The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Our first New Faculty Orientation Lunch of the spring semester is on Feb. 12, from 11:00 until 12:45 pm in the Holcombe Room of Burwell. The topic is “Interim”  and we will go to Gray Jones at noon to hear a presentation by Laura Braun on "Leading a Faculty-Led Program."

This series serves as a mentoring program for junior faculty but any faculty member is welcome to attend.  Lunches for faculty in their first and second year of employment are paid for by the Provost’s Office; other faculty members who are attending can purchase lunch from the Faculty and Staff Dining Room or bring a bag lunch.  Anyone who has a meeting at the 11:00 am hour is welcome to join us after their meeting concludes. 

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Piedmont Care, The Wellness Center and the Office of Diversity and Inclusion is offering an opportunity for students to have free HIV testing done on campus Wednesday, February 13.  These appointments will be offered every 30 minutes from 9-3:30.  Please use the daily announcement sign up link to schedule an appointment.  Those who sign up will will be sent an email prior to the date with the location of testing. 

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Dr. Tim Bersak (Economics) will present, Impacts of Prenatal Care on Early Childhood Health and Health Care Utilization

Abstract: In this talk, I will discuss my joint work which utilizes linked natality data and Medicaid claims from South Carolina for births between 2004 and 2013 to estimate the impacts of prenatal care on early childhood health care utilization and outcomes at birth. Using a fixed effects strategy to account for potential endogeneity, we estimate that early prenatal care has significant positive impacts on outcomes at birth. We also provide a theoretical framework, along with empirical evidence, suggesting that prenatal care influences health care utilization and disease management during early childhood through the provision of information.

Lunch provided for faculty. Sponsored by the Office of the Provost.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

All faculty and staff are welcome to join general education advisors for lunch conversation about scenarios for advising that extend beyond registration questions. Please contact Carol Wilson at wilsoncb@wofford.edu by WED FEB 13 at 9.30 AM if you want to sign up for lunch.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

The first Book Club discussion of the semester is happening on Feb. 26.   We will speak about Non-violent Communication, also called Compassionate Communication by Marshall Rosenberg. We hope to learn his method to have successful difficult conversations.  

All faculty and staff are welcome to join this meeting regardless of their familiarity with the book.

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

“Join Wofford Chemists as we participate in an American Chemical Society program celebrating the International Year of the Periodic Table. One-hundred and fifty years ago, Dmitri Mendeleev first presented his periodic system to the Russian Chemical Society, forever shaping the way we look at the elements. His system, which organized the elements based on atomic weight, valence, and measurable properties, laid the foundation for today’s Periodic Table. In honor of this, The United Nations has declared 2019 to be the International Year of the Periodic Table. All are welcome! Refreshments served at 6:30.”

Thanks,

The well-known, award-winning Presidential biographer Edmund Morris will give a talk in Leonard Auditorium on “Theodore Roosevelt, the Conservationist.” Morris is considered one of the world’s foremost authorities on Theodore Roosevelt, having written three books on different eras of Roosevelt’s life. The first, The Rise of Theodore Roosevelt (1979), went on to win a Pulitzer Prize, while the second, Theodore Rex (2001), was awarded the Los Angeles Times Award for Biography.

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.  

Cynthia J. Wood presents her new training course, “Speak Up & Speak Out About Sexual Harassment: Find Your Assertive Voice.”

Graphic Solidarity: The Internationalist Outlook of the Cuban Revolution features posters produced in Cuba during the period following the revolution through the 1980s. The posters highlighted in this exhibition focus on Cuba’s efforts to spread the messages of their revolution worldwide and to inspire others in the fight against oppression stemming from the legacy of imperialism and colonialism. Primarily published by the OSPAAAL organization based in Havana, these works helped to facilitate the internationalist outlook and message of the Cuban revolution through their inclusion in the Tricontinental Magazine which reached people in more than 60 countries worldwide.  The works in this exhibition are on loan from the collection of Lindsay Webster, Spartanburg, SC.  Curated by Katie McCorkle, this exhibition is a culmination of her year-long Art History and Government honors project.

Dynamic and theatrical, but also down-to-earth, moralizing, and sometimes comic.  Triumphant, grandiose, and propagandistic, and yet also intimate and inward.  All of these terms are applicable to the art of the European Baroque, the cultural epoch of the seventeenth and eighteenth centuries which produced an unprecedented richness and variety in creative expression.  Complex and conflicting forces across the political, religious, economic, and social spheres of life account for this artistic abundance.  The Netherlands, a major center of artistic production during the Baroque period, was home to many of these contrasts and conflicts within its relatively small geographic boundaries along the northern coast of Europe.

These diverse cultural forces are evident, in varying ways and degrees, in a selection of paintings generously lent to Wofford College by the Bob Jones University Museum & Gallery in Greenville, SC, the Columbia Museum of Art in Columbia, SC, and the Robicsek Family Collection in Charlotte, NC. 

These sculptures are a collection of fragments, contradictions, and run-on thoughts about the physical world.  They emerge from a fascination with systems of the built environment and objects that occupy our space.  When Webster collects found things, he often lives with them for years before incorporating them into a sculpture, adding something to their long-established history.  A faded, peeled-up yellow road line is the material embodiment of the syntax that organizes movement, but can we also imagine what could exist beneath the road line, and allow an absurd moment to unravel the margins of the system?

The Rosalind Sallenger Richardson Center for the Arts at Wofford College is pleased to feature the work of figurative quilt painter, Dawn Williams Boyd through March 30, 2019.

Dawn Williams Boyd’s artwork reflects her interests in American history as it affects and is affected by its African American citizens. After 30 years painting in oils and acrylics on various surfaces, in 2002 Boyd began to 'paint' with fabric instead of on it. Her large scale ‘cloth paintings’ are representative, packed with vibrant, often life sized figures and are strategically embellished with beads, sequins, cowry shells and hand embroidery. Large pieces often take over 500 hours to complete. Through cutting, patching, surface embellishment and quilting, bits and pieces of fabric are transformed into modern visual storytelling.

Sandor Teszler Library Gallery features the recently donated works of Jim and Kay Gross Collection.  Jim and Kay, avid art lovers and supporters, started collecting artworks, since they moved to Spartanburg in 1960s.  Jim immediately connected to a new art organization and gallery on Kennedy Street, which later became the Spartanburg Arts Center on South Spring Street.  He served many terms on the Board of the Arts Council.  In addition, he was twice President of the Spartanburg Gallery Committee as well as President of the Spartanburg Ballet Guild.  Jim and Kay regularly attended openings and exhibitions at the Arts Center and at local colleges and galleries, where they often purchased art works, especially those from artists in South and North Carolina. This exhibition runs through April 27^th.