Gillian Laub, Amber and Reggie, Mount Vernon, Georgia, 2011, inkjet print, 40 × 50 inches. © Gillian Laub, courtesy of Benrubi Gallery.

American photographer Gillian Laub (born New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness.

In 2002, Laub was sent on a magazine assignment to Mount Vernon, GA, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated.

Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation’s history. In 2009, a few months after Barack Obama’s first inauguration, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and, for a moment, progress seemed inevitable.

Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South.

Southern Rites is a specific story about 21st century young people in the American South, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future?

Southern Rites is curated by Maya Benton and organized by the International Center of Photography.

Brighten your walls with with works from Artsville Collective’s upcoming exhibition, “In Living Color: At Home with Paint, Paper and Thread.”  Allow these abstract pieces, in varying sizes and mediums, to light up your life. Collectively, the artwork’s tonal range is of blended neutrals and ventures into spring and fall palettes. Suit your design pleasures with pure color or wabi-sabi textural designs in a range of perspectives from three uniquely talented artists: Betsy Meyer, fibers; Karen Stastny, painting, and Michelle Wise, mixed media. Also showing: the Retro pop art of Daryl Slaton, which can be activated on your phone to reveal an animated story. For a softer approach, consider the mixed media art of Louise Glickman using paint, textiles, and natural plant materials.

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.

Not Enough O Negative Blood Available to Sustain Local Hospitals, Program to Help Victims of Uvalde Shooting Also Announced

The Blood Connection’s O negative blood supply has now reached a critical level. Because The Blood Connection (TBC) is the primary blood provider for hospitals in this region, the need for O negative blood donations is dire. The combination of already low supply, the approaching summer season, and sustained low donor turnout could result in an O negative blood shortage soon, which could disrupt patient care.

Last week, TBC was activated through the Blood Emergency Readiness Corps (BERC), to send O negative blood to South Texas after the devastating school shooting. The need for O negative blood has since been highlighted by that tragedy but has unfortunately not resulted in an increase in O negative donations. Adding to the issue, the summer months are usually the hardest season to collect enough, exacerbated by an increase in travel and traumas. It is estimated that summer travel will increase by 16% and 75% of Americans are expected to take a summer vacation, indicating this travel season is set to be the busiest since the pandemic – a sign that people are returning to normal. As that happens, the fear is that patients like Kristen Odom will continue to be overlooked.

“During my labor, unbeknownst to anyone…I was bleeding internally but no one knew it and it was not discovered until immediately after our daughter was born,” says Odom. “I will never forget one anesthesiologist yelling over the team, referring to blood, ‘I don’t care where you get it, but I need it, and I need it now.’ After I came out of ICU, my husband and I realized how much blood I needed, and the fact that donated blood was the key factor that turned everything around.”

O negative blood is the most transfused blood type for traumas and emergencies, so the demand never wavers. O negative blood donors are often referred to as the “universal donor” since everyone, no matter their blood type, can receive O negative blood. TBC aims to have a 5-7 day supply of O negative blood but has recently had a one day supply. In some instances, one trauma case alone can use up that supply.

TBC has also announced a program that uses blood donations to help victims of the Uvalde shooting. TBC blood donors now have the option to convert their reward points into a monetary donation to the Robb School Memorial Fund (One Star Foundation) through the TBC online store. These funds will be used locally to support the families and community affected in Uvalde, Texas.

The blood from BERC Network blood banks is being sent to South Texas Blood and Tissue, the steward of the local blood supply in that part of Texas. TBC has more blood in reserve to send if called upon again. In order to help other communities, the local blood supply must be stable. It’s important to have an available day-to-day blood supply on the shelves in the event of any emergencies – locally or BERC-assisted – when blood and time are critical. The community is urged to donate blood now at any TBC center or bloodmobile.

Current students, alumni, staff, faculty, and faculty emeriti of the UNC Asheville Department of Art & Art History are participating in THRIVE ! – an invitational exhibition of small works on paper.

“I wanted to express this idea that despite COVID, and despite our department’s relocation during renovation – art thrives here, it is the constant that cannot be disrupted,” says THRIVE ! curator Leisa Rundquist, professor of art history and curator of art collections at UNC Asheville.

The informal arrangement installation will be displayed in the hallway gallery next to the S. Tucker Cooke Gallery in Owen Hall through August 1.

Viewing is available during open Owen Hall hours. 9:00 AM – 5:00 PM (M – F)

Community Expectations
As members of this community, we care about everyone. Faculty, staff, students, and visitors have a shared commitment to take the necessary precautions to avoid spreading COVID-19 while following all recommended health guidelines. Please see UNC Asheville’s Community Expectations. Be respectful of individual choice to wear or not wear a mask in any situation; wear a mask when and where encouraged, following guidelines and precautions outlined by the CDC.

Featured Artists: Jude Stuecker (fiber) Erica Bailey (jewelry) Mary Dashiell (clay) Steve Miller (wood) Rex Redd (clay)

“My work focuses on deteriorating architecture. These structures, designed to be huge forces of permanence, are continually being challenged, destroyed and forgotten. I see an inherent honesty in the face of my subject. Among all of the clutter—the shards of wood and layers of rubble—there remains a gentle resolve. As I work, I study these structures incessantly. The buildings, often on the brink of ruin, have something very energized and present trying to escape from their fragmented reality.”  –Seth Clark

This first solo show of Seth’s work at Momentum’s new space features large-scale works from his Barn, Ghost, and Aerial View Series.  The collection also includes some of the artist’s sculptural objects in wood.  Abstract works, which still reference weathered architecture, such as Lath Study and Vinyl Study, round out the exhibition.

The synergy of vibrant outsider art created locally and shared with Tryon Fine Arts has resulted
in a one-of-a-kind art exhibit opening June 1, 2022. The Skateboard: Re-purposed includes
works from North Carolina, Oregon, California, England and Germany. Seven artists are
featured, including Tryon’s own Jonathan Caple, Nicholas Harding (England), Matt Mercurio,
George Rocha, Michael Mauney, Paris Evans and Folk Dunker (Gemany).
Skateboarding has been popular for over a century and is now experiencing a resurgence in both

the sports arena and the art world—it became an Olympic sport in 2020 and was part of a
successful 2019 Sotheby’s auction, with boards by, among others, Damien Hirst and Marilyn
Minter.
Skateboards re-purposed as art will be on exhibit in TFAC’s Parker Gallery beginning June 1,
2022. The exhibit will feature skateboard art in many sizes and forms including graceful
sculptures, nature art, chairs, wall art, a crocheted piece, photographs, and more. Several of the
exhibit pieces will be for sale, supporting both the artists and TFAC as the exhibit sponsor.
The public is invited to attend the opening reception on June 9 from 5 – 7 PM, where they can
also meet local skateboard artist, Jonathan Caple. The exhibit will be on display through to the
end of July 2022.
To access the gallery, plan to enter through the Pavilion at the rear of Tryon Fine Arts Center.
Free parking is available behind TFAC and on surrounding side streets. For more information,
call 828-859-8322 or visit www.tryonarts.org.

Gillian Laub, Amber and Reggie, Mount Vernon, Georgia, 2011, inkjet print, 40 × 50 inches. © Gillian Laub, courtesy of Benrubi Gallery.

American photographer Gillian Laub (born New York, 1975) has spent the last two decades investigating political conflicts, exploring family relationships, and challenging assumptions about cultural identity. In Southern Rites, Laub engages her skills as a photographer, filmmaker, and visual activist to examine the realities of racism and raise questions that are simultaneously painful and essential to understanding the American consciousness.

In 2002, Laub was sent on a magazine assignment to Mount Vernon, GA, to document the lives of teenagers in the American South. The town, nestled among fields of Vidalia onions, symbolized the archetype of pastoral, small town American life. The Montgomery County residents Laub encountered were warm, polite, protective of their neighbors, and proud of their history. Yet Laub learned that the joyful adolescent rites of passage celebrated in this rural countryside—high school homecomings and proms—were still racially segregated.

Laub continued to photograph Montgomery County over the following decade, returning even in the face of growing—and eventually violent—resistance from community members and local law enforcement. She documented a town held hostage by the racial tensions and inequities that scar much of the nation’s history. In 2009, a few months after Barack Obama’s first inauguration, Laub’s photographs of segregated proms were published in the New York Times Magazine. The story brought national attention to the town and the following year the proms were finally integrated. The power of her photographic images served as the catalyst and, for a moment, progress seemed inevitable.

Then, in early 2011, tragedy struck the town. Justin Patterson, a twenty-two-year-old unarmed African American man—whose segregated high school homecoming Laub had photographed—was shot and killed by a sixty-two-year-old white man. Laub’s project, which began as an exploration of segregated high school rituals, evolved into an urgent mandate to confront the painful realities of discrimination and structural racism. Laub continued to document the town over the following decade, during which the country re-elected its first African American president and the ubiquity of camera phones gave rise to citizen journalism exposing racially motivated violence. As the Black Lives Matter movement and national protests proliferated, Laub uncovered a complex story about adolescence, race, the legacy of slavery, and the deeply rooted practice of segregation in the American South.

Southern Rites is a specific story about 21st century young people in the American South, yet it poses a universal question about human experience: can a new generation liberate itself from a harrowing and traumatic past to create a different future?

Southern Rites is curated by Maya Benton and organized by the International Center of Photography.

Brighten your walls with with works from Artsville Collective’s upcoming exhibition, “In Living Color: At Home with Paint, Paper and Thread.”  Allow these abstract pieces, in varying sizes and mediums, to light up your life. Collectively, the artwork’s tonal range is of blended neutrals and ventures into spring and fall palettes. Suit your design pleasures with pure color or wabi-sabi textural designs in a range of perspectives from three uniquely talented artists: Betsy Meyer, fibers; Karen Stastny, painting, and Michelle Wise, mixed media. Also showing: the Retro pop art of Daryl Slaton, which can be activated on your phone to reveal an animated story. For a softer approach, consider the mixed media art of Louise Glickman using paint, textiles, and natural plant materials.