Tracey Morgan Gallery is pleased to present Uncharted, a joint exhibition by multiple-disciplinary artists Georgia Deal and Tom Ashcraft. Incorporating both individual and collaborative works, the exhibition will in-clude wooden and cast bronze boat sculptures, prints on hand-made paper, and photographs, all centered around ideas of physical and psychological transitions.

The isolation of the pandemic and the ensuing global geo-political tumult compelled Deal and Ashcraft to re-examine their studio practices. The individual and collaborative works in this exhibition reference a liminal space, that transitional point between “what was” and “what’s next.”

For Deal, the pandemic afforded time to examine ideas of solitude and anticipation and her work echoes the imagery brought on by that period of stasis. Ashcraft’s sculptures, selected versions from his collection of 200+ handmade wooden boats, gather ideas of migration, observation, scale, and object-making. Their col-laborative piece, Uncharted, undertakes these overlapping themes, dealing with both the psychic and antici-patory nature of movement, especially when that movement is only possible through imagination

Deal and Ashcraft each conduct significant individual studio practices and have been committed to the ethic of collaborative art for over 35 years. They are core members of Workingman Collective, founded in 2005 as a cooperative group of artists and other professionals whose membership and objectives evolve to fit each new project. They are interested in process, invention, chance, and the public.

Georgia Deal is Professor Emeritus and former Chair of the Printmaking and Papermaking Program at the Corcoran School of Art & Design of George Washington University in Washington DC. Her work is in multiple collections including the Philadelphia Museum, the Library of Congress, the Corcoran Gallery of Art, and Yale University Library. She currently lives in Asheville, NC and is proprietor of the papermaking studio, Swannanoa Paper.

Tom Ashcraft’s diverse practice is rooted in object-making, public and participatory artwork. He and Work-ingman Collective have exhibited and produced work in the U.S., Europe, the Caribbean and Africa. Awards include a National Endowment for the Arts Design Grant and a Ford Foundation Fellowship, among others. He recently completed a student / artist collaborative work “Public Practice” which was a three-year course focused on creating two permanent artworks for the US Embassy in Niamey, Niger, commissioned by Art in Embassies, US Department of State. Ashcraft is currently based in Asheville, North Carolina and is the MFA Director and Distinguished Professor at the School of Art + Design, Western Carolina University.

Drop into our studio and get creative while experimenting with different art materials, tools, and techniques related to a work of art from the Collection or a special exhibition. All ages and abilities are welcome. Children must be accompanied by an adult. No reservations required.

Wednesday through Monday from 11am to 6pm

Rebel/Re-Belle: Exploring Gender, Agency, and Identity | Selections from the Asheville Art Museum and Rubell Museum combines works, primarily created by women, from two significant collections of contemporary art to explore how artists have innovated, influenced, interrogated, and inspired visual culture in the past 100 years.

Useful and Beautiful: Silvercraft by William Waldo Dodge features a selection of functional silver works by Dodge drawn from the Museum’s Collection. Organized by the Asheville Art Museum and curated by Whitney Richardson, associate curator, this exhibition will be on view in the Debra McClinton Gallery at the Museum from February 23 through October 17, 2022.

William Waldo Dodge Jr. (Washington, DC 1895–1971 Asheville, NC) moved to Asheville in 1924 as a trained architect and a newly skilled silversmith. When he opened for business promoting his handwrought silver tableware, including plates, candlesticks, flatware (spoons, forks, and knives), and serving dishes, he did so in a true Arts and Crafts tradition. The aesthetics of the style were dictated by its philosophy: an artist’s handmade creation should reflect their hard work and skill, and the resulting artwork should highlight the material from which it was made. Dodge’s silver often displayed his hammer marks and inventive techniques, revealing the beauty of these useful household goods.

The Arts and Crafts style of England became popular in the United States in the early 1900s. Asheville was an early adopter of the movement because of the popularity and abundance of Arts and Crafts architecture in neighborhoods like Biltmore Forest, Biltmore Village, and the area around The Grove Park Inn. The title of this exhibition was taken from the famous quotation by one of the founding members of the English Arts and Crafts Movement, William Morris, who said, “have nothing in your house that you do not know to be useful or believe to be beautiful.” Not only did Dodge follow this suggestion; he contributed to American Arts and Crafts silver’s relevancy persisting almost halfway into the 20th century.

“It has been over 15 years since the Museum exhibited its collection of William Waldo Dodge silver and I am looking forward to displaying it in the new space with some new acquisitions added,” said Whitney Richardson, associate curator. Learn more at ashevilleart.org.

Collage paintings, assemblages, textiles, & faux artifacts designed by Jean Hess to explore the 1920 WV mining labor dispute as metaphor for the human condition.

Three rooms will be filled with an eclectic mix of collage paintings ranging in scale from 6×6” to 50×70”; 3-D assemblages and faux artifacts; hand-stitched textiles; documentation in the form of historic notes, catalog entries for a collection of ephemera, photographs.
Exhibits through November 30, 2022.

“Matewan as Metaphor” is an experiment in artistic license. Mixed-media artist Jean Hess creates a personal story by combining real and imagined resources with the intention of healing her own memory and transcending limits on what is possible and allowed in creative and scholarly endeavors as well as in visual art. The 1920 mining labor dispute in Matewan, West Virginia, which involved her own family, stands for a full life and its adversities.

Matewan was, in 1920, the scene of an armed skirmish between coal miners, mining companies, local union officials and hired strike-breakers. Baldwin-Felts Detective Agency thugs hired by the coal operators traveled by train to cast striking miners and their families out of their homes. The local mayor and several Baldwin-Felts agents were killed. The chief of police, the Matewan mayor, and several other locals gathered at the train station to confront the hired guns about the unlawful evictions. The Baldwin-Felts agents refused to recognize the local authority, and a shootout ensued. The mayor, some miners, and several detectives were killed. This was one of many violent conflicts that took place in Southern WV between pro-union miners and men hired by coal companies to use force and intimidation to prevent miners from unionizing.
Jean Hess’ multi-variant creative output segues with an equally unpredictable life. She has lived in Washington, DC, Baltimore, Albuquerque, Santa Fe and Abiquiu, New Mexico as well as Atlanta, Dallas and now Knoxville, Tennessee. Her work-for-pay background includes stints as a computer programmer, Montessori teacher, museum registrar, writer and research consultant for government and private industry. With degrees [BA, MA] in cultural anthropology she tends to draw inspiration from wide-ranging interests, and not always according to established rules.

Hess is well-known for experimental mixed-media collage paintings and assemblages that combine the skillful use of layered paint and resins, light refraction and found materials such as antique ephemera and pressed plants. Because her palette, surface and touch are consistent, one can always tell a work of art is hers. And yet Hess likes surprises, plays with materials that are sometimes unfamiliar, operates in a controlled-experiment spirit and likes accidental detours that energize her work. While she took some undergraduate art courses she is largely self-taught.

Public collections include: Huntsville Museum of Art; Evansville Museum of Art, History and Science; Knoxville Museum of Art; University of Virginia; Farm Credit Administration; Knoxville Convention Center; City of Chattanooga; St. Mary’s Hospital Heart Institute [IN]; Canon USA.

Jean Hess is proud that much of her work is in private collections, cared for by sympathetic individuals.

Asheville’s much anticipated Kenilworth Artists Studio Tour returns for its 18th annual event on Oct. 8 and 9, 2022, from 10 a.m. to 5 p.m. each day. The Kenilworth neighborhood, located between downtown Asheville and Biltmore Village, is the setting for the studio art tour. Held at the start of Asheville’s “leaf season,” when western North Carolina begins its fall leaf color transition, tour participants will enjoy mild temperatures while taking in Kenilworth’s lovely mix of grand homes, modest bungalows, and mature gardens. It’s your chance to enjoy and purchase the inspiring work of 28 artists who create their art in the midst of this historic and charming neighborhood they call home. This year’s participating artists will showcase a wide range of media: works in oil, watercolor, acrylic, gouache, encaustic, jewelry, pottery, ceramics, glass, fiber, woodcraft, mixed-media, photography, paper and collage. Fun for both the serious art buyer or the casual browser, it’s a great destination for finding unique local, hand-made art for holiday gift-giving, special occasions, and treats for yourself. The tour is free, and is self-guided. As has been the association’s tradition for many years, each artist will donate a portion of sales to Loving Food Resources, a pantry serving western North Carolina hospice and HIV/AIDS clients.

“LIFE ART LIFE William Bernstein 50 year retrospective” exhibition August 6-October 9, 2022 at the Toe River Arts’ Kokol Gallery, Spruce Pine, NC, features the paintings and glass of this artist who has been on the forefront of the studio glass movement.

Graduating 1968 from the Philadelphia College of Arts and just married, Bernstein moved to Penland School of Crafts to be their second glass resident artist from 1968-70. He was a co-founder of the Glass Arts Society (GAS) that formed to bring together the glass community so people could work together and learn from each other. Receiving numerous awards, fellowships and grants, he has exhibited internationally and has artwork in many private and public collections. Bernstein has lived most of his professional life in the rural Celo community of Yancey, North Carolina along with his family and artist wife, Katherine Bernstin. This retrospective provides a great opportunity for one to imagine a life surrounded by art.

This has been not only been a year-long process of curating pieces for an exhibit, but a lifetime of making art that connects with all things about one’s life. Bernstein’s work in glass and paint showcases just that: his family, his pets, friends, his environs, his moods and so much more. A life well-lived in creating art. More on Bernstein Glass www.bernsteinglass.com

William Warmus (A Fellow and former curator of Modern Glass at the Corning Museum), writes for the exhibition catalog, “Bernstein is a minimalist whose style is based upon the dedication to the concepts of honesty, modesty, and humility. It has a feel of its surroundings and of the people of the region.”

The Toe River Arts Kokol Gallery is located at 269 Oak Avenue, Spruce Pine, NC 28777. The exhibition dates: August 6 – October 9, 2022. Hours: Tuesdays-Saturdays from 10:30 – 5:00 pm. 828-765-0520, www.toeriverarts.org

Public receptions on Fridays: August 12 and October 7, both 5:00-7:00 PM. Artist gallery talk Friday, August 12, 4:00 pm. The exhibition travels to Cary Arts Center November 30 – January 21, 2023.

Coinciding with the United Nations’ Year 2022 as the Year of Glass and the 60th Anniversary of the Studio Glass Movement, this has been made possible by Toe River Arts, the North Carolina Arts Council, the Cary Art Center, Art Alliance for Contemporary Glass, the Blumenthal Foundation, and Mountain Electronics in Micaville, NC.

Asheville Gallery of Art presents Judy Rentner’s rich, colorful paintings, during the month of October, in an exhibition titled ‘Nature’s Gems’. The opening reception will be held on Friday, October 7th from 5:00-8:00pm.

Of all of the seasons of the year, fall is the crescendo, the last burst of beauty before nature’s tones soften and become quiet in the winter months. Autumn colors are like precious gems: topaz, sapphires, emeralds, rubies…, an endless sparkling array of brilliance. Although an artist cannot compete with God’s creations, she can capture the awe-inspiring essence of a moment in time to share with her viewers. Judy is such an artist.

Judy Rentner has been painting the landscapes of Western North Carolina for 23 years and they continue to inspire her. Having lived in 10 different states from coast to coast, she still considers North Carolina one of the most beautiful. Although she has been painting most of her adult life, it was here that she found her creative style. Painting in oils, with a palette knife, enabled her to achieve the essence of a scene in light and color. Everything about the creative process is personal and many viewers find themselves drawn to Judy’s unique, inviting style.

A graduate of Ohio University, Judy Rentner did not pursue art until years later when she took workshops, in watercolor, from various artists. This was a pivotal time of discovery as she learned the skills needed to express her ideas in paint. She then experimented with different mediums producing work that was both realistic and abstract. Moving to North Carolina, she placed her work in galleries and taught classes in watercolor, acrylic, and oil. Currently, her passion lies in painting landscapes, with a palette knife, in oils. This technique has given her freedom of expression, using color to its fullest extent.

Judy’s work is represented in several galleries. Check out her website at www.judyrentner.com and be sure to drop by Asheville Gallery of Art this October to view her outstanding autumn paintings. The gallery is open from 11:00am until 6:00pm Monday through Sunday.

Her Painting Titles and writeup:

1. “Crossing into light”….My daughter, a photographer, went to Duke Gardens to “chase the light”. Normally I paint from my own sketches and photos, but this was so striking a scene, that it inspired me to capture it in oil.

2. “Sun Rise in the Mountains” was a combination of many scenes I have painted in our beautiful Smokey Mountains.

3 “Fall Treasure” This is a scene I captured in the Smokey Mountain National Park. Almost every fall I drive through the mountains of Western North Carolina searching for the right landscape. I do not have to go far as this is a painter’s paradise.

Wednesday through Monday from 11am to 6pm

Rebel/Re-Belle: Exploring Gender, Agency, and Identity | Selections from the Asheville Art Museum and Rubell Museum combines works, primarily created by women, from two significant collections of contemporary art to explore how artists have innovated, influenced, interrogated, and inspired visual culture in the past 100 years.

Useful and Beautiful: Silvercraft by William Waldo Dodge features a selection of functional silver works by Dodge drawn from the Museum’s Collection. Organized by the Asheville Art Museum and curated by Whitney Richardson, associate curator, this exhibition will be on view in the Debra McClinton Gallery at the Museum from February 23 through October 17, 2022.

William Waldo Dodge Jr. (Washington, DC 1895–1971 Asheville, NC) moved to Asheville in 1924 as a trained architect and a newly skilled silversmith. When he opened for business promoting his handwrought silver tableware, including plates, candlesticks, flatware (spoons, forks, and knives), and serving dishes, he did so in a true Arts and Crafts tradition. The aesthetics of the style were dictated by its philosophy: an artist’s handmade creation should reflect their hard work and skill, and the resulting artwork should highlight the material from which it was made. Dodge’s silver often displayed his hammer marks and inventive techniques, revealing the beauty of these useful household goods.

The Arts and Crafts style of England became popular in the United States in the early 1900s. Asheville was an early adopter of the movement because of the popularity and abundance of Arts and Crafts architecture in neighborhoods like Biltmore Forest, Biltmore Village, and the area around The Grove Park Inn. The title of this exhibition was taken from the famous quotation by one of the founding members of the English Arts and Crafts Movement, William Morris, who said, “have nothing in your house that you do not know to be useful or believe to be beautiful.” Not only did Dodge follow this suggestion; he contributed to American Arts and Crafts silver’s relevancy persisting almost halfway into the 20th century.

“It has been over 15 years since the Museum exhibited its collection of William Waldo Dodge silver and I am looking forward to displaying it in the new space with some new acquisitions added,” said Whitney Richardson, associate curator. Learn more at ashevilleart.org.

Richard Misrach, Wall, Jacumba, California, 2009, pigment print, image: 60 × 80 inches, framed: 61 × 81 × 2 inches. Courtesy the Artist. © Richard Misrach, courtesy Fraenkel Gallery, San Francisco.

Asheville Gallery of Art presents Judy Rentner’s rich, colorful paintings, during the month of October, in an exhibition titled ‘Nature’s Gems’. The opening reception will be held on Friday, October 7th from 5:00-8:00pm.

Of all of the seasons of the year, fall is the crescendo, the last burst of beauty before nature’s tones soften and become quiet in the winter months. Autumn colors are like precious gems: topaz, sapphires, emeralds, rubies…, an endless sparkling array of brilliance. Although an artist cannot compete with God’s creations, she can capture the awe-inspiring essence of a moment in time to share with her viewers. Judy is such an artist.

Judy Rentner has been painting the landscapes of Western North Carolina for 23 years and they continue to inspire her. Having lived in 10 different states from coast to coast, she still considers North Carolina one of the most beautiful. Although she has been painting most of her adult life, it was here that she found her creative style. Painting in oils, with a palette knife, enabled her to achieve the essence of a scene in light and color. Everything about the creative process is personal and many viewers find themselves drawn to Judy’s unique, inviting style.

A graduate of Ohio University, Judy Rentner did not pursue art until years later when she took workshops, in watercolor, from various artists. This was a pivotal time of discovery as she learned the skills needed to express her ideas in paint. She then experimented with different mediums producing work that was both realistic and abstract. Moving to North Carolina, she placed her work in galleries and taught classes in watercolor, acrylic, and oil. Currently, her passion lies in painting landscapes, with a palette knife, in oils. This technique has given her freedom of expression, using color to its fullest extent.

Judy’s work is represented in several galleries. Check out her website at www.judyrentner.com and be sure to drop by Asheville Gallery of Art this October to view her outstanding autumn paintings. The gallery is open from 11:00am until 6:00pm Monday through Sunday.

Her Painting Titles and writeup:

1. “Crossing into light”….My daughter, a photographer, went to Duke Gardens to “chase the light”. Normally I paint from my own sketches and photos, but this was so striking a scene, that it inspired me to capture it in oil.

2. “Sun Rise in the Mountains” was a combination of many scenes I have painted in our beautiful Smokey Mountains.

3 “Fall Treasure” This is a scene I captured in the Smokey Mountain National Park. Almost every fall I drive through the mountains of Western North Carolina searching for the right landscape. I do not have to go far as this is a painter’s paradise.