Dressed by Design
Public Reception: December 7, 2017 from 6 – 8 p.m.
November 17, 2017 – March 18, 2018
Giorgio Armani, Alexander McQueen, Ralph Lauren, and Fran Keuling-Stout – three “haute couture” fashion designers and one woman who was their customer bring the world of fashion to William King Museum of Art. The couturier takes the occupation of designing clothes to an art form. Only a few of their customers possess the personal flair that takes the art of dressing to the same level. The designers featured in Dressed by Design are well-known names, but their stylish customer from Big Stone Gap, Virginia, is known only to a few. This exhibition joins them together, the designers and the patron, for a glimpse into the realm of clothes where art, style, and fashion are fused into one.
Dressed by Design is sponsored in part by Powell Valley National Bank.
From These Hills: Contemporary Art in the Southern Appalachian Highlands
Opening Reception: October 5, 2017, 6–8 p.m.
Oct. 5, 2017 – February 11, 2018
United Company Regional Gallery
From These Hills: Contemporary Art in the Southern Appalachian Highlands is one of William King Museum of Art’s longest standing traditions. First held in 1993, this biennial is unique in its geographical scope and the number of important artists it has exhibited who live and work in Southern Appalachia. This year marks William King Museum of Art’s thirteenth biennial with twenty-three artists from around the region chosen by guest curator Courtney A. McNeil, the chief curator of collections and exhibitions for Telfair Museums in Savannah, Georgia.
2017 From These Hills Artists:
Nicolette Leigh Yates
Fred Carter: Primitive Things of Toil and Love
Opening Reception: August 3, 2017 from 6 – 8 p.m.
July 28 – January 14, 2018
Born in Duffield, Virginia, in 1911, Fred Carter grew up in the rugged coal country of Wise County, moving first to Norton as a boy and later to Clintwood, where he lived out the remainder of his life. Growing up inundated by news of the Great Depression and the Harlan County Miner’s Strike had a profound impact on Carter’s views as an adult, views which were given voice, powerfully, through his work. Though he did not begin making art until later in his life, once tapped, the vast well of Carter’s creativity flowed swiftly. He would spend the next thirty years, right up until his death, giving form to his beliefs in stonework, poetry, short stories, painting, and, of course, woodcarving. Carter displayed many of his works in his Cumberland Museum, the door of which was adorned with the simple message, “Primitive Things of Toil and Love.” This exhibit celebrates the life, legacy, and work of Fred Carter, one of Southwest Virginia’s finest visionary artists.
Page Turner: Power & Restraint: A Feminist Perspective on Mormon Sisterhood
Opening Reception December 7, 2017
Exhibit is open November 1, 2018 – January 31, 2018
Roanoke, Virginia artist Page Turner collects items of deep personal meaning to painstakingly create delicate objects that honor the feminine, and the desires, experiences and roles of women. Raised as a devout Mormon, she looks to the Church and its complex history as inspiration. Her works are informed by the traditional hand-working skills that have been passed down through the Mormon generations. In this body of work, Turner explores the divide between righteousness within the faith and women’s personal power; with deep reverence, she pays homage to the original pioneer women of the Mormon Church, as well as the contemporary sisterhood.
Turner has exhibited widely in the Roanoke area, in Washington, DC, Los Angeles, New York, Kentucky and in North Carolina. She was the cover artist for Exponent II (Winter 2014), and has been featured in six times since 2011 in Studio Visit Magazine, blogs and other media.
Turner’s Power & Restraint: A Feminist Perspective on Mormon Sisterhood was commissioned and exhibited by the Eleanor D. Wilson Museum at Hollins University.
Opening Reception: February 1, 2018 from 6 – 8 p.m.
February 1 – August 12, 2018
The southern Appalachian region was built on the back of coal. Generations of miners blasted their way into the mountainsides of Appalachia on their quest for rich veins of black diamonds and, wherever that treasure was found, communities sprang up around them. These company towns, or coal camps, were entirely self-sufficient. There were company houses, company stores, hospitals, churches, dance halls, even baseball teams. This exhibit examines the culture of coal in Appalachia—the towns built by the coal companies and the lives of the people who called those towns home.
Opening Reception: March 1, 2018 from 6 – 8 p.m.
March 1 – July, 2018
For more than 25 years, Suzanne Stryk has recorded her experiences with nature in sketchbooks that are both journals of walks near her Bristol, Virginia, home and scientific documents of the flora and fauna she observes. These pages have served as foundations for hundreds of mixed-media works that blend the natural history of a place with Stryk’s own direct experiences with each environment. In her new series, Notes on the State of Virginia, based on Thomas Jefferson’s 1781 book detailing Virginia’s diverse animal and plant populations, Stryk has created more than two dozen place-based assemblages detailing her own travels through the state and the flora and fauna she observed on her journey.
Touching the Sacred
Opening Reception: April 5, 2018 from 6 – 8 p.m.
March 30 – September 16, 2018
Inspired by faith, the holy imagery has long been a part of many religions. These gloriously creative representations of the stories and holy beings began as a teaching device for the believers, many of whom were unable to read.
Touching the Sacred focuses on imagery from two branches of Christianity – the Orthodox and the Catholic traditions and how the depictions developed by each are similar and how they differ.
These depictions range from paintings of saints, angels, and the Holy Family on canvas, wood, bronze, and tin panels, to carvings of them completely in wood or with modeled heads and hands and cloth bodies which were sumptuously clothed.
Over the centuries, these venerated representations of holiness have evolved from teaching tools into a sacred art form.