November 22, 2005 - April 2, 2006
Diane Landry is one of Canada's foremost installation artists: her work is exhibited throughout Canada, the United States and Europe. The artist employs everyday objects, sound, light and shadow in her evocative constructions. Sponsored by: Scott Sullivan in Honor of his Children Flying School, 2005. Site-specific installation: umbrellas, lights, computer (midi control), motors, harmonicas, tape measures and muslin ceiling scrim
October 21, 2005 - April 16, 2006
This exhibition illustrated how Maud Gatewood skillfully moved from the subject of figure to landscape to express isolation, loss and hope.
February 29 - May 28, 2006
Artifacts and photographs chronicled aspects of African American life in the Cape Fear region over the course of 150 years. These objects of material culture bore witness to the life of a people through labor, politics, civic service, professional work, cultural arts, sports and family life. Examples included a rough-hewn cypress log, holding a story of the slave industry when, with a large pestle, it was used as a grinder for freeing rice kernels from their hard exterior shells; a Victrola, vinyl records and musical instruments, still playing the song of a music-filled home in the 1920s; and a female student in cap and gown signing the roll of the National Honor Society, while an unknown young man in uniform smiles back at the camera.
September 2, 2005 - July 9, 2006
This thematic reinstallation of the museum's permanent collection offered diverse paths in the viewer's aesthetic journey of discovery. Galleries were devoted to the elements of nature: water, earth, air and fire are mirrored in subsequent galleries dedicated to elements of art: line, form, color, texture.
This exhibition of work by five artists demonstrated the diverse aesthetic contributions made by African American artists since the mid-twentieth century. Exhibition featured works on paper, paintings, sculpture and quilts by artists Romare Bearden, Big Al Carter, Minnie Evans, Ivey Hayes and Faith Ringgold.
June 1 - September 24, 2006
This exhibition traced the influence of changing technology and taste on object design, including typewriters, telephones, televisions, fans, computers and calculators loaned by institutions and private collectors.
July 28 - October 29, 2006
Rick Beck's cast glass sculpture stirred the age-old debate surrounding the boundaries between craft and fine art. He exaggerates and enlarges everyday objects to monumental proportions and captures these sculptural abstractions in glass. His depiction of common everyday items, such as tools and kitchen utensils, also references the ideas explored by artists working in the artistic movements of Dadaism and Pop Art. His sculpture challenges seriousness versus playfulness, art versus object, functional versus non-functional, ancient versus modern. This exhibition was organized by the North Carolina State University Gallery of Art and Design.
October 6, 2006 - January 7, 2007
WEAVE! explored both the process and product of weaving. Traditional materials and techniques employed in weaving are examined alongside new mediums and forms by contemporary installation artists. Innovative weaving with unconventional artists materials such as computer cables, telephone and video surveillance lines provides a metaphor of life in the age of information technology. Large-scale photographic panels by Phil Moody interpreted the rise, fall and transformation of the once powerful textile industry in North and South Carolina. Featured installation artists included Dan Brawley and Dixon Stetler of Wilmington, NC; Jan-Ru Wan, Greenville, NC and performance/installation artist, Pate Conaway of Chicago, Illinois.
November 1, 2006 - January 7, 2007
For hundreds of years, Cherokee women selected and harvested plants, trees, roots, nuts and vines and transformed them into an astonishing number and variety of baskets. This exhibition organized by the Asheville Art Museum examined Cherokee basket making over the past century, featuring cradle, burden, trunk, hen and market baskets made of native plants including rivercane, white oak and honeysuckle.
January 19 - April 1, 2007
A continuing exploration of the enduring traditions and contemporary innovations of the textile industry. FLOORED! engaged both the shared conventions and diverse aesthetics of artists and artisans using textiles from the refinement of Persian carpets to contemporary work using unconventional materials.
January 12 - April 1, 2007
An installation of objects by Houston artist and art history instructor Darryl Lauster. The haunting resin and porcelain objects reflect the artist's extensive research of 18th and 19th century American decorative arts, as well as his study of 20th century Modernists such as Alexander Calder, Constantin Brancusi and David Smith. Lauster's commemorative plates, furniture and vessels are ghostly hybrids of inherited cultural values, contemporary aesthetic influence and ethical concerns. The artist observes: I continue, in a way, dissecting a collective history, communicating in contemporary forms the traditions begun centuries before me.
November 16, 2006 - April 1, 2007
An exhibition of prints demonstrating transcultural influences, historic conventions and modern innovations in printmaking, including work by 19th century artists Mary Cassatt, Utagawa Hiroshige (also called Ando), 20 prints by Henri Matisse from the seminal 1947 portfolio, Jazz, and prints by Pop artists including Brits Gerald Laing, Peter Phillips and American pop masters James Rosenquist, Ed Ruscha, and others. Contemporary works by local printmakers Ann Conner and Don Furst were also featured.
April 29 - October 14, 2007
This premiere exhibition featured costume designs by William Ivey Long, a native of North Carolina and recipient of five Tony awards for his work on Broadway. Long "s brilliant designs for stage and film filled exhibition spaces with costumes and sketches created for Nine, Contact, The Producers, Frogs, Crazy for You, Guys and Dolls, Hairspray, Cabaret, La Cage aux Folles, and A Christmas Carol, in addition to the designer "s work Siegfried and Roy at the Mirage.
November 16, 2007 - March 9, 2008
little includes works rendered in miniature scale in a wide variety of styles, periods and mediums: illuminated manuscripts and miniature books; diminutive crafts (baskets and pottery); folk art microcosms of foam, twist-ties, toothpicks and toys; and tiny contemporary sculptures and paintings.
Measure of All Things: The Human Scale features work in all media depicting the scale and form by which we measure all things, the human.
We continue to be fascinated by images of ourselves. This exhibition features thematic installations depicting human figures and faces, seen in ethnographic masks and figures; mythical and visionary figures; nudes; self portraits and portraits.
Included are powerful ethnographic works by Dan, Yoruba and Dogon artists, as well as modern masters such as Philip Pearlstein, Elie Nadelman, John Storrs, Arnulf Rainer, and Chuck Close.
November 16, 2007 - April 13, 2008
BIG -- an exhibition of large scale works by five contemporary artists working in diverse imagery, techniques and mediums. The artists each employ an epic scale to communicate big ideas to heroic effect.
Californian John Cerney revisits the American West with a room installation entitled Big Landscape, Big West-- 40 wide, with 10 to 12 foot high figures evoking the epic history and imagery of the American west. Gulf coast artist Sharon Engelstein presents a gigantic, amorphous, inflated sculpture entitled Twins. The sculpture breathes from the force of a fan, vacillating between threatening and comedic. Mark Flood's gargantuan, 30 foot painting presents a reclining female figure reminiscent of the famed Neolithic fertility goddess figures from the Prehistoric period. Sculptures by artist Paul Kittelson render commonplace, mundane objects (appetizers, popcorn kernels, cigarettes) into a massive scale, invoking the legacy of Pop Art masters such as Claes Oldenburg and James Rosenquist.
Eric Rudd's sculpture, Walter's Ontogen, is an enormous, amorphous creature whose limbs and torso move slowly and rhythmically, reminiscent of body-builders. The large scale pursued by artists since the early 19th century continues to characterize contemporary American art in this age of super-size meals, malls, and mega-mansions.
Sponsored in part by Morgan Keegan and Company, Inc.
March 28 - September 28, 2008
ROBERT DELFORD BROWN: Meat, Maps and Militant Metaphysics is the artist"s first museum exhibition following an active career of 50 years. A catalogue accompanies the exhibition, designed and authored by artist-writer Mark Bloch, (NYC) who served as the exhibition"s guest curator.
Brown has remained in the vanguard of art since his arrival in New York in 1959, participating in Performance Art, Fluxus, Pop Art, Happenings and Correspondence art movements while formulating his own, unique creative vision. His work of the early 1960"s had a great impact at the time, forecasting contemporary artists such as Damien Hirst (carcasses in formaldahyde) and Han Hyo-Seok"s disturbing photographs of faces and bodies of raw meat. Throughout his early career, Brown encountered, communicated and collaborated with notable avant garde artists, including Nam June Paik, Joseph Beuys, Wolf Vostell, Allan Kaprow, Ray Johnson, Joseph Cornell, Marcel Duchamp, Jim Dine, Claes Oldenburg and others.
Exhibition catalogue was generously supported by Marc and Madlen Simon. The exhibition is sponsored in part by The Talking Phone Book, a Publication of Hearst Holdings.
May 22 - October 12, 2008
Business as Usual is an installation of ten carved and painted wooden sculptures by North Carolina sculptor Bob Trotman.
The sculptures, which represent men and women in corporate business attire, are divided into three subsections. The first, Committee, features larger-than-life portrait busts of three men and two women. Each face has some part, eyes, mouth, or both, carved on wooden blocks which may be removed, reversed, and reinserted (by a curator) to reveal another expression. The second subsection, Chorus, is comprised of four larger-than-life partial figures which rest directly on the floor from their armpits up with arms raised and heads back as if they were in distress. The third subsection is entitled Cover Up. It is a single sculpture five feet in height of four figures under a carved wooden shroud with only their legs and feet showing, but their upper bodies discernable beneath the cloth.
The works are dramatically lit and presented as a tableau in one of the museum's galleries. They will no doubt elicit widely varying interpretations from viewers.
May 2 - October 19, 2008
This exhibition, the first in the museum's "Art and Social Conscience"series, features works by art faculty members from 11 of the 16 branches of the University of North Carolina system. Artists were asked to address the Holocaust and its larger context of mankind's inhumanity to man, and many responded with new work created for the exhibition.
A related Holocaust literary commemoration featuring original works by faculty members of UNCW's Creative Writing Department, will be published by the Cameron Art Museum in late summer 2008. Writers will read their works to mark the exhibition's closing in October, 2008.
This exhibition is part of a collaborative project initiated by the UNCW Office of Cultural Arts, with active participation by the UNCW Department of Art & Art History.
The exhibition is generously supported by: Hannah Block, Frank and Wendy Block; and Mr. and Mrs. Walter Pancoe.
October 5, 2008 - March 1, 2009
A wildly diverse and irreverent selection of toys and games, from vintage mechanicals, Star Wars, GI Joe and Transformers to contemporary Japanese vinyl and plush toys—this exhibition is a reminder that there should always be time to play!
Nov 7, 2008 - April 26, 2009
A PLACE...THAT IS FAMILIAR...SOMEHOW...THE INTERIOR IS NOT...AS..YOU HAVE KNOWN IT TO BE.. PART HAS COLOR. PART HAS NOT. SHADOW CAST WITHOUT LIGHT SOURCES... BELIEF THAT YOU HAVE ALWAYS KNOWN...THAT WHICH IS OPENING TO YOU... AND VISE A VERSA
May 22, 2008 - May 24, 2009
This exhibition is drawn from the contemporary collection of the North Carolina Museum of Art, and includes work from the mid-1970's by canonical figures in art history, such as Robert Motherwell, Roger Brown, Elizabeth Murray and Ed Ruscha as well as more recent acquisitions by artists such as Devorah Sperber.
The exhibition will be accompanied by public programs related to the exhibition, including art history lectures, artist gallery talks, film, music and dance.
Nov. 7, 2008 - April 12, 2009
Born in Great Britain in 1898, Clare Leighton was one of the most important printmakers of the Twentieth century. She was a talented draftsman with the ability to orchestrate powerful, rhythmic compositions. Her preferred medium was wood engraving, a physically demanding form of printmaking that requires a tremendous level of precision and skill. Leighton\'s book illustrations set new standards for commercially published literature, while her written and visual depictions of nature, agriculture and the seasons were instrumental in reviving popular interest in rural life and customs. By the time of her death in 1989, Leighton had created over 800 prints and illustrated more than 65 books. Quiet Spirit, Skillful Hand provides a full survey of Leighton's rich career.
This Exhibition generously underwritten by The Alvin and Fanny B. Thalheimer Foundation, Inc. Additional support provided by Deborah and Matt Long
This exhibition was organized by the Mint Museum of Art, Charlotte, North Carolina
This exhibition features a collection of International Design Excellence Award (IDEA) winners.
The IDEA Awards are presented annually by IDSA (Industrial Designers Society of America), with selections made by an international jury of professional designers and academics. Each day, we live and work with products and objects whose functionality, beauty and availability are taken for granted. Few of us remember that these products are conceived, designed and put into production by industrial designers.
June 22, 2009 - January 10, 2010
Inspiration and Transformation is the first museum exhibition devoted to the work of American architectural firm Gwathmey Siegel and Associates Architects (NYC). The firm designed the Cameron Art Museum, as well as many other notable museums, residences and corporate offices. This exhibition addresses eight Gwathmey Siegel projects, focusing primarily on five that represent major transitions in their forty-five year practice. The exhibition demonstrates the broader cultural currents in American modernist art and architecture, as well as the more specific inspiration of art associated with each of these commissions.
This exhibition is curated by Adjunct Curator of Architecture and Design, Doug Sprunt. This exhibition received support from the Estate of Katherine Phillips; the Hilldsdale Fund; the Randleigh Foundation Trust, established by the William R. Kenan, Jr. who was a native of Wilmington NC; Nancy C. Allen; Mr. and Mrs. Scott Sullivan; Jon and Deedy Vincent; and Deborah and Matt Long. Additional support came from Mr. and Mrs. Michael Cain; Mr. and Mrs. Scott Corbett; Rick Myracle and John Taylor; and Mr. and Mrs. Fred Nasseri.
February 14, 2010 - March 28, 2010
Toying with Art is an exhibition of toys designed and fabricated by artists. More than 50 artists from around the country have created toys in a wide variety of sizes, themes and styles for this exhibition. Running through the holidays, Toying with Art is sure to be fun for kids of all ages.
This project was supported by the N.C. Arts Council, a division of the Department of Cultural Resources. Sponsored in part by Ann Sherman-Skiba and the Talking Phone Book, a publication of Hearst Holdings.
Feb 2, 2010 - June 6, 2010
The exhibition’s visual and thematic referencing of the past while being rooted firmly in the present connects the art work of Amalia Amaki, Lillian Blades and Beverly Buchanan to the historical-tinged quilts by African American women in the exhibition. The use of textural materials, color, found objects, building shapes and cultural images balance delicacy and strength while evoking the individualized stories and shared histories of the diaspora of African Americans, Africa and the Caribbean.
All of the contemporary work dovetails and resonates with the African American quilts which will be on loan to CAM by the Mississippi Museum of Art from their newly acquired collection for this exhibition.
This exhibition features selected paintings, prints, drawings, sculptures, photographs, furniture, decorative arts and other objects drawn from the museum's permanent collection. The exhibition's configuration will change throughout the year, as individual works are rotated. This approach is taken for several reasons: to protect fragile works on paper from prolonged exposure to light; to allow additional works from the collection to be exhibited; and to create or elicit new, unexpected meanings and associations between works of art and viewers.
The first installation of KALEIDOSCOPE will be organized by color, with works of art selected by and installed with works of similar or related palettes. The resulting juxtapositions are designed to yield unexpected and unusual relationships, as works of divergent periods, styles and subjects are seen together for the first time, related only by the artists' and artisans' choices of color. Subsequent installations may be organized by single-artist installations, themes or subject matter.
April 23, 2010 - September 12, 2010
This exhibition of approximately 1,000 pieces of Nelson McCoy pottery is drawn from an extensive private collection. Acquired over a period of more than 15 years by collector Edward Alexander, the collection is made up of thousands of examples of McCoy pottery, including many outstanding uncommon, rare and one-of-a-kind pieces that are seldom seen anywhere. The collector was first intrigued by McCoy pottery when it was featured on the television series Martha Stewart Living. He was attracted to the various colors, shapes and forms of the objects and became interested in seeing more. He soon began collecting McCoy pottery, focusing on examples from the 1940’s, ‘50’s and ‘60’s. Among the pieces included in the exhibition are: cookie jars, vases, planters and wall pockets.
This project received support from the Dan Cameron Family Foundation, and the North Carolina Arts Council, a vision of the Department of Cultural Resources.
July 16, 2010-January 9, 2011
PuppetArt is an exhibition presented by the Cameron Art Museum in collaboration with the Port City Puppet Festival, sponsored by the Puppeteers of America Southeast Region and the UNCW Office of Cultural Arts. The exhibition features large-scale puppets and set designs from the famous Vermont-based Bread and Puppet Theatre, and selected international puppets from various historical periods drawn from the collection of Atlanta's Center for Puppetry Arts.
October 8, 2010 - February 13, 2011
In 2008, Mark Sloan of the Halsey Institute of Contemporary Art organized an exhibition featuring the extraordinary work of artist Richard McMahan. The exhibition, comprised of 1100 miniature reproductions of great works of art, comprises Mr. McMahan’s “Mini Museum,” and subsequently traveled to the American Visionary Art Museum in Baltimore, Maryland. The exhibition will open at the Cameron Art Museum on October 8, 2010.
In-kind support for the opening of the Mini Museum provided by Hampton Inn Medical Park
Feb. 4 – May 1, 2011
Experience the inexhaustible creativity, expressive color and power of art created by this larger-than-life artist, affectionately known as “Big” in the exhibit, Remembering BIG. Allen D. Carter, a.k.a. Big Al or Big (1947 – 2008) was distinguished as celebrated artist, teacher and mentor to at-risk youth in the Arlington County Public Schools. This exhibition proudly honors the life and work of Big Al with a journey through decades of his prodigious art production including drawings and paintings on paper, canvas, household objects, prints, sculpture and constructions on loan from the artist’s estate. Audiences may recall Big Al’s energetic, large scale paintings in CAM’s 2006 exhibition Five American Artists.
Jan. 28 – April 10, 2011
In 2004, the Montgomery Museum of Fine Arts (Montgomery, ALA) inaugurated its collection of African-American quilts with an acquisition of 48 quilts created primarily by African-American women from West Alabama between 1945 and 2001. In late 2008, the Museum added ten more quilts to the collection. This exhibition includes select quilts from both groups, and features the work of Yvonne Wells and Nora Ezell, whose quilts showcase the variety of styles in the MMFA’s permanent collection. The exhibition is accompanied by a 2006 publication, Just How I Picture It in My Mind: Contemporary African-American Quilts from the Montgomery Museum of Fine Arts by Mary Elizabeth Johnson Huff. Published 2006, 109 pages with color illustrations. Copies will be available for purchase in the Cameron Art Museum Shop.
April 15 – August 21, 2011
Organized by the Cameron Art Museum, this exhibition features biographical artifacts, artwork, and ephemera relating to the art and family life of Wilmington artist Fritzi Huber. A hand papermaker for over twenty years, Huber has been an artist throughout her life. Her work has exhibited around the world from Switzerland’s Musee du Pays et Val de Charney, Gruyere, Suise to Brazil’s Bienale International de Artes—and her work was also exhibited at St. John’s Museum, Wilmington, North Carolina.
She continues to be an active artist and arts educator, conducting art workshops at Arrwowmont School for Arts and Crafts, Savannah College of Art and Design, the San Antonio Center for Arts and Crafts, and Pyramid Atlantic in Baltimore, Maryland. Huber’s formative years were spent in the circus, an experience whose influence on Huber’s creative production is explored in this exhibition. The exhibition explores ways in which the artist’s unique lifestyle, characters and nomadic existence in the circus have informed her art.
May 6 – October 2, 2011
In a New York Times obituary, noted art critic Roberta Smith described Louisiana artist Clyde Connell’s source of inspiration: “Like O’Keefe, she drew inspiration from the region in which she lived. She used brown earth and red clay to color her drawings and sculptures, as well as bits of iron scrap that her son, Bryan, a cotton farmer, found in his fields. She had a mystical view of nature and described her drawings as transcriptions of its music, heard on the bayou.” Connell died at the age of 97, having worked full-time as an artist since her sixties. Connell’s work is in the collections of the Metropolitan Museum of Art (NYC), the New Orleans Museum of Art, The Ogden Museum of Southern Art, and the Austin Museum of Art.
This exhibition, organized by the Cameron Art Museum, will include work loaned from the private collections of Connell’s family members, in addition to work from museum collections. The exhibition will include sculpture, drawings, paintings, photographs, film and ephemera relating to the artist’s life and work.
May 6 – October 2, 2011
Organized by the Cameron Art Museum Terrell James: Field Study compliments Clyde Connell: Swamp Songs by showing two women artists of different generations, one influenced by the other, exploring themselves and their lives through abstract expressionism - painting, sculpture, teaching and writing.
The title references a body of work called Field Studies, which have evolved from color studies done on the palette in preparation for formal paintings - the palettes became "automatic" paintings/drawings in themselves. This exhibition will feature work influenced by the Cape Fear region and will include paintings, sketchbooks, writing and historic artifacts. James’ work is in the permanent collection of the Dallas Museum of Art, Dallas, TX, Menil Collection, Houston, TX, Museum of Fine Arts, Boston, MA, Museum of Fine Arts, Houston, TX, Portland Art Museum, OR, Tacoma Art Museum, Tacoma, WA and the Whitney Museum of American Art, New York.
May 6 – October 30, 2011
Organized by the Cameron Art Museum, this exhibition focuses on contemporary art by artists currently living in, or native to, the state of North Carolina. Artists are invited to bring a single work of art to be installed in the museum, delivering the work within a 24-hour period (between 5:00 pm Friday, May 6 and 5:00 pm Saturday, May 7, 2011). During this timeframe, one of three internationally renowned curators will be present to greet each artist, shake his/her hand - and direct the exhibition installation. All three curators will attend the exhibition opening on Saturday May 7, 2011 from 6:00-9:00 pm.
The design of this project provides any participating artist equal opportunity to meet a significant curator working in the field of contemporary art today and have their work seen by all three visiting curators. The curators for this event are Susan Davidson, Senior Curator, Collections & Exhibitions at the Solomon R. Guggenheim Museum, New York, and Nicholas Cullinan, Curator at the Tate Modern, London.
This event pays homage to the open, creative curatorial spirit of the late art world maverick, Walter Hopps (1932-2005). In 1978, responding to a comment from his junior colleague, Deborah Velders (Jensen) about the problems artists face gaining access to notable curators, Walter Hopps conceived an entirely open, unmediated event to remedy the situation. His program invited any artist to bring a single work of art, to meet Hopps, and see installation of work. This event called “36 Hours” occurred in a gritty, street-level alternative space called MOTA (Museum of Temporary Art), located in downtown Washington, D.C. There was no jurying, no selection (or rejection), and no entry fee. The only restrictions were size (work needed to fit through the door), weight (regarding transporting/placing and support capacity), and the delivery time frame (36 hours). This unprecedented opportunity for artists was covered by the Washington Post, and attracted over 400 works of art, all by artists living and working in the Washington, D.C. area.
September 9 – October 30, 2011
This exhibition presents the workings of two public art projects conceived and led by Wilmington artist Henry Jay MacMillan: the 1939 decorative redesign of Thalian Hall Center for the Performing Arts, Wilmington, NC and the 1942 large-scale mural installation at the Army Engineer School, Ft. Belvoir, Va. Each project exists today only in the form of photographs, drawings, and watercolor and gouache studies.
MacMillan’s motivation with the Thalian Hall project was twofold: to utilize art to raise awareness of historic preservation of Thalian Hall and to work collaboratively with artists in the community. Similarly the motivation for his mural project at Ft. Belvoir was to cultivate the collective artistic skills of the 62nd Engineer Topographic Company and to create together a public mural reflecting the contemporary life and work of the Corps stationed at Ft. Belvoir, Va. With the escalation of war, MacMillan was deployed to Europe. His knapsack stocked with good sketching pencils and tiny tubes of gouache, the artist continued to serve his country as a painter. On his tour of North Africa, Sicily, Normandy, Belgium, Holland and Germany he incisively recorded the macabre aspects of war-torn Europe. The film, They Drew Fire: Combat Artists of World War II, offers a context for MacMillan’s work as a combat artist.
October 31, 2011 – January 15, 2012
Twenty-five black and white photographs by Michael Cunningham featured in his book, Crowns: Portraits of Black Women in Church Hats (2000: Doubleday) are highlighted in this exhibition.
October 31, 2011 – January 15, 2012
This exhibition features hundreds of church fans with images religious and secular, collected over 40 years by musician and performative assemblage artist William McNeill. McNeill emphasizes their cultural importance, "This collection is really about a vanishing Americana and a way of life that we won't ever have again."
November 30, 2011 – April 1, 2012
Craft is rooted in the fundamental human impulse to use mind and hands to transform basic materials into objects of beauty and utility. Penland School of Crafts located in western NC is an international leader in the evolution of craft education. Beginning in 1920 with one woman of great vision, Lucy Morgan, Penland began as an educational experiment which continues today. This exhibition explores Penland then and now, featuring examples of some of the finest work in glass, ceramic, textiles, jewelry and other mediums in two- and three-dimension.
November 30, 2011 – April 1, 2012
Honored as a 2011 NC Living Treasure, glass artist Richard Ritter is celebrated in this exhibition revealing his complex "murrini" process; a technically intensive development of complex patterns and decorations. Murrinis first reached a high level of sophistication in ancient Mesopotamia and Egypt and are still seen in the millefiori glass of Italy today.
November 30, 2011 – April 1, 2012
Honored as a 2011 NC Living Treasure, glass artist Mark Peiser reinterprets the 1934 world event: the historic 20-ton glass casting of the 200-inch Hale Telescope mirror. The largest single piece of glass ever made is now a component of the Palomar Observatory in California. Peiser's contemporary glass sculptures quote the scale and honeycomb pattern of the legendary mirror; an advancement leading astronomers to the first direct evidence of stars in distant galaxies.
February 3 – May 6, 2012
Eye Witness Civil War Era Drawings from the Becker Collection features 127 "first hand" drawings depicting colorful aspects of life and action during the Civil War era. These original drawings by artist-reporters for the Frank Leslie's Illustrated Newspaper, were used to inform a reading public consumed by the need to know what was happening throughout America as it struggled to establish its national identity.
Civil War Era Drawings from the Becker Collection is curated by Judith Bookbinder and Sheila Gallagher with Boston College. The traveling exhibition is organized by Curatorial Assistance Traveling Exhibitions, Pasadena California.
Drawings from the Becker Collection premiered at the McMullen Museum at Boston College in the exhibition First Hand: Civil War Era Drawings from the Becker Collection which was organized by the McMullen Museum and underwritten by Boston College and Patrons of the McMullen Museum.
March 31 – April 29, 2012
A collaborative project by artist Charlie Brouwer, the Cameron Art Museum, Dreams Center for Arts Education, & the community and surrounding areas of Wilmington, NC
Imagine a structure made of hundreds of ladders leaning on each other, tied together, holding each other up – loaned by people, organizations, business, schools, churches……..,from all over greater Wilmington. Could this be a metaphor for the individual hopes, dreams & aspirations of the Wilmington community supporting each other, reaching across & rising up together on the grounds of the Cameron Art Museum?
April 28 – August 19, 2012
In 1815, when the first cotton mill was established in Lincoln County, NC, it stood as one of the physical and symbolic cornerstones of an industry that would come to define the economic and cultural being of North Carolina. Following the offshore exodus of the 1990s, today North Carolina is rebuilding through hybrid development, with one of the fastest growing markets in the state being the export of intermediate/unfinished goods that overseas firms turn into finished products. These materials are in a raw, in-between state—their promise yet to be realized—much like the textile industry of the 21st century, and our current understanding of it.
The evolving enterprise of textiles provides the impetus and inspiration for Out of Fashion. Gathering 13 artists and designers from across the state—and across generations—this exhibition is a platform to reimagine the possibilities of a once fundamental industrial staple of North Carolina. Featuring performance art, large-scale site-specific work installed in both the museum’s galleries and on the grounds, Out of Fashion mines the histories of fashion to consider regenerative practices from the mountains to the coast.
Organized by Southeastern Center for Contemporary Art (SECCA), Winston-Salem, NC Curated by Steven Matijcio, Curator of Contemporary Art, SECCA
SECCA an affiliate of the North Carolina Museum of Art, a division of the North Carolina Department of Cultural Resources. SECCA is also a funded member of the Arts Council of Winston-Salem and Forsyth County. Additional funding is provided by the James G. Hanes Foundation.
April 28 - August 19, 2012
This exhibition represents the first show featuring work by this emerging artist, Julie Von Der Vellen, a recent MFA graduate from the University of Wisconsin at Madison. A close inspection of these seemingly pedestrian garments of everyday wear reveal highly crafted, intricate construction consisting entirely of handmade paper derived from recycled cotton clothing.
This thoughtful reuse of materials is given additional layers of meaning through the words and sentences found on many of the paper components. They tell stories of identity, status, humanity and memory, of which the artist writes: “Along the way to redefining the commonplace book structure – I have developed a body of work that encompasses everything from posters to newsletters to dresses to shoes….Garments evoke memories; memories evoke garments.
My research expands upon traditional storytelling and memoir presentation. Significant moments — personal stories and those of friends and families — are interwoven into handmade paper crafted from recycled cotton clothing. The paper, acting as fabric, is layered with a narrative specifically tailored to the event. The garments are re-creations of actual attire surrounding each of the significant moments. My paper weaving technique — a process of interlacing objects with memories . . . . Memories evoke garments; garments evoke memories."
May 25 – August 19, 2012
Famed North Carolina artist Elliott Daingerfield (1859-1932) will be the subject of the Cameron Art Museum’s upcoming exhibition Elliott Daingerfield: His Art and Life in North Carolina,. This exhibition will feature selected works and some of Daingerfield’s personal items that were included in the Blowing Rock Art and History Museum’s opening exhibition.
Elliott Daingerfield: His Art and Life in North Carolina was curated by Asheville resident J. Richard Gruber, former Deputy Director of the Morris Museum of Art in Augusta, GA., which has a significant collection of Daingerfield work and ephemera, and founding Director of the Ogden Museum of Southern Art in New Orleans.
The exhibition at the Cameron Art Museum will feature works lent by the Blowing Rock Art and History Museum, the Morris Museum of Art, members of the Daingerfield family and other private lenders.
Elliott Daingerfield (American, 1859-1932)
Wood Sprite, 1920
Oil on canvas
Cameron Art Museum: Purchased with funds from the Claude Howell Endowment for the purchase of North Carolina Art
March 29 - July 21, 2013
This exhibition will include paintings, works on paper and sculpture acquired since 2002 and the opening of the Cameron Art Museum. These contemporary artworks created since 1945 will include among others work by Romare Bearden, José Bernal, Sam Francis, Howard Hodgkin, Donald Sultan and our newest acquisition by Shahzia Sikander.
September 23 - October 21, 2012
Throughout its history, Cameron Art Museum has been honored as steward of generous gifts of art from private collectors. This exhibition tells the story of three gifts in particular and the relationships inspiring such philanthropic leadership. Works include color etchings by Impressionist Mary Cassatt given by Thérèse Thorne McLane, Japanese woodblock prints by Edo period artists Hiroshige and Kunisada II given by Dr. Isabel Bittinger and selections from a Promised Gift by Louis de K. Belden of twentieth century modernist prints featuring, among others, the work of Richard Diebenkorn, Helen Frankenthaler, Brice Marden and Gerhard Richter.
December 18, 2012-March 10, 2013
An icon of the 1920s, named "the first American Flapper" by her husband, Zelda Sayre Fitzgerald (July 24, 1900 – March 10, 1948) longed to be known as something other than just the wife of writer F. Scott Fitzgerald. For years after their marriage and up until her death, Zelda threw herself into several creative outlets including dance, writing and painting. This exhibition explores the artwork of Zelda Fitzgerald with 32 framed artworks created from 1927 through the late 1940s, on loan from the Montgomery Museum of Fine Arts and Ms. Eleanor Lanahan, granddaughter of F. Scott and Zelda Fitzgerald, along with reproductions of historical photographs from the F. Scott Fitzgerald Papers of Princeton University Library. Parfois La Folie Est la Sagesse (Sometimes Madness is Wisdom) comes from Zelda herself. This was the title she gave to an exhibition of her work at the Cary Ross Gallery in New York City in 1934.
Zelda's influence on her husband’s writing is well known. In a review of her husband's second novel, The Beautiful and the Damned Zelda quipped, "In fact, Mr. Fitzgerald—I believe that is how he spells his name—seems to believe that plagiarism begins at home." This exhibition is being held in conjunction with The Big Read Greater Wilmington in celebration of The Great Gatsby by F. Scott Fitzgerald. The Big Read is a national program through the National Endowment for the Arts, designed to revitalize the role of literature in American culture and to encourage reading for pleasure and enlightenment. Wilmington partners include the Cape Fear Literacy Council, WHQR, New Hanover County Public Library, University of North Carolina at Wilmington, New Hanover County Public High Schools, Cape Fear Community College, Cameron Art Museum, YWCA and the Arts Council of Wilmington and New Hanover County.
This exhibition invites you to enter and imagine three historic places of artistic creation in Wilmington, NC: Minnie Evans’ tiny gatehouse, Elisabeth Chant’s winehouse and Claude Howell’s downtown apartment. From 1948-1974, visionary artist Minnie Evans created hundreds of artworks while working as gatekeeper at Airlie Gardens. In the 1920s, mystic Elisabeth Chant taught art classes at the Hart Winehouse on Cottage Lane, fueling the growth of future artists, educators, and arts patrons. Claude Howell’s Apartment 44 at the Carolina Apartments became the sought after place for idea exchange and networking among artists, freethinkers, and community leaders.
Well Suited includes costumes designed by Wilmington, North Carolina native Alonzo V. Wilson for HBO’s award-winning series Treme. The series takes its name from Tremé, one of the oldest neighborhoods in New Orleans that continues to be an important center of the city's African-American and Créole culture. The series begins four months after Hurricane Katrina as the residents of New Orleans, including musicians, chefs and Mardi Gras Indians, try to rebuild their lives, their homes and their unique culture in the aftermath of the 2005 hurricane.
This exhibition emphasizes fourteen exquisitely crafted Mardi Gras Indian suits from Treme, and also includes Mardi Gras costumes from select characters, as well as design sketches, film excerpts, video interviews with cast and costumers and behind-the-scenes photography. Wilson inscribed layer upon layer of narrative into the beadwork of the suits. Ogden Museum of Southern Art curator Bradley Sumrall describes, “Through interviews, house visits, observations of the Mardi Gras Indians at practice, Wilson approached the task before him respectfully well-informed. One of the most impressive aspects of his work with the Mardi Gras Indians was his ability both to give back and borrow from tradition. He readily shared his beading and archival practices with the community.”
Select costumes from Wilson’s work on Treme were included in the Fifth Annual Outstanding Art of Television Costume Design Exhibition at the Fashion Institute of Design and Merchandising in 2010. In 2013, Wilson’s designs for Treme garnered him a second nomination from the Costume Designer Guild Awards for Outstanding Contemporary Television Series.
Diane Landry (Canadian, b. 1958) is one of Canada's foremost installation artists: her work is exhibited throughout Canada, the United States and Europe. The artist employs everyday objects, sound, light and shadow in her evocative constructions. Her inspiration is the rhythms of the world. From Earth’s orbit around the sun providing cycle of seasons, to the planet’s rotation, creating the periodicity of day and night, to the very beat of the human heart, with systolic and diastolic movements of blood, existence is about the cadences of all things. Cadence includes work created 1992- 2013.
Art Among Friends brings together artwork drawn entirely from four private North Carolina collections. Spanning one of the most dynamic periods of art in America, these paintings and works on paper (along with one sculpture) were all created between approximately 1880 and 1940. Collectively, they trace the rise and fall of such important artistic movements as Impressionism and Urban Realism, explore activity at important sites in both the United States and Europe, and demonstrate the remarkable talents of some of the country’s finest artists.
There are many ways to organize such an undertaking: by subject matter (landscape, portraiture, still life); by collector; or even by chronology. Yet as I began to think about the works that I had seen as I visited with each of the lenders, it quickly became apparent that the depth and breadth of their holdings made it possible to survey the major developments in American art over a significant span of time. Thus their collections are combined and interwoven, allowing for fascinating juxtapositions and rich conversations to emerge.
Guest Curator and Senior Curator of American, Modern, and Contemporary Art, The Mint Museum, Charlotte, NC
Brooklyn born sculptor and woodcut artist James Grashow (American, b. 1942) is known for his large-scale sculptures and installations made out of cardboard. This exhibition features whimsical installations of flora and fauna as well as pieces created especially for the Cameron Art Museum exhibition – including a community art project.
In observation of the 50th anniversary of the signing of the Civil Rights Act (July 2, 1964) Cameron Art Museum, in collaboration with Countywide Community Development Corporation (Countywide CDC) of Navassa, NC presents School Pride: The Eastern NC Story An Installation by Willie Cole. Nationally renowned artist Willie Cole (American, b. 1955) has created new installations investigating the struggle of a community for equality in education.
In the search for source material, museum staff and volunteers have spent hours digitizing photographs from alumni and teachers from sixteen Cape Fear area schools from Bladen, Brunswick, Columbus, Pender and New Hanover counties, which were closed during desegregation. The story that has emerged is one of pride: school pride, community pride, and pride in the battle well fought for educational equality. Cole states, "The visual intent is to create a multi-gallery installation that reflects the pride and loss of sixteen North Carolina African-American Schools that were eventually closed as a result of the Civil Rights Act of 1964. The fact that many school districts in this country have been re-segregated through socio-economics and classism shows that there is no quick fix to racism. In that sense commemoration becomes a reminder of not only how far we’ve come but also how far we have to go."
Organized by the Cameron Art Museum, this exhibition focuses on contemporary art by artists currently living in, or native to, the state of North Carolina. Artists were invited to bring a single work of art to be installed in the museum, delivering the work within a 24-hour period. During this time frame, nationally renowned curators were present to greet each artist.
Celebrating the 100th anniversary of the birth of Claude Howell (March 17, 1915 – February 3, 1997), this exhibition focuses on the life and work of one of North Carolina’s most notable artists. Howell holds an established place in the vanguard of North Carolina art. A brilliant colorist and meticulous draftsman, he is best known for his intimate examination of the southern coast: the quality of light and life of its people. For over fifty years, Howell kept journals chronicling his daily life in Wilmington and his international travels through twenty-three countries. He wrote brilliant radio commentaries inspired by his journal entries which were produced by WHQR Public Radio. Additionally, he established the art department of the University of North Carolina Wilmington, and was teacher, mentor, arts activist and philanthropic leader, using his great energy and will for the betterment of the arts in North Carolina.
This exhibition brings to life the artwork of Claude Howell through the use of animation, film, theater, dance and contemporary multimedia. This was made possible by the contributions of our artists and artistic collaborators: Phil Abbott; Adam Alphin; Reid Clark; Sharon Clark; Mirla Cristi; Beth Crookham; Hilda Dill; Clyde Edgerton; Shane Fernando; Amanda RJ Fulk; Kevin Lee-y Green; Zach Hanner; Fritzi Huber; Mike O’Neill; Steve Vernon; Ray Kennedy; Tony Rivenbark; Jennifer Rose; Angela Rowe; Andre Silva; Gary Ralph Smith; Alonzo V. Wilson.
Since 1992, San Franciscan Louis Belden has refined his approach to collecting art, choosing to concentrate on original prints in such mediums as intaglio, lithography and screenprinting, and limiting the period from 1965 to present day.