Join ceramist and printmaker, Jason Bige Burnett for a Screen-Printing on Clay Demonstration and artist talk in the Richardson Sallenger Richardson Center of the Arts Ceramics Studio and Lecture Hall. This event is free and open to the public. Seating for the clay demonstration is limited. RSVP preferred by Thursday, October 11, and sent to Michael Webster at webstermd@wofford.edu.

Jason Bige Burnett is a ceramic artist whose artwork incorporates patterns referencing nostalgia, popular culture, and the history of decorative arts, utilizing the process of screen-printing on clay.  Jason earned degrees in ceramics and printmaking at Western Kentucky University. He then continued his education in the mountains of Western North Carolina at Penland School of Crafts. Shortly thereafter he was an Artist-In-Residence at Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee where he discovered more than his passion for pottery, but his love for karaoke, moonshine, and Dolly Parton.  Jason published the book "Graphic Clay" in 2015, detailing the techniques of screen-printing for ceramics.

Scenic Impressions: Southern Interpretations from the Johnson Collection showcases forty-one artists—both native Southerners who recorded their own region and distant places, and others who were transitory visitors or seasonal residents. The result is a varied assortment of individual approaches, and, in the words of the popular American Impressionist Childe Hassam, “some things that are charming.”Many of the painters on viewembraced the central tenets of Impressionism: light-filled natural settings loosely painted in high-key colors with visible brushstrokes; fluidity of form; and an emphasis on atmospheric transience. A “scenic impression” is the evocation of something seen, rather than its literal transcription. In terms of subject matter, it is most frequently a landscape, but it can also extend to a figurative composition set outdoors. The artist’s experience—his or her impression of the scene at hand—is paramount. The earliest paintings in the exhibition date from the 1880s and illustrate a Barbizon-inspired aesthetic consisting of dark tones and simple landscapes. Other works postdate Impressionism and display greater concern for expression and form, along with an awareness of the picture plane. 

Kaye Savage, interested in chemical, physical, and biological interactions across different scales of time and space, in Earth’s surficial environments, presents both place-based, incorporating terrain patterns and natural materials from sites that she explores, and data-based, depicting patterns observed by herself  or by scientists that she meets in the field, as graphic elements. Her pieces engage with locations from the Blue Ridge to the South Carolina coast. 

For Ballance, It has been more than a bit of a stretch to return to her roots as an artist and attempt to create work not based on theatrical text.  However, once she worked with her watercolor guru, and traveled to Morocco and southern Spain to further her MENA studies, she was fortunate to find the inspiration she needed. The Saharan sand of Erg Chebbi and the miraculous decorative tile motifs at the Alhambra and madrasas of Fes provided her the mental freshness and soul touching spark to produce what viewers can find in her works.  

Japanese Art of the Edo and Meiji Eras (1603-1912) displays a variety of cultural expressions of Japan, including tea ceremony implements, woodblock prints, porcelains, and ink paintings.  The Edo Period (1603-1868), named after the Shogun capital, is one of the most prosperous and thriving in the history of Japanese art.  The political stability established by the Tokugawa family prompted an increase in artistic, cultural and social development, with flourishing and distinctive aesthetics represented in paintings, ceramics, woodblock prints and decorative arts.  The Meiji Period (1868-1912), an era of radical social and political change from feudalism to modernity and adopted Western influences, witnessed a blending of cultures and an innovative interchange of old ideas and new in Japanese art.  This exhibition intends to further enhance scholarly research for students in ARTH 322 Art of Japan, and several of the labels in this exhibition will be written by students. Featured works are loaned from the Shiro Kuma Collection of Edwin and Rhena Symmes in Atlanta, GA, from the Edmund Daniel Kinzinger (1888-1963) Collection of Japanese Prints loaned by David and Barbara Goist in Asheville, NC, and from the collection of Dr. and Mrs. Hunter Stokes ('60) in Florence, SC.  

Students, faculty, and staff, you are invited to a racial justice workshop with Dr. DiAngelo author of the New York Times bestseller, White Fragility: Why It's So Hard for White People to Talk About Racism. This workshop will provide a shared framework for examining the concept of whiteness and white racial socialization while we work toward overcoming common barriers to bridging racial divides and introduce the skills necessary for bridging them.

Scenic Impressions: Southern Interpretations from the Johnson Collection showcases forty-one artists—both native Southerners who recorded their own region and distant places, and others who were transitory visitors or seasonal residents. The result is a varied assortment of individual approaches, and, in the words of the popular American Impressionist Childe Hassam, “some things that are charming.”Many of the painters on viewembraced the central tenets of Impressionism: light-filled natural settings loosely painted in high-key colors with visible brushstrokes; fluidity of form; and an emphasis on atmospheric transience. A “scenic impression” is the evocation of something seen, rather than its literal transcription. In terms of subject matter, it is most frequently a landscape, but it can also extend to a figurative composition set outdoors. The artist’s experience—his or her impression of the scene at hand—is paramount. The earliest paintings in the exhibition date from the 1880s and illustrate a Barbizon-inspired aesthetic consisting of dark tones and simple landscapes. Other works postdate Impressionism and display greater concern for expression and form, along with an awareness of the picture plane. 

Kaye Savage, interested in chemical, physical, and biological interactions across different scales of time and space, in Earth’s surficial environments, presents both place-based, incorporating terrain patterns and natural materials from sites that she explores, and data-based, depicting patterns observed by herself  or by scientists that she meets in the field, as graphic elements. Her pieces engage with locations from the Blue Ridge to the South Carolina coast. 

For Ballance, It has been more than a bit of a stretch to return to her roots as an artist and attempt to create work not based on theatrical text.  However, once she worked with her watercolor guru, and traveled to Morocco and southern Spain to further her MENA studies, she was fortunate to find the inspiration she needed. The Saharan sand of Erg Chebbi and the miraculous decorative tile motifs at the Alhambra and madrasas of Fes provided her the mental freshness and soul touching spark to produce what viewers can find in her works.  

Japanese Art of the Edo and Meiji Eras (1603-1912) displays a variety of cultural expressions of Japan, including tea ceremony implements, woodblock prints, porcelains, and ink paintings.  The Edo Period (1603-1868), named after the Shogun capital, is one of the most prosperous and thriving in the history of Japanese art.  The political stability established by the Tokugawa family prompted an increase in artistic, cultural and social development, with flourishing and distinctive aesthetics represented in paintings, ceramics, woodblock prints and decorative arts.  The Meiji Period (1868-1912), an era of radical social and political change from feudalism to modernity and adopted Western influences, witnessed a blending of cultures and an innovative interchange of old ideas and new in Japanese art.  This exhibition intends to further enhance scholarly research for students in ARTH 322 Art of Japan, and several of the labels in this exhibition will be written by students. Featured works are loaned from the Shiro Kuma Collection of Edwin and Rhena Symmes in Atlanta, GA, from the Edmund Daniel Kinzinger (1888-1963) Collection of Japanese Prints loaned by David and Barbara Goist in Asheville, NC, and from the collection of Dr. and Mrs. Hunter Stokes ('60) in Florence, SC.

Scenic Impressions: Southern Interpretations from the Johnson Collection showcases forty-one artists—both native Southerners who recorded their own region and distant places, and others who were transitory visitors or seasonal residents. The result is a varied assortment of individual approaches, and, in the words of the popular American Impressionist Childe Hassam, “some things that are charming.”Many of the painters on viewembraced the central tenets of Impressionism: light-filled natural settings loosely painted in high-key colors with visible brushstrokes; fluidity of form; and an emphasis on atmospheric transience. A “scenic impression” is the evocation of something seen, rather than its literal transcription. In terms of subject matter, it is most frequently a landscape, but it can also extend to a figurative composition set outdoors. The artist’s experience—his or her impression of the scene at hand—is paramount. The earliest paintings in the exhibition date from the 1880s and illustrate a Barbizon-inspired aesthetic consisting of dark tones and simple landscapes. Other works postdate Impressionism and display greater concern for expression and form, along with an awareness of the picture plane. 

Kaye Savage, interested in chemical, physical, and biological interactions across different scales of time and space, in Earth’s surficial environments, presents both place-based, incorporating terrain patterns and natural materials from sites that she explores, and data-based, depicting patterns observed by herself  or by scientists that she meets in the field, as graphic elements. Her pieces engage with locations from the Blue Ridge to the South Carolina coast. 

For Ballance, It has been more than a bit of a stretch to return to her roots as an artist and attempt to create work not based on theatrical text.  However, once she worked with her watercolor guru, and traveled to Morocco and southern Spain to further her MENA studies, she was fortunate to find the inspiration she needed. The Saharan sand of Erg Chebbi and the miraculous decorative tile motifs at the Alhambra and madrasas of Fes provided her the mental freshness and soul touching spark to produce what viewers can find in her works.  

Japanese Art of the Edo and Meiji Eras (1603-1912) displays a variety of cultural expressions of Japan, including tea ceremony implements, woodblock prints, porcelains, and ink paintings.  The Edo Period (1603-1868), named after the Shogun capital, is one of the most prosperous and thriving in the history of Japanese art.  The political stability established by the Tokugawa family prompted an increase in artistic, cultural and social development, with flourishing and distinctive aesthetics represented in paintings, ceramics, woodblock prints and decorative arts.  The Meiji Period (1868-1912), an era of radical social and political change from feudalism to modernity and adopted Western influences, witnessed a blending of cultures and an innovative interchange of old ideas and new in Japanese art.  This exhibition intends to further enhance scholarly research for students in ARTH 322 Art of Japan, and several of the labels in this exhibition will be written by students. Featured works are loaned from the Shiro Kuma Collection of Edwin and Rhena Symmes in Atlanta, GA, from the Edmund Daniel Kinzinger (1888-1963) Collection of Japanese Prints loaned by David and Barbara Goist in Asheville, NC, and from the collection of Dr. and Mrs. Hunter Stokes ('60) in Florence, SC.

Ciclops Cyderi and Brewery is teaming up with Converse College's Office of Community and Inclusion, Safe Homes Rape Crisis Coalition, and Wofford College's Office of Diversity and Inclusion for their 3rd Annual Open Mic Night for Domestic Violence Awareness Month. This is a free event and is open for the community of Spartanburg to learn and share about their experiences. South Carolina is in the top five states reported of domestic violence abuse and related deaths. *This event is for a mature audience and will have topics that might be triggering. *This event is opened to all students, faculty and staff, only those 21 and over will be allowed to purchase alcohol. Anyone who would like to participate in the Open-Mic arrive at 7:30 to register and the event will begin at 8:00 PM.  

Scenic Impressions: Southern Interpretations from the Johnson Collection showcases forty-one artists—both native Southerners who recorded their own region and distant places, and others who were transitory visitors or seasonal residents. The result is a varied assortment of individual approaches, and, in the words of the popular American Impressionist Childe Hassam, “some things that are charming.”Many of the painters on viewembraced the central tenets of Impressionism: light-filled natural settings loosely painted in high-key colors with visible brushstrokes; fluidity of form; and an emphasis on atmospheric transience. A “scenic impression” is the evocation of something seen, rather than its literal transcription. In terms of subject matter, it is most frequently a landscape, but it can also extend to a figurative composition set outdoors. The artist’s experience—his or her impression of the scene at hand—is paramount. The earliest paintings in the exhibition date from the 1880s and illustrate a Barbizon-inspired aesthetic consisting of dark tones and simple landscapes. Other works postdate Impressionism and display greater concern for expression and form, along with an awareness of the picture plane. 

Kaye Savage, interested in chemical, physical, and biological interactions across different scales of time and space, in Earth’s surficial environments, presents both place-based, incorporating terrain patterns and natural materials from sites that she explores, and data-based, depicting patterns observed by herself  or by scientists that she meets in the field, as graphic elements. Her pieces engage with locations from the Blue Ridge to the South Carolina coast. 

For Ballance, It has been more than a bit of a stretch to return to her roots as an artist and attempt to create work not based on theatrical text.  However, once she worked with her watercolor guru, and traveled to Morocco and southern Spain to further her MENA studies, she was fortunate to find the inspiration she needed. The Saharan sand of Erg Chebbi and the miraculous decorative tile motifs at the Alhambra and madrasas of Fes provided her the mental freshness and soul touching spark to produce what viewers can find in her works.  

Japanese Art of the Edo and Meiji Eras (1603-1912) displays a variety of cultural expressions of Japan, including tea ceremony implements, woodblock prints, porcelains, and ink paintings.  The Edo Period (1603-1868), named after the Shogun capital, is one of the most prosperous and thriving in the history of Japanese art.  The political stability established by the Tokugawa family prompted an increase in artistic, cultural and social development, with flourishing and distinctive aesthetics represented in paintings, ceramics, woodblock prints and decorative arts.  The Meiji Period (1868-1912), an era of radical social and political change from feudalism to modernity and adopted Western influences, witnessed a blending of cultures and an innovative interchange of old ideas and new in Japanese art.  This exhibition intends to further enhance scholarly research for students in ARTH 322 Art of Japan, and several of the labels in this exhibition will be written by students. Featured works are loaned from the Shiro Kuma Collection of Edwin and Rhena Symmes in Atlanta, GA, from the Edmund Daniel Kinzinger (1888-1963) Collection of Japanese Prints loaned by David and Barbara Goist in Asheville, NC, and from the collection of Dr. and Mrs. Hunter Stokes ('60) in Florence, SC.

In the fall of 2017, Jamey accepted a University Fellowship to attend The Ohio State University as a member of the Chemistry PhD program. Currently a second-year student in the laboratory of Prof. Shiyu Zhang, Jamey’s research interests include the synthesis, characterization, and reactivity of biologically relevant copper nitrosyl coordination compounds.

Presentation Abstract:

Despite its prevalence and lasting socioeconomic impacts, much is still unknown about the underlying chemical aspects of Alzheimer’s Disease (AD) etiology & pathogenesis, thus precluding effective preventative care and treatment.  Alzheimer’s patients exhibit large amounts of oxidative stress, for example by tyrosine nitration, fatty acid oxidation and DNA oxidation products, the levels of which can be correlated to the presence of labile copper(II) ions, and is attenuated by the removal of a nitric oxide (NO) source, thus implicating a role of colocalized free copper ions and nitric oxide in the production of reactive oxygen/nitrogen species (ROS/RNS). Under biological conditions, labile copper is mostly likely bound to chlorides, which are the most abundant anions in the extracellular fluid. In order to explore the role of “labile” copper species interacting with nitric oxide as key intermediates in AD etiology, we synthesized and fully characterized a rare copper halonitrosyl complex which demonstrates highly reversible NO binding (ΔH_r = −1.95 kcal/mol, ΔS_r= −9.46 a.u.). X-ray diffraction analysis reveals that [Cl₃CuNO]⁻contains a four-coordinated copper center with a strongly bent nitrosyl ligand (∠CuNO = 119°). Monitoring the reaction of this well-defined copper nitrosyl with oxygen (O₂) by UV-Visible spectrophotometry at −80°C results in the observation of a putative copper peroxynitrite species. We will also discuss the reactivity of the putative copper peroxynitrite species with biologically relevant substrates such as 2,4-di-tert-butylphenol (tyrosine mimic). Together, these results suggest the possible intermediacy of copper nitrosyl/peroxynitrite compounds in oxidative stress observed in Alzheimer’s patients.

Scenic Impressions: Southern Interpretations from the Johnson Collection showcases forty-one artists—both native Southerners who recorded their own region and distant places, and others who were transitory visitors or seasonal residents. The result is a varied assortment of individual approaches, and, in the words of the popular American Impressionist Childe Hassam, “some things that are charming.”Many of the painters on viewembraced the central tenets of Impressionism: light-filled natural settings loosely painted in high-key colors with visible brushstrokes; fluidity of form; and an emphasis on atmospheric transience. A “scenic impression” is the evocation of something seen, rather than its literal transcription. In terms of subject matter, it is most frequently a landscape, but it can also extend to a figurative composition set outdoors. The artist’s experience—his or her impression of the scene at hand—is paramount. The earliest paintings in the exhibition date from the 1880s and illustrate a Barbizon-inspired aesthetic consisting of dark tones and simple landscapes. Other works postdate Impressionism and display greater concern for expression and form, along with an awareness of the picture plane. 

Kaye Savage, interested in chemical, physical, and biological interactions across different scales of time and space, in Earth’s surficial environments, presents both place-based, incorporating terrain patterns and natural materials from sites that she explores, and data-based, depicting patterns observed by herself  or by scientists that she meets in the field, as graphic elements. Her pieces engage with locations from the Blue Ridge to the South Carolina coast. 

For Ballance, It has been more than a bit of a stretch to return to her roots as an artist and attempt to create work not based on theatrical text.  However, once she worked with her watercolor guru, and traveled to Morocco and southern Spain to further her MENA studies, she was fortunate to find the inspiration she needed. The Saharan sand of Erg Chebbi and the miraculous decorative tile motifs at the Alhambra and madrasas of Fes provided her the mental freshness and soul touching spark to produce what viewers can find in her works.  

Japanese Art of the Edo and Meiji Eras (1603-1912) displays a variety of cultural expressions of Japan, including tea ceremony implements, woodblock prints, porcelains, and ink paintings.  The Edo Period (1603-1868), named after the Shogun capital, is one of the most prosperous and thriving in the history of Japanese art.  The political stability established by the Tokugawa family prompted an increase in artistic, cultural and social development, with flourishing and distinctive aesthetics represented in paintings, ceramics, woodblock prints and decorative arts.  The Meiji Period (1868-1912), an era of radical social and political change from feudalism to modernity and adopted Western influences, witnessed a blending of cultures and an innovative interchange of old ideas and new in Japanese art.  This exhibition intends to further enhance scholarly research for students in ARTH 322 Art of Japan, and several of the labels in this exhibition will be written by students. Featured works are loaned from the Shiro Kuma Collection of Edwin and Rhena Symmes in Atlanta, GA, from the Edmund Daniel Kinzinger (1888-1963) Collection of Japanese Prints loaned by David and Barbara Goist in Asheville, NC, and from the collection of Dr. and Mrs. Hunter Stokes ('60) in Florence, SC.