In Intricate Detail: Pierced-Tin Furniture from Southwest Virginia & Northeast Tennessee
July 30, 2004 – January 2, 2005
The Glenn C. Price & Strongwell Galleries

Between 1840 and 1860, furniture with pierced-tin panels was made in abundance throughout Southwest Virginia and Northeast Tennessee. Found usually on the back porch or in the kitchen, the common food safe was the furniture form on which pierced-tin panels were usually placed. However, they also found their way into the dining room on sideboards and cupboards. Some tin panels were punched with designs of intricate detailed work, while others were plain and simple. Some designs seem to have been unique to one locale, and other had more widespread use, When coupled with cabinet characteristics common to a specific area, a regional furniture identity emerges. This exhibit will use approximately 20 examples from throughout the region that best illustrate the tin motifs and cabinet forms of this friendly, country furniture.




Pinturas de Fe: The Retablo Tradition in Mexico and New Mexico
August 27, 2004 – January 2, 2005
The Legard & United Company Galleries

The story of the retablo tradition as it evolved in the Americas, from the time of the Spanish Conquest to the present day. These small devotional saint paintings, first used to convert indigenous peoples to Catholicism, are still faithfully produced today.









Robert Stuart and Charles Goolsby: A Dialogue in Paint
September 24, 2004 – February 6, 2005
The United Company Regional Art Gallery

An exhibition of artwork and commentary by two prominent Virginia painters, Robert Stuart of Lexington and Charles Goolsby of Emory.










An American Perspective: Paintings from the New World, 1820-1930
January 21, 2005 – May 1, 2005
The Glenn C. Price & Strongwell Galleries and The Legard & United Company Galleries

Explore the European roots of early American art through an investigation of landscapes, marine paintings and portraits. Featuring works by some of America’s finest painters, this exhibition will reveal how visual images of the period helped shape a national identity.







Skewed: Works by Andrew Baxter and Steve Bickley
February 18 – June 19, 2005
The United Company Contemporary Regional Gallery

Skewed Postcard

Steve Bickley and Andrew Baxter navigate between the boundaries that define sculpture and painting. Their works defy either classification and yet beautifully unify both. While both work in metal – Baxter uses bronze, one of the earliest metals applied to sculpture, and Bickley uses steel, the metal of the moderns – their sculptures hang on the wall as if they are paintings. Both artists have found a place within the history of contemporary sculpture that is innovative and fresh.




Wish You Were Here: Postcards from the Blue Ridge & Riding the Lee Highway: Route 11 in Postcards
May 7 – July 10, 2005
The Glenn C. Price and Strongwell Galleries

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Since the late 1800s, travelers to the Blue Ridge Mountains have been sending postcards of everything from gigantic apple sto town squares. This photographic legacy offers a unique view of western Virginia architecture, commerce, and scenic vistas. The Blue Ridge Institute and Museum created Wish You Were Here and Riding the Lee Highway, bringing together half a century of regional postcard images from the 1900s. These exhibitions create a window to the weastern Virginia’s past, drawing from doznes of private postcard collections that feature images rarely seen by the general public today. “Antique postcards take us back to the era before motel chains and fast food. Traveling by car was an adventure them,” said Roddy Moore, Director of the Blue Ridge Institute and Museum.





Touch Me I’m Sick: Rock ‘n’ Roll Photographs by Charles Peterson
May 20, 2005 – August 14, 2005
The Legard & United Company Galleries

Touch Me I’m Sick features such bands as Nirvana, Mudhoney, Pearl Jam, Soundgarden, Hole, Black Flag, Fugazi, and Sonic Youth, among others. Like his recent book of the same name (taken from a Mudhoney songs), Touch Me I’m Sick the exhibition is designed with the intention of its being exciting and informative to people who have never experienced a rock show. Of his first museum exhibition, Peterson says, “I always imagined that someday my photography could reside in a museum – to paraphrase Rolling Stones, it’s not only rock and roll… Touch Me I’m Sick was made for both fanatic and the unitiated, with the latter being the more exciting reach. Good documentary photography can intimate an experience of our world without needing any previous personal knowledge by the viewer. Here are the sights, sounds, and smells of American underground rock and rolls as I lived it.”

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