". These are shots of situations normally overlooked, such as plastic bags caught in trees, or road kill on the pavement.
Hanien Conradie (South Africa) and Margaret LeJeune (USA)
This film documents Conradie writing poetry on the surface of the River Dart in Southwest England. Exploring notions of communal and ancestral pain as well as the power of the landscape to transform and heal, Dart weaves together drone footage of a watery ritual with Afrikaans and English audio recordings. This work was recently screened at Circe Gallery in Cape Town, South Africa and Science Cabin, UNIST, in Ulsan, South Korea.
Grey Days reflects a sci-fi society that has grave disparities. The eighteenth century garbed Reds have power and lovely palaces. The humble Greys work in the service of the Reds but some are engaged in fighting back. The Horse-headed martial vizier of the Reds rains down lightning on the Greys. The Greys’ resistance leader, Wolf-man, doesn’t shrink from violence. The Reds’ bully boys intimidate the populace. The cycle of violence is repeated over and over. What and where is Justice?
The narrative is ambiguous as the video is made with the intent of both reflecting reality and challenging it. The 3:20 minute video is composed of animation, live action and constructed digital imagery. The soundtrack is created by the artist. The distressed and stylized film look echoes the emotional content.
John Harlan Norris
Costume Change Forever
I am engaged in an ongoing project that reinterprets the genre of portrait painting in order to speak about ideas of personhood in our current moment. By stretching the parameters of the genre and magnifying certain elements beyond their typical roles, I make portraits that investigate our rapidly changing sense of ourselves as forces such as technology, media, capitalism, and globalization present new challenges and My current series, titled Interpolators, focuses on the process of constructing public persona at a time in which our likenesses have become increasingly malleable, fraught, and self-searching. In these works, signifying objects collide and disperse to build portrait subjects which appear hyper-performative yet exist in a constant state of flux. These objects, symbols, and patterns both attach and remove themselves from the human form at such a dizzying pace that they often seem to evoke unpredictable weather patterns to which the subjects must adapt. This interaction seeks to investigate the inherent contradiction between the increasing pressure for self-presentation and personal branding with the fluid and ever-changing experience of being a person. Ultimately, I view these works as a depiction of a moment in which the construction of persona, once a rare and curious phenomenon, is now as ubiquitous, relentless, and mercurial as the weather itself.
The Language of Your Body
video projection of sequential film stills, 1:45
My practice incorporates photography, moving image, and poetry to explore the complexities of space and place. Excavating questions of memory and loss, these project range in scale from the personal- meditations on my childhood home- to the global- the layered narratives of the 20th century embedded in Berlin's urban infrastructure. My work often divorces itself from the representational, and I embrace the irregularities and unpredictability of my chosen materials—film others have chosen to discard, nearly inoperable cameras whose shutters gape and controls stick.
Building on these themes, my more recent work explores an expanded sense of the traces and layers of memory in space and place. Through the use of long-expired film, these images ask the viewer to question what is accurate, actual when describing a place. In these images, I revisit past landscapes of deep personal meaning to me, where I no longer belong, mourning the death of foundational relationships that have imbued those places with significance. In this work, I articulate a communal sense of the occupation of a dislocated, liminal state. The physical and interior landscapes I document continue to evolve, widen, and deepen, until parts become shallower, soft and are erased, remembered only in anecdote or artifact. These images and videos are both of those, mapping our collective proof of life, and my own terra incognita.
man (birdie) & crane (shuttlecock)
Performance for camera, 2:37 minute loop
Man: Anna Ialeggio
Crane: Robyn O’dell
Cinematography: Jacob Kelley
Video Animation: Miranda Javid
I make interdisciplinary art in a braid of performance, drawing, sculpture, writing, and video. I’m drawn by themes in natural history— I find that any given, simple “fact” rebounds between empiricism and myth, journalism and speculation, edifice and wilderness, capital and autonomy, stasis and evolution. My projects tend to begin with travel, research, and reflection, moving through a writing and drawing phase until forms, images, and gestures emerge. Objects and ideas circulate, never resting in any single place. Currently, I am exploring the social histories of biological endangerment — specifically, stories about human individuals working one-on-one with members of critically imperiled species, such as the Whooping Crane — and using my training as a clown as a primary tool to explore the congealing of concepts, projections, and inheritances that make up a body’s performance of an identity, including my own as a white, queer, gendernonconforming artist.
I tend towards the lens of shifting baseline syndrome: the collective loss of perception of change that occurs when each generation redefines what is "natural” or “normal.” Marine scientist David Pauly articulated this concept in order to describe limitations inherent in using human perceptions of change to inform marine conservation policy-making or management. I extend the term as a conceptual, poetic and ethical framework for digging into the accumulated social and cognitive biases by which human cultures conceptualize things like “land” and “land use,” and how those biases affect the other human and nonhuman life enmeshed in that land. At the same time I use the term as a conceptual, poetic and ethical framework to include and inquire of performance and artwork: what are my norms, and how do they shift?
Bad News Travels Fast
My practice makes the viewer aware of the systems, information, social, and technological, within which we operate. I take an information dense system like the news and through repositioning components re veal the core operation of the system. I borrow the forms; treating art history as a database, retrieving and restoring for future creation. Art is a cultural process of remixing and sharing to produce new works. The use of borrowed forms can be most clearly seen in 16 News Channels which remixes Christian Marclay’s 48 War Movies (2019). 16 News Channels expands and refocus the ideas from Marclay by presenting the live news all at once in a cacophonous excess. This intentional remaking highlights the collaborative pro duction of culture.
Artists, both historically and currently, translate the world as it is into the world as it should be. I reveal the world in all of its excesses; using this tactically to attract and expose the horror inflicted by our country. My current body of work focuses on the news media with its always-on-firehose approach to information. Within each work the news subject is abstracted and rendered opaque drawing the viewers attention to the system these subjects inhabit. Exemplifying this is the work 24 Hour News Machine, an entire
evening of CNN in which anchors and guests are replace with swirling moirés. This work make literal the criticism that cable news stimulating without informing while the work literally and figuratively flattens the coverage to line and form devoid of depth.
The Razor’s Edge
Single Channel Vertical HD Video
The breath is a constant reminder of our physicality and an anchor to our embodied experience. In these video portraits performers exhale slowly against an unseen piece of glass, fogging and obscuring their faces in fleeting moments between breaths. When shown on individual vertical video monitors, it creates the illusion that the performers are breathing against the glass of the screen. This work references the use of the “breath test” in the era before modern medicine where a mirror would be placed under the nose of the dying to test for respiration.
The illusion in the video is uncanny and the screen itself becomes the edge of the razor that separates both past from present, performer from viewer, and the living presence of the viewer from the illusion of life on the screen. An exploration in impermanence, embodiment, and the mediating presence of the screen, the work captures the breath - making it visible just long enough to be confronted by both performer and viewer.
Animation, seamless loop
Some of my recent video projects emphasize and subvert our collective idealized visions of specific landscapes that in no way exist in reality. The Cave, the Waterfall, etc. as ideas are made into places at once both pastoral and unsettling. The unreal, flat physical space that collage creates has a fun conflict with the landscape painting convention of depicting objects both very near and very far. The landscapes seem to imply some type of extinction event, did we cause it or try our best to avert it?
The Memory of America: Six Stories
https://vimeo.com/426439638 (Password: Musial)
Dating back to the Hebrew Bible, we are required to remember and adjured not to forget.
Through human connection and dynamic artistic exploration, my work seeks to spotlight memories and the stories of self.
In “The Memory of America: Remember Your First Baseball Game,” we see ourselves in the memories of diverse strangers, through a uniquely American experience connecting generations. Baseball is merely the turnstile.
The evolving multimedia project is about age, race, economic class, religion, politics, gender, love, education, assimilation, immigrants, community, disability, humanity, equality, family, the past, the present, the individual, the collective.
All interactions begin: “Remember your first baseball game?” Memories return. I listen, carefully. Video is captured through an iPhone, placed to the side before the dialogue begins. We speak face-to-face. The interviews occur across the country, but not in a ballpark.
Never identified by their job or what they do, simply their name, stadium and year. Interview subjects include public figures, poet laureates, plumbers. None of that is shown, for none of that matters.
In a nation polarized and frayed, this multimedia memory installation inspires empathy, connection and understanding.
At some point, unless preserved, memories die. The artistic influence to keep these memories alive… and remember? You. America. All of us.
Jonathan Onsuwan Johnson
https://vimeo.com/254507963 password: river
My work uses experimental documentary strategies as a way of situating and exploring the physical, historical and abstract spaces that exist in both of my homes in Southeast Asia, the Midwestern United States and other temporary residencies.
My deep interest in explorations of place stems from my experience of having a fragmented sense of self, family, culture and collective history—and ultimately, home. I am particularly interested in how we come to know a place and what elements contained within a landscape or locale hold narrative, historical and personal agency.
Videos, films, photographic prints, books and site-specific collaborative teaching projects make up the bulk of my art practice, but I am open to using any forms that best fit the project at hand.
13 minutes 15 seconds
The interplay of representation, performance of self and the act of looking permeate and often dictate daily life. I’m interested in how various recording media frame this relationship, and what friction occurs between the agency of the media and intent of the content creator.
Part 1: Introduction - What Am I?
My practice investigates the repetitive processes of embroidery, knitting, digital image making using Photoshop, and how they are similar in their use of mechanical systems. While embracing systematic processes and creating art as though I am a machine, I explore the dichotomy between fast-paced digital technologies and the time-consuming practices of cross stitching, knitting, and other needlework.
Repetitive actions have the ability to make the artist into a mindless machine. Similar to how our society can get lost in the daily consumption of digital technology, I mirror this obsession through my laborious approach to making art. My obsessive repetitive practice allows for mind-numbing escape, as well as deep exploration of the subconscious and a constant reminder of what makes me human.
1422 1829 1702
In my creative practice I explore personal loss and trauma through video, installation, photography and performance to make parallels between these experiences. My multimedia works revolve around the theme of bringing back to life, while the afterlife is still looming near. The overarching theme is how we as humans can connect via shared experiences and make meaning of these experiences. Metaphors, such as red thread, are used as symbols for loss and the longing for connection.
My performative video 1422 1829 1702 explores the memories associated with physical locations of my past, present and future. More specifically, I am utilizing feet (both figuratively and literally) as a unit of measurement to navigate through my grandmother's, my mother's, and then my own home. As I walk these homes, the floor plans become permanently ingrained in my memory, inch by inch, solidifying the connection between my family and I, no matter the distance. Each home segment can be seen as a parallel world to where I currently am and reminds me that my past and present will always be a part of me heading into the future.
With the COVID-19 pandemic, a new opportunity arose to transform this performance into a virtual, and even interactive performative work. Originally (pre- COVID), this piece was a performance for the camera, where I recorded and then edited the performances together, and displayed them as a projected single channel video. Since COVID, I have performed this piece 3 times on various virtual platforms for a number of festivals and exhibitions, from Instagram live to twitch, including the Bolivar Art Gallery at the University of Kentucky, Radiator Arts Gallery Virtual Performance series curated by Audra Lambert, and OUR Networks 2020 at the Toronto Media Arts Centre, Toronto, Canada (moved online). This piece also existed as a collaborative zoom performance for the BOND International Virtual Live Performance Festival (NYC and China), where I invited the viewers to also perform the measuring of their domestic spaces utilizing their feet, simultaneously.
A Brief History of Happiness
1 channel HD video
4 1/2 minutes
A Brief History of Happiness is a one channel video that is comprised of sampled audio and video from YouTube. It is a 25 channel video composite of various musicians covering the song “Happiness” by Elliott Smith that is combined with audio excepts from motivational speeches and conversations about happiness. The video explores the similarities and differences of the performances while asking the viewer to think about “Happiness”.
YouTube has forever changed the landscape of media distribution by opening up the door for all to access, providing a platform for the everyday person to get their content out to millions of viewers. The first cover of the song “Happiness” was uploaded to YouTube on October 9th, 2006 about a year and a half after YouTube was launched. Since then there have been about 65 other covers of the song uploaded by various individuals from different parts of the globe. The video highlights content covering the past 12 years. The project speaks the idea of performance, fame, digital space, the line between professional and amateur while focusing on each individual performance.
A Melody from the Sky
Stop motion animation with sound
What if?... What if an egg birthed a cloud of smoke, or a flower petal became a butterfly? Until recently my artistic practice was centered around the static image - a painting or drawing painstakingly won through layers of mark or color. The need for play; the desire to transform a shape or to juxtapose two impossible images and tie them together in a story led me to experiment with stop motion animation. I am building short imaginations from the flotsam and jetsam I collected in my studio over the years. The videos explore my interest in the natural world found in much of my artwork, while opening the door wider for archetypal imagery and for a journey of some sort.
Wes Kline & Janelle Rebel
Humid Trance Distance
2K digital video
How do you signal shifts in the experience of social space—physical and psychological, individual and communal--during a pandemic? Humid Trance Distance, a video performance project by Wes Kline and Janelle Rebel, is driven by an impulse to unpack the new anxiety of bodily proximity in public space as well as to cultivate episodes of distanced togetherness in their community in southwest Florida. The performances are scored, rehearsed, and improvised on location for two to infinity performers and utilize momentary gestures, found and simple constructed objects, cyclical actions, and spatial geometries. The project investigates ideas about the hyperlocal, productive affect, and dispersive technologies through abstract movements--face, sync, pass, waterfall, meet, revolve, and intersect.
High-definition video, silent
We are directly connected to our world. Landscape and location shape our daily interactions. Those who venture to the edges of these are called adventurers, or explorers. I am interested in edges but even more so in the gaps that open inside our understanding. When we encounter a new place, we build knowledge of it through comparison to our prior experiences, generating a vocabulary of discovery through similarity and difference. That expressed newness can be exaggerated by desire or shaped by institutional knowledge, for good or ill. The challenges lie in understanding the separations that are present between the representations of place, the constructions of places in our mind, and visual perceptions of the visited location. Places are shifting with human driven changes to ecosystems. A chasm of perception is growing between our definition of a locale and the impacts of global climate change. Faced with mutability and mediation, I examine how location is experienced across time and romanticized through conflicting desires, the concept of paradise, and the intertwining of these ideas with our own perception of places and role in shaping them.
Anne Yoncha, with composer Shari Feldman & cellist Julia Marks
SUCCESSION: A VISUAL SCORE
Dye from locally-sourced cedar and Lake Ogallala water, graphite on paper, digital overlay of 2 minutes of MIDI biodata recorded from eastern red cedar (red) and mixed prairie grasses directly below its canopy (blue).
3’ x 4’
Because of increased human settlement and changes in fire regimes, eastern red cedar (though native) increasingly outcompetes mixed prairie grasses. Forest succession – shift from grassland t0 forest - poses a problem for species like the Sand Hill crane on its migration path. Succession depicts a series of mixed prairie grasses found on site at within the shape of one large cedar. I recorded two minutes of biodata of grasses (blue digital overlay) and cedar (red) from site, using a galvanometer sensor. The biodata is sonified with a multi-track cello recording.
My work explores the often-hidden mechanics of plant physiology, such as the tension that brings water up a Ponderosa pine against the force of gravity, or the coevolution of the Mucuna flower’s sound-reflective shape with its echo-locating bat pollinator. I use a combination of analog and digital processes, including textiles dyed with plant matter I collect, electronics controlling changes in light and sound, analog sensors transmitting data into exhibit spaces, and traditional drawing and painting techniques. I aim to create work that transforms microscopic or invisible processes into analogues viewers can experience in a tangible and visceral way. Perhaps engaging with these interpretations of plants as entities in dynamic relationships with their surroundings can contribute to our ability to think more critically about our capacity to both fit within and radically change our ecosystems.
Mariah Anne Johnson
7 Habitat Actions
Since 2014 my practice has transformed from materially-intense, painterly installations in interior spaces to an open ended process in which my body is my primary tool for examining a landscape. Combining the observational focus of drawing with the site sensitivity of installation, I create movement works and works on paper that describe my intuitive understanding of a place, be it a wild mountainside, an urban sidewalk, or my own backyard. Moving and drawing have become the pillars that support my practice. These activities are modes of physical research, similar processes that utilize different parts of myself. Both involve careful looking and mental presence, both are physically active and accumulate over time. One describes space, while the other cuts through it. Each builds a body of knowledge, in the body. In this time of climate change, as our species faces the ramifications of our way of being, it feels essential to engage in this physical, deeply felt examination of my surroundings.
I bear witness to what we have before us. I watch it change and grow and give way over time.
In harvesting footage from a variety of sources over long periods of time, aspects of the slow reveal and parallel action are investigated. As I mine both public and private memory, I adhere to Jean Luc Godard's philosophy that a film should have a beginning, a middle and an end but not necessarily in that order. This best reflects my filmic approach to the nature of the human experience.
My goal is to connect the audience with the more private, undisclosed depths of our shared humanity by exploring the nature of the darkness and the light through which we all must pass. In 5 years my work will be readied for the expansion of existing platforms on which film can be
viewed. I remain committed to the short form and will make web series shorts that continue focus on the consequences of our actions.
Maryam is an Iranian multimedia artist and teacher based in Minnesota. Her work and teaching area cover different realms like digital art, illustration, augmented reality, animation, and graphic design. Currently, Maryam is exploring her identity as a person who has migrated from Iran to the United States. Indeed, she is applying illustration as a vehicle to expose her state as a person who lives between two different cultures.
"Morphing Shadow" is an animation about a girl who has moved from her country to another country. Whenever she gets bored and needs her family, she morphs her shadow into a box that contains her family members. She takes her family members from the box, communicates with them, turns them back to the box, and finally morphs the box into her shadow. There is a snake in some scenes that symbolizes dual feelings, happiness, and depression.
Deconstruction Via Train
Peter Christenson is a transdisciplinary artist working across new and antiquated media, psycho social sculpture, and immersive installation. He is co-founder of Left of Centre, a guerrilla-marketing firm and artist collective, the catalyst behind the interventionist collaborative Null Set, and Director of the Guest House Cultural Capital Residency scholar program. Christenson's intermedia practice and creative research continue to be significantly informed by his past experiences working as a social worker and licensed psychotherapist, often examining the complex sociopolitical, psychological, and cultural systems related to identity, place, and community.
Scrolling Landscape in 34 NES Games #3
Found footage, NES games, machinima
Varied projection dimensions
Lohmeyer’s art explores the intersections among body and technology, particularly in how digital media opens participants to novel sensory and perceptual experiences. Through installation, sculpture, and video his media interventions reconsider our habitual encounters with technologies through new avenues of play and engaging with unfamiliar and uncanny interfaces. His works often upend and play with the media we have grown up around and have a nostalgic affinity for. The bizarre and playful encounters with these strange media unveil the normal attitudes and perceptions of technologies that have become a mundane extension of our bodies, while also questioning the knowledge frameworks through which we perceive and sense the world via media objects.
Line by Line
Woven animation with sound
I convert video into cloth, and cloth into video. I extend the logic of textiles to film by animating weavings frame by frame. The moving image is structured by a new woven system, and there is a loss of information as events are absorbed and overridden by material translations.
To create woven animations, I digitize films and render out a series of frozen stills. I weave the sequential images line by line on a Jacquard loom, creating lengths of cloth, which I then scan back into digital format. In the end, there is the physical weaving and a video piece. In this work, I am curious how cinematic techniques can be materialized physically to defamiliarize and transform an image. For example, when an image comes into focus, it is not through the turning of a lens, but through the surface and structure of the material itself. Behind all of my work is the tension between an image and the fiber it rests on, and the investigative act of deciphering, remembering, or coming to know something.
Jeana Eve Klein
34 seconds, continuous loop
I am thinking about social media: its effectiveness(-less) as an agent for change, as an imperfect archive of this particular moment in history, as an echo chamber for personal beliefs, as a magnifier of personal inadequacies, and as a vehicle for virtue-signaling. When life is mediated online, it is flattened and hyper-simplified. Every shared activity is met with the same limited menu of responses. How many hashtags add up to actual change?
Liam Ze’ev O’Connor
SD Video, silent
Animation made from screenshots. 2016. “Hollow Land" is a black and white video created from screenshots sourced from a distorted PDF copy of Eyal Weizman’s book of the same name, which investigates the ways that the state of Israel employs architecture in the occupation of the West Bank and Gaza. The screenshots are photos, diagrams, and maps, which show the present reality and speculative solutions to the occupation. The video loops these images so that they appear fragmented; collapsing the present moment with future plans and layered histories into flashes of an abstract landscape.
Fires of Pompeii
Contemporary internet aesthetic data-bent with atmospheric obscurations and ornamental overlays are the foundations for my 2D, 3D, and 4D bodies of work. The nostalgic, consumerist inspired compositions are filtered through a lens of Romanticism in a way where they are represented in their most ideal state.
Since digital creations are virtually free from entropy, there is a timelessness to the
pieces because they don't age or degrade over time. They remain the same, locked in stasis in an endlessly looped gif or a meticulously hand-crafted oil painting. Each
piece is like the left-over evidence of a memory more complex than explanation, a
physical representation of an epitaph.
In these videos, insects navigate their surroundings in the darkness. Interactions between insect and human are intimate, yet experienced through the lens. Separation exists despite proximity. By stylizing the encounters with video effects, the filmmaker intends for viewers to contemplate this dynamic.
nqma (Manol B. Gueorguiev & Adrian Anagnost)
aluminum mesh, drywall corners, plaster, headphones, voice recording
iPhone video; adapted from a play by Julian Sheppard
We are nqma, a collective of visual artists and art historians. Working in performance, sculpture, design, and installation, we explore translations of texts and images across media and cultural contexts. For the Rebecca Randall Bryan Art Gallery, we propose to exhibit to display an excerpt of our 2018 performance/video work, Skins.
Our works play with the monumental forms of historical authoritarianisms and the performativity of contemporary politics. In Skins, we used fragile and mutable sculptural forms as objects against which a performer asserts bodily presence, as a way to re-read a politically-cliched text in terms of interiority, self-doubt, and bodily instability. The full-length performance offers a new interpretation of a one-act play by a U.S. playwright, debating armed resistance. We created a series of wearable sculptures from plaster and wire mesh and collaborated with a writer to re imagine a clandestine meeting between armed guerrillas (one male, one female) as a solo dance monologue for video. Playing with and against the forms of our own sculptures, we worked with a solo performer to choreograph a set of iterative movements. The performer carried out the actions and recited our adapted script while listening to a recording of her own voice reading the same text. As the performer repeated her own words, her voice gained a sense of stuttered delay, implying audio from surveillance or a poor connection. Similarly, we adopted a low quality, poorly lit video to evoke surveillance as well as canonical 1970s video artworks.
Home Schlocking features a collection of ambiguous objects, on spectacular display and employed as tools for curiously unproductive tasks.
This “Art For Friends Sake” (AFFS) production stars Regina Peterson as host and hand model, and features Wes Buckley’s original musical score and Dada poetry.
Other AFFS productions with Peterson, Buckley, and the ambiguous objects include the experimental video and public performance art series, Voyeuges, the live gameshow, Name That Schlock, and the webcam show, Soundcrafting with Wes Buckley: Episode 7.
Home Schlocking is directed by AFFS Producer, Neil Horsky, a Boston-based artist, educator, musician and writer. View his work at horskyprojects.com.
Like many artists during the Covid-19 pandemic, I found myself exploring alternative modes of making work, and uncovering latent themes. For the past decade or so, the focus of my work has alternated between straight-forward nature photography, and complex digital composite imagery dealing with political themes. However, back the 1990’s, as a graduate student at RISD, I was working with analog video and creating short films about the experiences of life in a family where abuse is the norm. Whether it was the time and space of the pandemic, or emerging prevalence of new digital forms of storytelling, I found myself working again in this mode. “The Storyteller” is a short, 5-minute, first-person narrative video story about love, loss, salvation and tragedy. It tells the story through the lens of family history, and touches upon themes of suicide, opioid use, what we know and what is hidden in the things we know and believe.
January 13 -February 14, 2020
Reception January 16
Mayumi Amada’s Japanese cultural heritage is interwoven to the work she creates. Reflecting on it from the United states, she explores how reusable materials and recycling echo concepts from Buddhism and Zen philosophies. The idea of “reuse” and “recycling” contains the meaning of “rebirth” and “giving new life”. Her artwork is focused on a circle of life and eternity in mortality. Through repeated stitches and patterns, Mayumi explores the repetition of generations using traditional techniques and their iconography handed down through lace-work and dollies.
February 18- March 18, 2020
Reception February 20
Leisa Rich’s encompassing installations push the boundaries of contemporary fiber art. Her work is published in numerous books, magazines, on line, and in televised interviews. She is the recent recipient of a Fulton County Arts and Culture Fellowship. She has also written reviews and articles for national and international magazines, and created videos for arts organizations, magazines and zines. She has art works in the permanent collections of Delta Airlines Inc., Emory Healthcare, The Kamm Foundation, The Dallas Museum of Art, The University of Texas, and The University of North Texas, and in many private collections across the U.S., Canada and the EU. She is a 2019 recipient of a Distinguished Fellowship from the Fulton County Arts Council of Atlanta, Georgia
Featuring works by graduating seniors with degrees in Studio Art and Graphic Design, this exhibition is the culmination of four years of study and features projects completed during their senior year.
Please join us to see the work of the next generation of artists from Coastal Carolina University!
During the COVID-19 pandemic and intial emergency shutdown, we asked our alumni to share their work with us in this virtual setting. Enjoy works and thoughts from artists expressing how the pandemic has impacted them and their hopes for the future.
Featuring works by graduating seniors with degrees in Studio Art and Graphic Design, this exhibition is the culmination of four years of study and features projects completed during their senior year.
Please join us to see the work of the next generation of artists from Coastal Carolina University!
Steve Snell: Daunting Courage
Jan. 14 - Feb. 15, 2019
Steve Snell exhibits art that is inspired by local history, myth and the image of the American West. He calls his work adventure art, crafted in an effort to create heroic narratives for the present day. This adventure and community-based
practice has led him to a variety of experiences ranging from floating down the Connecticut River in a couch-boat to a random encounter with Alec Baldwin while hiking across Western Massachusetts. Snell’s work has been shown in galleries and film festivals throughout the United States. He is assistant professor of art in the Foundation Department at the Kansas City Art Institute.
Zora J. Murff: Corrections
Feb. 25 - Mar. 29, 2019
Combining his education in human services and art, Murff’s photography focuses on how images are used to reinforce social and cultural constructs including race and criminality. Murff’s work has been exhibited internationally and featured online including in Aperture Magazine, The New Yorker, The British Journal of Photography and the New York Times. Murff earned his M.F.A. in studio art from the University of Nebraska at Lincoln and holds a Bachelor of Science in psychology from Iowa State University. He is currently visiting assistant professor of photography at the University of Arkansas.
June 10 - July 12, 2019
Artist Kate Aitichson’s work focuses on representations of the intersections between the man-made and the organic. She combines her experiences in the natural world with experimental printmaking she creates large scale monotyping. Using native and non-native plant species from to make her own paper, she investigates the physical layers from the landscape itself and the ebb and flow between the man-made and the organic.
Laura Tanner Graham
September 29 - October 30, 2019
Tanner Graham’s work references historical socio-political events to probe the contradictions between perceived and experienced narratives in contemporary Western society. Implementing appropriated and invented imagery, her work exposes the unceasing current of systemic colonialism. Tanner Graham has exhibited nationally in both group and solo exhibitions including the Weatherspoon Art Museum, the Ogden Museum of Southern Art, and the Jonathan Ferrara Gallery in New Orleans. She has been invited to participate in several national art fairs including, Pulse!, Miami, Prospect.4 in New Orleans, and the Art on Paper fair during Armory week in New York City. She has also been a visiting artist at several academic institutions including Tulane University and the University of Alabama. Her work has been supported through fellowships and residencies at the Ucross Foundation, the Vermont Studio Center and Hambidge Center for the Creative Arts and Sciences. She currently resides in Tucson where she is an Assistant Professor in the School of Art at the University of Arizona.
September 9- October 11
Oct 10 reception
Loring Taoka’s work is an extension on the act of perception—the way we perceive visual elements, shapes, patterns and previously identified important characteristics. Using basic geometry as a point of departure, she creates overlapping, incomplete, and illusory shapes in various stages of flux. Squares fade into squares; circles are completed in a two-way mirror’s reflection; a rectangle is created by smaller rectangles; all asking us to question our senses.
October 21- November 22
November 7 reception
Heather Macali’s woven compositions are infused with an adoration of colors and patterns arising from childhood experiences steeped in the material culture of the Midwest; specifically, beloved 1980’s and 1990’s games and cartoons such as Transformers and Rainbow Brite.
Jan. 15 – Feb. 15, 2018
Featuring pieces by CCU’s faculty in the Department of Visual Arts, this exhibit occurs every three years, showcasing the range and scope of professional work within the department. Media include painting, sculpture, photography, printmaking and ceramics.
Heather Mae Erickson: Excerpts 2003 - 2017
Feb. 26 - Mar. 29, 2018
Erickson earned her BFA at The University of the Arts and her MFA at Cranbrook Academy of Art. After which she was a summer resident at the Archie Bray Foundation and was also awarded a Fulbright to study at Aalto University in Helsinki, Finland from 2004-2005. Afterwards, she became a resident artist at the The Clay Studio, and taught at UArts, Rowan University, and Arcadia University. She was awarded an Independence Fellowship for a summer 2009 residency at The International Ceramic Research Center in Denmark. She was the 2009-2012 Robert Chapman Turner Teaching Fellow in Ceramic Art at The New York State College of Ceramics Alfred University. In 2012 she moved to Colorado where she taught at Rocky Mountain College of Art and Design, Red Rocks Community College, Colorado Mountain College-Aspen Campus and Arapahoe Community College. The following academic year she was a visiting teaching artist / sabbatical replacement for the 2013-14 academic year at CU Boulder. She has earned numerous awards, including first place for the Horizon Award presented by the Museum of Art and Design in New York and honorable mentions at the Korea Biennale International 2007, 2009, 2017 Exhibitions. She was awarded an honorable mention in 2016 and jurors choice for the sculpture category in 2017 in the ArtFields Competition, Lake City, SC. Heather Mae is currently Assistant Professor and Area Coordinator of Ceramics at Western Carolina University in Cullowhee and resides in Sylva/Dillsboro, North Carolina.
Portfolios: Senior Exhibiton
Apr. 9 - May 4, 2018
Graduating seniors from Coastal Carolina University's Department of Visual Arts present their thesis exhibitions in the Rebecca Randall Bryan Art Gallery in the Thomas W. and Robin W. Edwards College of Humanities and Fine Arts. Graphic Design & Art Studio.
Jeff Case: Nang Yai Shadow Art
Jul. 16 - Aug. 24, 2018
Nang Yai is an ancient Thai art form dating back to the 1400s that uses shadow puppetry to retell cultural narratives with intricately designed animal hides, a bonfire and a white screen. Jeff Case, CCU associate professor in the Department of Visual Arts, is best known for his work in cutting-edge technology such as rapid prototyping and 3D scanning and printing. Case's work interprets this ancient art using modern methods. His stereographic depictions of mythical Thai scenes are 3D rendered and 3D printed, with shadows cast from light carefully harnessed within a printed globe.
The Art of Tyrone Geter: Then and Now
Sept. 3 - Oct. 12, 2018
Tyrone Geter’s work finds its foundation in the legacy of his mother, who grew up in the early 1900s in an environment of discrimination, poverty and illiteracy. His works in charcoal, mixed media and pastels refer to the trials of youth and the struggle of the aged, reflecting themes of compassion, hope, justice and perseverance. Geter was born in Anniston, Ala., and earned his MFA from Ohio University in 1978. For seven years he lived in Zaria, Nigeria, creating art and learning the culture of the nomadic Fulani people. He taught at the University of Akron and recently retired as an associate professor of art at Benedict College in Columbia, S.C.
Kate Kretz: #brute
Oct. 22 - Nov. 28, 2019
Originally trained as a painter, Kate Kretz creates across disciplines. Her recent work includes human hair embroideries, dense bas-relief cotton floss embroideries, acrylic paintings on cotton velvet, and highly wrought oil and acrylic paints. Generally focused on creating time-intensive work telling difficult truths, her recent series have addressed gun violence, vulnerabilities of motherhood and familial dysfunctionality. Kretz’s work has been shown in many international museums and galleries in Germany, China, Italy and the Netherlands.
Portfolios II: Senior Exhibition Art Studio
Works by Sara Becker, Peyton Busby, Skylar Delaney, Kayla Harllee, Morgan Hedgecock, Julie Hoskins, Kaileigh McCabe, Sarah Richardson, Meagan Runyon, Caleb Sarvis, Elizabeth Simpson, Haley Smith, Christina Teruel, and Nick Carmichael
Portfolios I: Senior Exhibition Graphic Design
Works by Alicia Shirah, Amy Reif, Brianna Barnes. Charity Williams, Christina Teruel, Erica Goodwin, Haley Yarborough, Itzi Durante, Jasmine Kennedy, Jessie Lindler, Kameron Summers, Kristin Pisano, Lauren Piefer, Mackenzie Wolfe, Madia Walker, Mary Carter Lewis, Meghan McGirr, Rachel Sickinger, Sophie Brunett, and Theresa Calabrese.
Fall Portfolios: Art Studio and Graphic Design by Tianna Watkins, Heidi Molano, Sara Aulebach, Brittany Leonard, Gwendolyn E. Washington, Joshua W. Wysong, Ashley Cochran, Deontre Wynn, Kathrine Parris, Dyquan L. Gore, Roisin Walsh, Devon Sims, Justin Marshall and Katie Riley
Spring Portoflios II: Graphic Design by Katherine Louise Ashby, Alex Barley, Terrace Brigman, Caroline Carini, James Causey, Kevin Dunbar, Harry E. Edwards, Emily Englehart, Maria Finekbnier, Alexandra Marshall, Maria Mevissen, Brittany Michaels, Jeffrey Robert Miller Jr., Ashley Nielsen, Enxhi Qemalli, Devon Sims, Dorothy Louise Thompson, Justine Tiger, Jamaal Williams, and Yushang Xu
Spring Portfolios I: Studio Art by Ashley Arakas, Sarah Cox, Elisabeth Dollar, Katherin Farrelly, Jermaine Gourdaine, Rebecca Jolly Jessica Schwiers and Ariana Sellers
"Broken Land | Still Lives" by Eliot Dudik
"Reflections" by Claudia Wilburn
Senior Portfolio II: Graphic Design and Art Studio by Corey Baumann, Brandon Buchanan, Christopher Cottingham, Brian Mitchell, Jonathan Parfitt, Elizabeth Pridgen, Caleb Sarvis, Alesha Selph, Latasha Singleton, Bria Williams, Callie Bartfield, Barbarajane Fay, Taylor Higgins, Cayla Norton, Emilee Rosen, Lindsey Thompkins and Ashley Webb
Senior Portfolio I: Graphic Design and Art Studio by James Beirele, Kelly Garrett, Stephanie Krause, Hauke Ludolfs, Alisha Manning, Hannah McKee, Collin Oliva, Asialee Potts, Jose Quintero, Jamal Simpson-Krarzia, Bailey Turner, Holly Wilwerth, Alexander Barrett, Cheyenne Jakubek, Emily Munn Aubrey Plum, and Skyler Simon
"Amendments" by Marie Bergstedt
"Faculty Triennial" featuring works by CCU Visual Arts Professors: James Arendt, Steven Bleicher, Larry Bunch, Chris Bilton, Jeff Case, Jacob Cotton, Claudia Dominguez, Sandra Hardee, Elizabeth Keller, Maura Kenny, Alexandra Knox, Treelee MacAnn, Scott Mann, Kendall Martin, Armon Means, Paul Olsen,John Schiro, Easton Selby, Cat Taylor, Brad Williams, Logan Woodle, and Rob Wyeth
"Senior Portfolios" by Charles Merchant, Brandon Naperstek, Chris Johnson, Khayla Johnson, Joshua Knight, Xiqian Zhao, Mike McClure, Allison Dunavant, Princess Houey, Caleb Sarvis, Hannah Glatki, Diamond McCray, Brandon Alston, Taryn Chepanoske, Joshua Jones, Daniel Mableton, Jonathan Perry, Fanxi Yang, Kristin Shamro, and Cory McNair. *Mature Audiences Only*
"Bread and Circus" by Diana Farfan
"Progressions" by Syd Mead
"Solo Exhibition" by Herb Rieth
"PreOccupied" by Michael Dickins
"Senior Portfolio II: Graphic Desgin" by Justice Aaron, Jordan Baquilar, Olivia Bennett, Anthony Bryant, Erica Burkett, Tyler Buse, Christina Cruz, Corina Cudebec, Scott Cullum, Gary Harrington, Tori Jordan, Nora Kyles, Brandi Lovette, Landen Martin, Brittany Mauro, Charles Merchant, Brandon Sabb, Demonshay Scipio, and Dequan Williams.
"Senior Portfolio I: Studio Art" by Cecile Caulk, Alecia Franca, Margaret Hancock, Elizabeth Holt, Anastasia Karos, Abigail Merrell, Vanessa Remillard, Caitlin Schlueter, Brianna Stith, Pierre-Alex Tavernier, Cody Unkart, Kristen Unrue, Kayleigh Vanlandingham, Bianca Watson, and Rose Williams.
"Out of Hobcaw" by Coastal Carolina University Painting Professor Maura Kenny
"Linda Stein: The Fluidity of Gender" Solo Exhibition
"Senior Portfolios" Fall Exhibition: Graphic Design and Studio by Courtney Balliette, Katie Black, Jamie Chaffin, Sarah Evans, Jenna Kazmierczak, Matthew Fam, Nathan Rood, Alton Sanders, Sarah Swartz, Ashleigh Wilson, Jazmin Cortes, Amanda Nettles, and Lance Rhodes.
Please view our senior's interview with Coastal Today.
"Young Blood" by Daniel Farnum
"This is what makes us Girls" by Karen Ann Myers
"I Live at Zoo Valdes" by Marius Valdes
"Senior Portfolio II: Studio Art" by Caroline Cockfield, Jack Countiss, Lindsey Golden, Catherine Green, Julie Hamer, Sara Hebble, Natalie Lin, Rebecca Lindblade, Brianna Logan, Courtney Reilly, Laura Riedinger, Mary Sheehy, Skyler Simon, Michael Slater, and Leah Smith
"Senior Portfolio I: Graphic Design" by Michelle Cato, Jesse Jarvis, Devin Pomianowski, Nicole Scott, Robert Taylor, Derek Edwards, Harmony Kensinger, Emily Poston, Stephaine Williams, Savannah Todd, Marcello Garofalo, Jordyn Newman, Travis Rogers, Jeff Slomba, and J.D. Short
"Imperfect Letterpress x3" by Joey Hannaford, Mervi Pakaste, and Jeff Pulaski
"Preciousness" by Troy Wingard
"Discovering the Durer Cipher: Hidden Secrets in Plain Sight" by Albert Durer
"Faculty Biennial" by Jim Arendt, Brian Taylor, Kendall Martin, Logan Woodle, Easton Selby, Chris Todd, Chris Bilton, Carmen Bilton, Treelee MacAnn, Brad Williams, Stephanie Danker, Paul Olson, Scott Mann, Jeff Case, Claudia Dominquez, Maura Kenny, Elizabeth Keller, Larry Bunch, Armon Means, John Schiro, Sandra Hardee, and Steven Bleicher
"Structure" by Leah K. Woods
"Continual Condition" by Craig Hill
"Senior Portfolios" Fall Exhibition: by Mary Currence, Tracy Fish, Amanda Illian, Jesse Nevins, Jentry Childress, Alicia Rancier, Hayley C.E., Timothy Hodge, Jenna Lusky, Jennifer Ritacco, Ryan D'Alessandro, and Cory Sanders
"Weaving, Stacking and Staining" by Jonathan Brilliant
"Vestiges/trinitas" by Jan Gilbert, Debra Howell, Krista Jurisich, Frank Aymami, Brain Nolan, and Rontherin Ratliff
"Dionaea Muscipula" by Theresa Hackett
"Alumni Exhibition" featuring Sybil Alfano, Emily Asbury, Courtney Barnett, Lon Calhoun, Stacy Cannon, Rachel Harris-Beck, Brandy Kowal, Wayne Marcelli, Jason Moore, Clifton Parker, Jessica Ritacco, and Aubree Ross
"Senior Portfolios" Spring Exhibition: by Chris Henderson, Abby Fleet, Allister Tague, Amy Hardee, Tiffany Waldorf, Stephanie Heikkila, Lisa Tyree, Joe Cusamano, Chad Carteret, Christi Keating, Lauren Bates, Mickaylia Biron, Kelly McCormick Brown, Tasha Deneen, Evan Donevant, Christine M. Giguere, Brittany Hallick, Carolyn Hamilton, Sara King, Amanda Krilich, Samantha Lucido, Brittany Mauldin, Megan Parker, Alicia Rorer, and P.J. Schenk Fall Exhibition: Barbara Astrini, Roy Bragg, Henry Burgess, Joshua Lebowitz, Marcus Mtshali, Anna Troy, Alverda Childers, Matt Gray, Jeffery King, John Minor, Emily Schrag, and Nicole Vanleer
"Social Landscapes: Urban Development and Change" an exhibiton in exchange with Nanjing China Art Institute featuring works by Abby Smith, Tim Hodge, Natasha Crabtree, Kelly McCormick, Stephanie Hutto, Joshua Lebowitz, Zhou Mei, Dani Brass, Austin Pinchney, Tong Fong, Brittany Mauldin, Melvin Garrick, and Brittany Hallick
"Fire and Earth" by Warner Hyde and Jane Allen Nodine
"Project 35" by Yukihiro Taguchi, Dan Halter, Wanda Raimundi-Ortiz, Phu Nam Thuc Ha, Tuan Andrew Nguyen, Kota Ezawa, Robert Cauble, Sammy Baloji, Andrea Buttner, Daniela Paes Leao, Ranbir Kaleka, Ho Tzu Nyen, Stephen Sutcliffe, Azorro Group, Yason Banal, Meris Angioletti, Michael Stevenson, Vyacheslav Akhunov, Beryl Korot, Anja Medved, Ulla Von Brandenburg, Chto Delat, Chen Chich-Jen, Manon De Boer, Tamar Guimaraes, Angela Detanico, Rafael Cain, Nestor Kruger, and Vartan Avakian
"Senior Portfolios" a collection of works by senior studio and graphic design students
"Uncanny" by Jen Raimondi, Susannah Strong, Lasse Antonsen, and Cal Lane
"Faculty Biennial" by Steven Bleicher, Cynthia Farnell, Daryl Fazio, Elizabeth Keller, Maura Kenny, Treelee MacAnn, Rich Kuhn, Penelope Miller, Paul Olsen, Dan Powell, Lidia Sacharny, John Schiro, Easton Selby, Susan Slavik, and Chris Todd
"Wood, Paper, Canvas" by Chris Todd, Dan Powell, John Schiro, and Easton Selby
"Textual Tracings" by Elizabeth Kendall, Novice Trump, and Leila Holtsman
"Adapting Spaces: A Photographic Exploration in Four Acts" by John Mann, Ryan Adrick, Daniel Kariko, and Tracy Longley-Cook
"The Art of Drawing" by Bernard Chaet
"Source Derivations" by Stacy Isenbarger
"Senior Portfolios" a collection of works by senior studio and graphic design students
"The Posters of Discontent"
"Bears" by Kent Rogowski
"Faculty Biennial" a collection of works by CCU Visual Art Department Faculty
"Moving Pictures: New Intaglio Prints" by Treelee MacAnn
"In Her Hands: Craftswomen Changing the World"
"Landscape as Metaphor" by Dina Hall
"New Prints: from the International Print Center New York"
"An International Collections of Freaks and Beauties" by Clifton Parker
"Shadow and Signs" by Frank Poor
"Senior Portfolios" a collection of works by senior studio and graphic design students
"Self Taught: Seven African-American Vernacular Artist" by Bessie Harvey, Purvis Young, Sam Doyle, David Butler, Jimmie Lee Sudduth, Mose Tolliver, and Mary T. Smith
"Embedded: Words and Images from Afghanistan"
"The Art of Rabbit Ears: Contmporary American Children's Book Illustration" by Greg Couch, courtesy of Mark and Doris Sottnick
"New Narrative: Fitzpatrick, Marden, Stella, and Warhol"
"Sampler: Digital Video" projected works by Rafael Attias, Matthew DiTullo, Miruna Dragan, John Enxuto, Adam Frelin, Shu-Ichi Ogawa, and Susannah Strong
"Ernest Hemingway and Walker Evans: Three Weeks in Cuba, 1933"
"Misconceptions and Mixed Blessings" by Susan Harbage Page
"The Suitcase Show: Tri State Sculptors
"Keys of the Wilderness" by Philip Koch
"Translucency" by Carol Hepper
"Mind Frames II - Recent Paintings" by Charles M. Dorn
"Metamorphosis II" by Celia Wester
"Photographic Reflections of Old Myrtle Beach" by Jack Thompson
"Painting and Metal Works" by Tom Stanley and Alf Ward
"Southern and Caribbean Photographs" by Louise Parsons
Selection from the State Art Collection
"Devious Duo" by Daphne Stephens and Dianna Clark
"Sensuous Lines of Individual Styles" by Trisha Dyer, Joseph Jasper, and Tammy Thompkins