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.