|
|
Sunday, October 13, 2019
|
(All Day)
|
|
Monday, October 14, 2019
|
(All Day)
|
|
Tuesday, October 15, 2019
|
(All Day)
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Props: Personal Identities in the Portrait Photography of Richard Samuel Roberts, Richardson Family Art Museum (lower level)
(Arts and Cultural (On Campus))
|
Description: |
Props:
Personal identities in the Portrait Photography of Richard Samuel Roberts
The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.
September 3 –
December 14, 2019
Richardson
Family Art Museum (lower level)
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (lower level) |
Contact: |
Youmi Efurd
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Southern Gothic: Literary Intersections w/Art from the Johnson Collection, Richardson Family Art Museum (upper level)
(Arts and Cultural (On Campus))
|
Description: |
From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.
With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.
September 3 –
December 14, 2019
Richardson
Family Art Museum (upper level) Tuesday, Wednesday, Friday and Saturday - 1 - 5 p.m. Thursday - 1 - 9 p.m. Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (Upper Level) |
Contact: |
Youmi Efurd
|
|
5:00 PM - 6:00 PM
|
DACA: Opportunity, Resilience, Uncertainty, Meadors Multicultural House
(Academic)
|
Description: |
Hear powerful testimonies from South Carolina DACA Recipients who are coming to Wofford from nearby institutions. There will be a possibility to take social action after the conversation with the speakers, and a reception to follow. This event is free and open to the public.
|
Location: |
Meadors Multicultural House |
Contact: |
Begona Caballero
|
|
Wednesday, October 16, 2019
|
(All Day)
|
|
11:00 AM - 1:00 PM
|
2nd Annual Tailgate, Seal of Main Bldg.
(Student Life)
|
Description: |
The Space will host our 2nd annual Tailgate on Wednesday, October 16th on the seal in front of Old Main. Free tailgate lunch for the first 100 students the Farmers Table. Space staff will be there to accept resumes as well as provide feedback and support to helping students develop a resume.
Rain location: The Space
|
Location: |
Seal of Old Main |
Contact: |
Tasha Smith-Tyus
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Props: Personal Identities in the Portrait Photography of Richard Samuel Roberts, Richardson Family Art Museum (lower level)
(Arts and Cultural (On Campus))
|
Description: |
Props:
Personal identities in the Portrait Photography of Richard Samuel Roberts
The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.
September 3 –
December 14, 2019
Richardson
Family Art Museum (lower level)
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (lower level) |
Contact: |
Youmi Efurd
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Southern Gothic: Literary Intersection with Art from the Johnson Collection, Richardson Family Art Museum (upper level)
(Arts and Cultural (On Campus))
|
Description: |
From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.
With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.
September 3 –
December 14, 2019
Richardson
Family Art Museum (upper level) Tuesday, Wednesday, Friday, Saturday: 1 - 5 p.m. Thursday: 1 - 9 p.m. Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (Upper Level) |
Contact: |
Youmi Efurd
|
|
4:00 PM - 5:00 PM
|
MENA Lecture Series Talk: Islam and Globalization Dr. Damrel, McMillan Theater
(Academic)
|
Description: |
Islam and Globalization: Lessons from the Silk Road Then and Now What can the fabled Silk Road – the vast and varied trade route that bound the Muslim world with east Asia and Europe for centuries – teach us about globalization and how religions and cultures affect one another? And what are the implications of the modern Chinese initiative to revive the Silk Road for Muslim religious life across Asia in the 21st century?
|
Location: |
McMillan Theater |
Contact: |
Courtney Dorroll
|
|
5:00 PM - 6:00 PM
|
US Latino Digital Humanities: An Interactive Overview, Olin 101
(multiple cals)
|
Description: |
Professor Isis Campos is Research Fellow, with the Recovering the U.S.
Hispanic Literary Heritage project at the University of Houston, will give an interactive overview of the digital humanities work of the Recovery
Project. The Recovery Project seeks to locate and preserve the US Latino literary heritage and
to disseminate its cultural projects. Professor Campos will share how the Recovery Project has
worked to establish the first US center for Latinx DH and how it uses DH to amplify its work. Attendees are encouraged to bring laptops or tablets to explore the sites Professor Campos shares.
|
Location: |
Olin 101 |
Contact: |
Laura Barbas-Rhoden
|
|
Thursday, October 17, 2019
|
(All Day)
|
|
11:00 AM - 12:30 PM
|
|
1:00 PM - 9:00 PM
|
Art Exhibit: Props: Personal Identities in the Portrait Photography of Richard Samuel Roberts, Richardson Family Art Museum (lower level)
(Arts and Cultural (On Campus))
|
Description: |
Props:
Personal identities in the Portrait Photography of Richard Samuel Roberts
The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.
September 3 –
December 14, 2019
Richardson
Family Art Museum (lower level)
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (lower level) |
Contact: |
Youmi Efurd
|
|
1:00 PM - 9:00 PM
|
Art Exhibit: Siendo mujer: a short study of the female experience in South America, Richardson Family Art Gallery
(Arts and Cultural (On Campus))
|
Description: |
As
the 35th Presidential International Scholar, Lydia Estes attempted to uncover
the visual representation of la mujer, or
the woman, in the South American countries of Chile, Argentina, Uruguay, and
Peru. Siendo mujer means "being a woman", and
this exhibition represents the conversations she shared with resilient,
creative women for whom art plays a significant role in their female
experiences and vice versa--for whom the female experience plays a significant
role in their art.
It
is further a collection of their artwork, also including her own photographs of
them, their spaces, and moments which contribute to the story each is trying to
tell through their work. Her research revealed more questions like, how
are women stereotypically portrayed in their societies? How are female artists
confronting these images through their own artwork, and how are the mediums
they work in an aspect of their protest? And lastly, how will art change the
female experience in future South American societies?
October 17 –
December 20, 2019
Richardson
Family Art Gallery
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Gallery |
Contact: |
Youmi Efurd
|
|
Friday, October 18, 2019
|
(All Day)
|
|
(All Day)
|
|
11:30 AM
|
Groundbreaking of the new Chandler Center for Environmental Studies
(multiple cals)
|
Description: |
Please join us for the groundbreaking of the new Chandler Center for Environmental Studies Center at 11:30 a.m. The event will be held near the construction site between the Rosalind Sallenger Richardson Center for the Arts and the Roger Milliken Science Center. Lunch on the lawn of Main Building will follow at 11:45 a.m.
The Bruwell Building and the Galleria in the Michael S. Brown Village Center will be closed during the ceremony. Those who need to eat sooner than 11:45 a.m. should visit Zachs, which will open for lunch at 11 a.m.
|
Contact: |
Wofford News
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Props: Personal Identities in the Portrait Photography of Richard Samuel Roberts, Richardson Family Art Museum (lower level)
(Arts and Cultural (On Campus))
|
Description: |
Props:
Personal identities in the Portrait Photography of Richard Samuel Roberts
The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.
September 3 –
December 14, 2019
Richardson
Family Art Museum (lower level)
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (lower level) |
Contact: |
Youmi Efurd
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Siendo mujer: a short study of the female experience in South America, Richardson Family Art Gallery
(Arts and Cultural (On Campus))
|
Description: |
As
the 35th Presidential International Scholar, Lydia Estes attempted to uncover
the visual representation of la mujer, or
the woman, in the South American countries of Chile, Argentina, Uruguay, and
Peru. Siendo mujer means "being a woman", and
this exhibition represents the conversations she shared with resilient,
creative women for whom art plays a significant role in their female
experiences and vice versa--for whom the female experience plays a significant
role in their art.
It
is further a collection of their artwork, also including her own photographs of
them, their spaces, and moments which contribute to the story each is trying to
tell through their work. Her research revealed more questions like, how
are women stereotypically portrayed in their societies? How are female artists
confronting these images through their own artwork, and how are the mediums
they work in an aspect of their protest? And lastly, how will art change the
female experience in future South American societies?
October 17 –
December 20, 2019
Richardson
Family Art Gallery
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Gallery |
Contact: |
Youmi Efurd
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Southern Gothic: Intersection of Art and Literature in the Johnson Collection, Richardson Family Art Museum (upper level)
(Arts and Cultural (On Campus))
|
Description: |
Southern
Gothic: Intersections of Art and Literature in the Johnson Collection
From Edgar
Allen Poe’s haunting tale of The Gold Bug (1843) to Flannery
O'Connor’s biting short story “Good Country People” (1955), the Southern
Gothic literary tradition has exhumed the American South’s aberrations,
contradictions, and unique sense of dark humor. Drawing exclusively
from the Johnson Collection, Southern Gothic examines how
nineteenth-and twentieth-century artists borrowed from their literary
peers, using a potent visual language to address the tensions between the
South’s idyllic visions and its historical realities.This exhibition is
guest curated by Elizabeth Driscoll Smith, a Ph.D. candidate from the
University California, Santa Barbara, and the Johnson Collection’s 2019
graduate fellow.
September 3 –
December 14, 2019
Richardson
Family Art Museum (upper level) Tuesday, Wednesday, Friday, Saturday - 1 - 5 p.m. Thursdays - 1 - 9 p.m. Exhibit closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (Upper Level) |
Contact: |
Youmi Efurd
|
|
2:00 PM - 3:00 PM
|
|
Saturday, October 19, 2019
|
(All Day)
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Props: Personal Identities in the Portrait Photography of Richard Samuel Roberts, Richardson Family Art Museum (lower level)
(Arts and Cultural (On Campus))
|
Description: |
Props:
Personal identities in the Portrait Photography of Richard Samuel Roberts
The
term “props” brings to mind the objects used in the theater that help establish
the meaning of a scene. In this theater context, the word is shortened from
“properties,” things collectively owned by a theater group. But could the term
also reflect the notion that props show “properties” of a character, offering
layers of information and meaning to a viewer.? “Props” is also a slang term,
meaning “proper respect.” In this show, we analyze the props in photographic
portraits taken by RSR between 1920-1936 to see the way that the “props”—most
often objects chosen by the sitters themselves—tell us something about the
self-identity of the sitters. The objects chosen often underscore the proper
respect due the sitters based on their attainments, but also can give
insights—in an otherwise very formulaic genre—into the inner desires and
predilections of the sitters. Props thus can help us see beyond the surface,
or, perhaps conversely, can reify socially-agreed upon tropes.
September 3 –
December 14, 2019
Richardson
Family Art Museum (lower level)
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (lower level) |
Contact: |
Youmi Efurd
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Siendo mujer: a short study of the female experience in South America, Richardson Family Art Gallery
(Arts and Cultural (On Campus))
|
Description: |
As
the 35th Presidential International Scholar, Lydia Estes attempted to uncover
the visual representation of la mujer, or
the woman, in the South American countries of Chile, Argentina, Uruguay, and
Peru. Siendo mujer means "being a woman", and
this exhibition represents the conversations she shared with resilient,
creative women for whom art plays a significant role in their female
experiences and vice versa--for whom the female experience plays a significant
role in their art.
It
is further a collection of their artwork, also including her own photographs of
them, their spaces, and moments which contribute to the story each is trying to
tell through their work. Her research revealed more questions like, how
are women stereotypically portrayed in their societies? How are female artists
confronting these images through their own artwork, and how are the mediums
they work in an aspect of their protest? And lastly, how will art change the
female experience in future South American societies?
October 17 –
December 20, 2019
Richardson
Family Art Gallery
Exhibit Hours: Tuesday, Wednesday, Friday, Saturday: 1 – 5 p.m.
Thursday: 1 – 9 p.m.
Closed on Sunday and Monday
|
Location: |
Richardson Family Art Gallery |
Contact: |
Youmi Efurd
|
|
1:00 PM - 5:00 PM
|
Art Exhibit: Southern Gothic: Literary Intersection of Art from the Johnson Collection, Richardson Family Art Museum (upper level)
(Arts and Cultural (On Campus))
|
Description: |
From the haunting novels of William
Faulkner to the gritty short stories of Flannery O'Connor, the Southern Gothic
literary tradition has exhumed and examined the American South’s unique
mystery, contradictions, and dark humor. Beginning in the mid-nineteenth
century, American writers, epitomized by Edgar Allan Poe and Nathaniel
Hawthorne, sought to reinterpret the Gothic imagination of their European
counterparts, dramatizing the cultures and characters of a region in the midst
of civil war and its tumultuous aftermath. Decades later, a new generation of
authors—including Tennessee Williams, Carson McCullers, and Toni Morrison—wove
Gothic elements into their own narratives, exploring the complexities of a changing
social terrain and the ancient spirits that linger in its corners.
With works drawn exclusively from the
Johnson Collection, Southern Gothic illuminates how nineteenth- and
twentieth-century artists employed a potent visual language to transcribe the
tensions between the South’s idyllic aura and its historical realities. Often
described as a mood or sensibility rather than a strict set of thematic or
technical conventions, features of the Southern Gothic can include horror,
romance, and the supernatural. While academic painters such as Charles Fraser
and Thomas Noble conveyed the genre’s gloomy tonalities in their canvases,
Aaron Douglas and Harry Hoffman grappled with the injustices of a modern world.
Other artists, including Alexander Brook and Eugene Thomason, investigated
prevailing stereotypes of rural Southerners—a trope often accentuated in
Southern Gothic literature. Collectively, these images demonstrate that
definitions of the Gothic are neither monolithic nor momentary, inviting us,
instead to contemplate how the Southern Gothic legacy continues to inform our
understanding of the American South.
September 3 –
December 14, 2019
Richardson
Family Art Museum (upper level) Tuesday, Wednesday, Friday and Saturday: 1 - 5 p.m. Thursday: 1 - 9 p.m. Closed on Sunday and Monday
|
Location: |
Richardson Family Art Museum (Upper Level) |
Contact: |
Youmi Efurd
|
|
 |
 |
|