What make you feel included in the classroom?

What make you not feel included in the classroom?

Have a friend of yours or somebody in your group faced discrimination in the classroom at Wofford? What happened?

Any other comment/ideas/suggestions you have for professors at Wofford?

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

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

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

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

Come have some fun running in costume with the Southern Guards Army ROTC Battalion. We will gather outside the Daniel Building at 2:30 pm, in costume, to begin. Look out for visits from our cadets in the buildings on campus as well!

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

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

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

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

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

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

Come interact with first-year students who are first generation college students and current faculty and staff who are first-generation college graduates. This event invite only. If you have any questions, please contact James Stukes. 

Ayako Yonetani, professor of violin at the University of Central Florida, and Kyoko Hashimoto, professor of piano at McGill University in Montreal, will perform an “All-French Program.”

Join us for as we discuss who and why first-generation college students are important and vital to our campus community here at Wofford. The discussion will be led by James Stukes, Coordinator of College Access and Student Success. *Open to any faculty or staff member. 

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

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

First Generation College Student Day was declared on November 8, 2017 as an opportunity to celebrate the presence and experiences of first-generation college students, faculty, and staff on your campuses.

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

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

Paint and Pour will be conducted by the Office of Student Success. Raven Tucker, sophomore artist will be conducting a paint and pour event. The event is FREE. Space is LIMITED for this event. The registration will close Monday, November 5, 2018 at 12 noon. FIRST COME FIRST SERVE. After your registration is complete, a confirmation email will be sent to the participant. If you have any questions, please contact Demario Watts wattsdl@wofford.edu. *Open to all students! *

Link to register for the Paint and Pour: https://goo.gl/forms/okaRUwYkMqoNpeED2

First Generation College Student Day was declared on November 8, 2017 as an opportunity to celebrate the presence and experiences of first-generation college students, faculty, and staff on your campuses.

We would like to celebrate our “FIRST” students as a campus. Free swag items and music during this time! Throw your name in the hat for a $50 gift card. *Open to all students, faculty and staff. * This event is co-sponsored by the Office of Student Success and the Office of Diversity and Inclusion

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

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

Join us for a panel conversation with campus community members (students, faculty and staff) as they discuss what it means to be a First-generation college student and learn about their experiences that have helped shape their academic and co-curricular experiences. 

Be the first in line for a FREE cupcake! The first 100 of people will receive a FREE cupcake during this time. *This event is sponsored by the Office for Student Success, the Office of Diversity and Inclusion, and Wofford Activities Council* 

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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

Dr. Phil Dorroll (Religion) will present, "The Five Questions about Islam Your Students Didn’t Know They Had: Teaching Islamic Studies to an American Audience"

Abstract: This talk will summarize my forthcoming chapter in the edited volume Teaching Islamic Studies in the Age of ISIS, Islamophobia, and the Internet (ed. C. Dorroll, Indiana University Press, March 2019). I will discuss some strategies that I think any faculty member can use to address student questions or concerns regarding Islam, based on a specific methodology of teaching as a virtue-based practice that I utilize in my Introduction to Islam course at Wofford. Lunch provided for faculty attendees. Just tell the AVI folks that you are a part of the Faculty Talk Series. 

Inclusive Teaching group: "From Advising to the Curriculum" with Dr. Savita Nair, Associate Professor of Asian Studies and History at Furman University. 

Please join us for lunch and conversation on the topic of inclusive pedagogy with award-winning teacher and scholar, Dr. Savita Nair.  She will discuss inclusive advising as well as how to prepare a course syllabus that is welcoming to all our students. 

November, 13th from 11am-12:50pm.  Anna Todd, Wofford. Free lunch!

Organized by the Presidential Committee of Diversity and Inclusion, the Dean of Diversity and Inclusion, the Coordinator of Academic Advising and the Associate Provost for Curriculum and Co-Curriculum. 

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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

The Richardson Family Art Gallery features the works by Kyla Burwick, 2018 Whetsell Memorial Fellow.  Poetic Injustice explores the injustice experienced by the black body through photography, film, and creative writing. This exhibition considers the powerful combination of visuals and words while examining the issue of racial discrimination. 

Kyla Burwick, a senior majoring in English with a concentration in Film and Digital Media, specializes in film and creative writing. In the summer of 2017, she collaborated on a project to produce “Artie’s Bright Discovery,” a children’s book on quantum physics, of which she was the author. She is a classically trained dancer and teaches dance classes locally. During her free time, she likes to care for her many dogs and cats.

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

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