Enriching lives through art and craft

Degrees of Commitment: Climate, Ecosystems, and Society

September 5 – December 16, 2023 | Sandra J. Blain Galleries

This exhibition is free and open to the public during Arrowmont business hours.

 Family Guide & Gallery Tours: Thursday, November 16, 3:30 – 6:30 pm. Free and open to the public.

The community is invited to a Gallery Tour of the nationally juried exhibition, Degrees of Commitment: Climate, Ecosystems, and Society, from 3:30 p.m. to 6:30 p.m. on Thursday, November 16, 2023. The family-friendly tour connects visitors of all ages, especially school-age children, to the themes of the exhibition and how art and craft can bring attention to environmental issues.

Galleries & Collections Manager Heather F. Wetzel and Kenneth R. Trapp Craft Assistant/Curatorial Fellow Megan Adams will provide tours on a rotating basis throughout the event. Community partners from Discover Life in America, Friends of the Smokies, Keep Sevier Beautiful, TWRA and other local organizations will be present to share information about adoptable, sustainable practices to help preserve the beauty of our area and Great Smoky Mountains National Park for future generations.

The Exhibition features an interactive Family Gallery Guide that provides a fun and engaging way to tour the artworks on display. Activities include a word search, two creative drawing prompts, a coloring page, writing activity and a riddle game. Children can complete the activities as they tour the exhibit.

The Gallery Tour is free and open to the public. Parking is available on the Arrowmont Campus. Refreshments will be served. For more information about the Gallery Tour, call (865) 436-5860.

Adult & Kids Craft Night: Tuesday, November 14, 5:30 – 8:30 pm. View classes online and register here: Advanced registration required.

Fall Family Craft Day: November 18, 9:00 am – 3:00 pm. View classes online and register here: Advanced registration required.

Degrees of Commitment: Climate, Ecosystems, and Society

For centuries, artists have put their vision and skill to work for the betterment of society in an effort to effect change and expand our understanding of complex issues. Information based solely on data can often leave people feeling overwhelmed, disempowered, disconnected, and sometimes hopeless in the face of daunting odds. Art has the incredible power to compel thought, elicit feelings, and inspire discourse, which in turn, can motivate engagement and galvanize action; why we make, what we make, and how we make work matters and makes a difference in the world.

In this exhibition, you will find a diverse selection of works by 52 artists that employ a range of media and approaches. All demonstrate respect and reverence for the environment and create works that honor the natural world and a shared existence. Art doesn’t show people what to do, but it can make one feel and inspire one to think more deeply. These thoughts and feelings can motivate people to become more engaged and take action. Every action, no matter how small, has a cumulative effect when many people engage.

Degrees of Commitment: Climate, Ecosystems, and Society was juried by Gina Siepel (she/they), an interdisciplinary artist whose practice reflects a deep engagement with place, history, queer experience, and ecology; and Isabel Vargas (she/her), a Kansas City-based curator and organizer who is dedicated to diversity and equity in the Arts.

Exhibiting Artists Include:

Maxie Adler; MaryBeth Boone; Ariel Bowman; Megan Broughton; Katherin Caldwell; Marcy Chevali; Ann Coddington; Alix Deane; Amy Edwards; Becs Epstein; McLean Fahenstock; Arron Foster; Maggy Rozycki Hiltner; Katie Hudnall; Rebecca Hutchinson; Elise Kendrot; Caitlin La Dolce; George Lorio; Barbara Mann; Becky McDonah; Larissa McPherson; Anthony Mead; Kim Mirus; Kalliopi Monoyios; Claudia O’Steen & Aly Ogasian; Carmen OStermann; Caitlin Parker; Katie Peck; Laura Petrovich-Cheney; Elaine Quave; Tina Rath; Brooke & Justin Rothshank; Nadine Saylor; Maria Schechter; Rachel Simmons; Adrienne Sloane; Matthew Smith; Victoria Spindler-Fox; Eric Stark; Marta Staudinger; Kirsten Taylor; Natalie Thedford; Kari Varner; Alex Vonhof; Melissa Wang; Josh Winkler; Stephanie Wolff; Alexis Zabor; Isabel Zeng

 

Katherine Caldwell.The Compass Rose, 2023. Wheat straws and wheat heads, bronzite, lapis lazuli, cobalt sea glass, and brass beads.

 

Left wall, front to back: Claudia O’Steen & Aly Ogasian. Keweenaw 7.18.21, 2023. Photo Collage (digital prints, photographs, color swatches, graph on vellum, journal entries, graphite drawing, wind drawing, water drawing); Ariel Bowman. Gnaws Iron, Bites Steel, 2019. Ceramic, mixed media; Barbara Mann. Heirloom Oak Seed Container, 2019. Sterling silver, copper, bronze, peridot; Kim Mirus. Particulate Matter Emissions Exposure, 2021. Handwoven cotton, wool, and vintage rayon silk yarn; Alex Vonhof. NE 10371-001P, NE 10371-002P, and NE 10371-001P, 2023.Extracted pigments, glass vial, plexiglass. Center, front to back: Katie Hudnall, The Seed Keeper, 2021. Reclaimed wood, plywood, string, metal, maple seeds, hardware, various polychrome, lacquer, wax; George Lorio, Peephole, 2023 Found bark and twigs on fabricated wood armature; Tina Rath, Prayer for Repair, 2018. Japanese maple, sterling silver, hemp; Josh K. Winkler, Whitebark Pine on the Edge, 2022.Color woodcut. Right wall, front to back: Katherine Caldwell. The Compass Rose, 2023. Wheat straws and wheat heads, bronzite, lapis lazuli, cobalt sea glass, and brass beads; Arron L. Foster. A Mere Breath, 2022 Cyanotype on handmade paper; Melissa Wang. Mycelium Map III, 2022. Brass wire, sodalite beads; Anthony Mead. What is Appreciation Anyway, 2021. Photo-transfer of Hudson River School paintings and graphite on handmade paper of kale, broccoli, corn husk, and US currency with interference pigment.

 

From front to back: George Lorio, Peephole, 2023 Found bark and twigs on fabricated wood armature; Tina Rath, Prayer for Repair, 2018. Japanese maple, sterling silver, hemp; Josh K. Winkler, Whitebark Pine on the Edge, 2022.Color woodcut.

 

From left to right: Keweenaw 7.18.21, 2023. Photo Collage (digital prints, photographs, color swatches, graph on vellum, journal entries, graphite drawing, wind drawing, water drawing); Ariel Bowman. Gnaws Iron, Bites Steel, 2019. Ceramic, mixed media; Katie Hudnall, The Seed Keeper, 2021. Reclaimed wood, plywood, string, metal, maple seeds, hardware, various polychrome, lacquer, wax; Barbara Mann. Heirloom Oak Seed Container, 2019. Sterling silver, copper, bronze, peridot; Kim Mirus. Particulate Matter Emissions Exposure, 2021. Handwoven cotton, wool, and vintage rayon silk yarn; Alex Vonhof. NE 10371-001P, NE 10371-002P, and NE 10371-001P, 2023.Extracted pigments, glass vial, plexiglass; Tina Rath, Prayer for Repair, 2018. Japanese maple, sterling silver, hemp; Josh K. Winkler, Whitebark Pine on the Edge, 2022.Color woodcut; George Lorio, Peephole, 2023 Found bark and twigs on fabricated wood armature.

 

From left to right: Tina Rath. Prayer for Repair, 2018. Japanese maple, sterling silver, hemp; Ariel Bowman. Gnaws Iron, Bites Steel, 2019. Ceramic, mixed media; Barbara Mann. Heirloom Oak Seed Container, 2019. Sterling silver, copper, bronze, peridot; Kim Mirus. Particulate Matter Emissions Exposure, 2021. Handwoven cotton, wool, and vintage rayon silk yarn; Alex Vonhof. NE 10371-001P, NE 10371-002P, and NE 10371-001P, 2023.Extracted pigments, glass vial, plexiglass.

 

From left to right:Barbara Mann. Heirloom Oak Seed Container, 2019. Sterling silver, copper, bronze, peridot; Kim Mirus. Particulate Matter Emissions Exposure, 2021. Handwoven cotton, wool, and vintage rayon silk yarn;Alex Vonhof. NE 10371-001P, NE 10371-002P, and NE 10371-001P, 2023.Extracted pigments, glass vial, plexiglass.

 

From left to right: Tina Rath. Prayer for Repair, 2018. Japanese maple, sterling silver, hemp; Anthony Mead. What is Appreciation Anyway, 2021. Photo-transfer of Hudson River School paintings and graphite on handmade paper of kale, broccoli, corn husk, and US currency with interference pigment; Melissa Wang. Mycelium Map III, 2022. Brass wire, sodalite beads; Arron L. Foster. A Mere Breath, 2022 Cyanotype on handmade paper.

 

From left to right: Maxie Adler. Weaving the Wall, 2019-2021. Fabric; Alix Deanne, Headwaters, 35.142929, -82.838797,  2022. Glass and 35.595824, – 82.575330, Aluminum; Eric Stark. RG12-23 (ridge), andRG18-23 (hearts), 2023. Sweetgrass, waxed linen thread, found stone.

 

From left to right: Marta Staudinger. Root Rot I and No Mud No Lotus II, 2023. Archival digital print; Maxie Adler. Weaving the Wall, 2019-2021. Fabric; Alix Deanne, Headwaters, 35.142929, -82.838797,  2022 Glass and 35.595824, – 82.575330, Aluminum;

 

From left to right: Kirsten Taylor. Berth, 2023. Locally sourced clay, cedar, native prairie grass, handmade paper; Marta Staudinger. Root Rot I and No Mud No Lotus II, 2023. Archival digital print

 

From left to right: Elise Kendrot. Fracking Necklace #1, 2019. Copper, sterling and fine silver, cubic zirconia, precious opal; Brooke & Justin Rothshank. 1. Roots Study, 2020. Porcelain, celadon glaze, ceramic details; Nadine R. Saylor. Global Crisis, 2022. Handblown glass; Kari Varner. Monett & Sedalia, 2021. Archival pigment print of image grown in the microalgae Chlorella Vulgaris.

 

From left to right: Nadine R. Saylor. Global Crisis, 2022. Handblown glass; Kari Varner. Monett & Sedalia, 2021. Archival pigment print of image grown in the microalgae Chlorella Vulgaris; Rebecca Hutchinson. Balanced Blooms, 2020. Harvested willow, Fired and unfired porcelain paper clay, handmade paper from post-consumer materials.

 

From left to right: Rebecca Hutchinson. Balanced Blooms, 2020. Harvested willow, Fired and unfired porcelain paper clay, handmade paper from post-consumer materials; Maria L. Schecter. The Gatekeepers, 2020-2023.142 mycelium bricks, 2,592 grow hours, 260lbs. of mycelium, over 2,000 seashells, 32 foraged mushrooms in gold leaf; Alix Deanne, Headwaters, 35.142929, -82.838797, 2022. Glass and 35.595824, – 82.575330, Aluminum; Maxie Adler. Weaving the Wall, 2019-2021. Fabric; Elise Kendrot. Fracking Necklace #1, 2019. Copper, sterling and fine silver, cubic zirconia, precious opal; Brooke & Justin Rothshank. 1. Roots Study, 2020. Porcelain, celadon glaze, ceramic details.

 

From left to right: Rachel Simmons. Visible Climate: Postcards from America’s Changing Landscapes (Deluxe Edition #12), 2023. Paper, mixed media drawings; Maria L. Schecter. The Gatekeepers, 2020-2023.142 mycelium bricks, 2,592 grow hours, 260lbs. of mycelium, over 2,000 seashells, 32 foraged mushrooms in gold leaf; Maxie Adler. Weaving the Wall, 2019-2021. Fabric; Alix Deanne, Headwaters, 35.142929, -82.838797, 2022. Glass and 35.595824, – 82.575330, Aluminum.

 

Clockwise: Marcy Chevali. Untitled, 2021. Flameworked borosilicate glass on brass mount: Megan Broughton.
Lilliehöökbreen, 3/5 Variable Edition, 2022. Sugar-lift aquatint etching with overbeaten abaca paper pours by Anela Ming-Yue Oh; Becky McDonah. Panic Purchasing: A Reliquary for Toilet Paper, 2020. Copper, silver, shibuichi, glass, toilet paper Amy Edwards. Si eam videris, occidere; If You See It, Kill It, 2018. Copper, cast silver, embroidery floss; Rachel Simmons. Visible Climate: Postcards from America’s Changing Landscapes (Deluxe Edition #12), 2023. Paper, mixed media drawings; Maxie Adler. Weaving the Wall, 2019-2021. Fabric; Alix Deanne, Headwaters, 35.142929, -82.838797, 2022. Glass and 35.595824, – 82.575330, Aluminum; Alexis Zabor. Polyethylene : Abe, Polypropylene : Pahokee, Polyester : Barley, Silicone : Lennie + Nellie, Polyvinyl Chloride : Cooter + Cookie, 2023.
Plastic, Shetland wool, Icelandic wool.

 

From left to right: Alexis Zabor. Polyethylene : Abe, Polypropylene : Pahokee, Polyester : Barley, Silicone : Lennie + Nellie, Polyvinyl Chloride : Cooter + Cookie, 2023. Plastic, Shetland wool, Icelandic wool; Kari Varner. Monett & Sedalia, 2021. Archival pigment print of image grown in the microalgae Chlorella Vulgaris; Adrienne Sloane. No Place to Rest, 2023. Fiber; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws; Ann Coddington. Albatross 1, 2021. Twined linen and discarded plastic, Xray; MaryBeth Boone. Swift Encounters, 2022. Handmade and Mohawk Superfine papers, painted papyrus, and Pay Attention, 2023. Relief and pressure prints, Garamond type, French cover weight paper.

 

From left to right: Adrienne Sloane. No Place to Rest, 2023. Fiber; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws; Ann Coddington. Albatross 1, 2021. Twined linen and discarded plastic, Xray; MaryBeth Boone. Swift Encounters, 2022. Handmade and Mohawk Superfine papers, painted papyrus, and Pay Attention, 2023. Relief and pressure prints, Garamond type, French cover weight paper; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood; Katie Peck. From the Kitchen Window that No Longer Exists, 2021. Shaved carpet remnant; Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel; Caitlin La Dolce. Outermost Layers I, 2023. Abaca, embossed relief with graphite powder and Outermost Layers II, 2023. Abaca, wood-burned relief print; Stephanie Wolff. The Pocket Sky Atlas, 2023. Artist book, AP #1.

 

From left to right: Kari Varner. Monett & Sedalia, 2021. Archival pigment print of image grown in the microalgae Chlorella Vulgaris; Caitlin Parker. Abandoned Farm with Tree, 2022. Natural dye on recycled textiles, cotton, linen, raw silk, thread, canvas; Adrienne Sloane. No Place to Rest, 2023. Fiber; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws; Ann Coddington. Albatross 1, 2021. Twined linen and discarded plastic, Xray; MaryBeth Boone. Swift Encounters, 2022. Handmade and Mohawk Superfine papers, painted papyrus, and Pay Attention, 2023. Relief and pressure prints, Garamond type, French cover weight paper; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood; Katie Peck. From the Kitchen Window that No Longer Exists, 2021. Shaved carpet remnant; Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel; Caitlin La Dolce. Outermost Layers I, 2023. Abaca, embossed relief with graphite powder and Outermost Layers II, 2023. Abaca, wood-burned relief print; Stephanie Wolff. The Pocket Sky Atlas, 2023. Artist book, AP #1.

 

From left to right: Elise Kendrot. Fracking Necklace #1, 2019. Copper, sterling and fine silver, cubic zirconia, precious opal; Brooke & Justin Rothshank. 1. Roots Study, 2020. Porcelain, celadon glaze, ceramic details; Nadine R. Saylor. Global Crisis, 2022. Handblown glass; Kari Varner. Blueprints for Slaughter, 2021. Cyanotypes on Arches Aquarelle.

 

From left to right: Rachel Simmons. Visible Climate: Postcards from America’s Changing Landscapes (Deluxe Edition #12), 2023. Paper, mixed media drawings; Alexis Zabor. Polyethylene : Abe, Polypropylene : Pahokee, Polyester : Barley, Silicone : Lennie + Nellie, Polyvinyl Chloride : Cooter + Cookie, 2023. Plastic, Shetland wool, Icelandic wool; Rebecca Hutchinson. Balanced Blooms, 2020. Harvested willow, Fired and unfired porcelain paper clay, handmade paper from post-consumer materials; Maxie Adler. Weaving the Wall, 2019-2021. Fabric; Alix Deanne, Headwaters, 35.142929, -82.838797, 2022. Glass and 35.595824, – 82.575330, Aluminum; Adrienne Sloane. No Place to Rest, 2023. Fiber; Kari Varner. Blueprints for Slaughter, 2021. Cyanotypes on Arches Aquarelle; Caitlin Parker. Abandoned Farm with Tree, 2022. Natural dye on recycled textiles, cotton, linen, raw silk, thread, canvas; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws.

 

From left to right: Maggy Rozycki Hiltner. Superfun(d), 2021. Found red and white quilt, linen, cotton, artist-designed printed cotton, ironing board cover fabric, pre-quilted fabric, fusible adhesive, cotton embroidery floss, thread, machine and hand quilting and piecing, hand embroidery; Kalliopi Monoyios. Gyre, 2019. Single-use plastic food wrappers; Marcy Chevali. Untitled, 2021. Flameworked borosilicate glass on brass mount: Megan Broughton. Lilliehöökbreen, 3/5 Variable Edition, 2022. Sugar-lift aquatint etching with overbeaten abaca paper pours by Anela Ming-Yue Oh.

 

Clockwise: Adrienne Sloane. No Place to Rest, 2023. Fiber; Maggy Rozycki Hiltner. Superfun(d), 2021. Found red and white quilt, linen, cotton, artist-designed printed cotton, ironing board cover fabric, pre-quilted fabric, fusible adhesive, cotton embroidery floss, thread, machine and hand quilting and piecing, hand embroidery; Kalliopi Monoyios. Gyre, 2019. Single-use plastic food wrappers; Marcy Chevali. Untitled, 2021. Flameworked borosilicate glass on brass mount: Megan Broughton. Lilliehöökbreen, 3/5 Variable Edition, 2022. Sugar-lift aquatint etching with overbeaten abaca paper pours by Anela Ming-Yue Oh; Becky McDonah. Panic Purchasing: A Reliquary for Toilet Paper, 2020. Copper, silver, shibuichi, glass, toilet paper Amy Edwards. Si eam videris, occidere; If You See It, Kill It, 2018. Copper, cast silver, embroidery floss; Alexis Zabor. Polyethylene : Abe, Polypropylene : Pahokee, Polyester : Barley, Silicone : Lennie + Nellie, Polyvinyl Chloride : Cooter + Cookie, 2023. Plastic, Shetland wool, Icelandic wool.

 

From left to right: Caitlin La Dolce. Outermost Layers II, 2023. Abaca, wood-burned relief print; Maggy Rozycki Hiltner. Superfun(d), 2021. Found red and white quilt, linen, cotton, artist-designed printed cotton, ironing board cover fabric, pre-quilted fabric, fusible adhesive, cotton embroidery floss, thread, machine and hand quilting and piecing, hand embroidery; Kalliopi Monoyios. Gyre, 2019. Single-use plastic food wrappers.

 

From left to right: Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood; Katie Peck. From the Kitchen Window that No Longer Exists, 2021. Shaved carpet remnant; Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel; Caitlin La Dolce. Outermost Layers I, 2023. Abaca, embossed relief with graphite powder and Outermost Layers II, 2023. Abaca, wood-burned relief print; Maggy Rozycki Hiltner. Superfun(d), 2021. Found red and white quilt, linen, cotton, artist-designed printed cotton, ironing board cover fabric, pre-quilted fabric, fusible adhesive, cotton embroidery floss, thread, machine and hand quilting and piecing, hand embroidery.

 

From left to right: Kari Varner. Blueprints for Slaughter, 2021. Cyanotypes on Arches Aquarelle; Adrienne Sloane. No Place to Rest, 2023. Fiber; Caitlin Parker. Abandoned Farm with Tree, 2022. Natural dye on recycled textiles, cotton, linen, raw silk, thread, canvas; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws.

 

From left to right: Caitlin Parker. Abandoned Farm with Tree, 2022. Natural dye on recycled textiles, cotton, linen, raw silk, thread, canvas; Adrienne Sloane. No Place to Rest, 2023. Fiber; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws; Ann Coddington. Albatross 1, 2021. Twined linen and discarded plastic, Xray; MaryBeth Boone. Swift Encounters, 2022. Handmade and Mohawk Superfine papers, painted papyrus, and Pay Attention, 2023. Relief and pressure prints, Garamond type, French cover weight paper; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood; Katie Peck. From the Kitchen Window that No Longer Exists, 2021. Shaved carpet remnant.

 

From left to right: Ann Coddington. Albatross 1, 2021. Twined linen and discarded plastic, Xray; MaryBeth Boone. Swift Encounters, 2022. Handmade and Mohawk Superfine papers, painted papyrus, and Pay Attention, 2023. Relief and pressure prints, Garamond type, French cover weight paper; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood; Katie Peck. From the Kitchen Window that No Longer Exists, 2021. Shaved carpet remnant; Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel; On the TV: McLean Fahnestock. A Long Season, 2021. 4K Digital video with stop-motion animation, stereo sound, and Dominion Part I, 2023. Stop-motion animation with gold leaf (showing in this image); Isabel Zeng. What’s Left of Us, 2021. Single-channel video (objects in video: copper, hollow walnuts).

 

From left to right: Katie Peck. From the Kitchen Window that No Longer Exists, 2021. Shaved carpet remnant; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood;  Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel; [On the TV: McLean Fahnestock. A Long Season, 2021. 4K Digital video with stop-motion animation, stereo sound, and Dominion Part I, 2023. Stop-motion animation with gold leaf (showing in this image); Isabel Zeng. What’s Left of Us, 2021. Single-channel video (objects in video: copper, hollow walnuts)]; Laura Petrovich-Cheney. Tennessee Strong, 2017. Salvaged wood from the 2016 Gatlinburg, TN fires; Matt Smith. Learning to Count (West Fork Fire), 2021. Photo documentation of temporary site-specific installation, archival inkjet print.

From left to right: [On the TV: McLean Fahnestock. A Long Season, 2021. 4K Digital video with stop-motion animation, stereo sound, and Dominion Part I, 2023. Stop-motion animation with gold leaf (showing in this image); Isabel Zeng. What’s Left of Us, 2021. Single-channel video (objects in video: copper, hollow walnuts)]; Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel; Laura Petrovich-Cheney. Tennessee Strong, 2017. Salvaged wood from the 2016 Gatlinburg, TN fires; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood; Matt Smith. Learning to Count (West Fork Fire), 2021. Photo documentation of temporary site-specific installation, archival inkjet print.

From left to right: [On the TV: McLean Fahnestock. A Long Season, 2021. 4K Digital video with stop-motion animation, stereo sound, and Dominion Part I, 2023. Stop-motion animation with gold leaf;  Isabel Zeng. What’s Left of Us, 2021. Single-channel video (objects in video: copper, hollow walnuts) (showing in this image)]; Laura Petrovich-Cheney. Tennessee Strong, 2017. Salvaged wood from the 2016 Gatlinburg, TN fires.

 

From left to right: [On the TV: McLean Fahnestock. A Long Season, 2021. 4K Digital video with stop-motion animation, stereo sound, and Dominion Part I, 2023. Stop-motion animation with gold leaf;  Isabel Zeng. What’s Left of Us, 2021. Single-channel video (objects in video: copper, hollow walnuts)(showing in this image)]; Laura Petrovich-Cheney. Tennessee Strong, 2017. Salvaged wood from the 2016 Gatlinburg, TN fires

From left to right: [On the TV: McLean Fahnestock. A Long Season, 2021. 4K Digital video with stop-motion animation, stereo sound, and Dominion Part I, 2023. Stop-motion animation with gold leaf; Isabel Zeng. What’s Left of Us, 2021. Single-channel video (objects in video: copper, hollow walnuts)]; Laura Petrovich-Cheney. Tennessee Strong, 2017. Salvaged wood from the 2016 Gatlinburg, TN fires; Matt Smith. Learning to Count (West Fork Fire), 2021. Photo documentation of temporary site-specific installation, archival inkjet print; Becs Epstein. 365 Apologies: July to August, 2023. Handmade books, laser-engraved ceramic, 3-D printed stands, naturally dyed cotton gloves; Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel;  Adrienne Sloane. No Place to Rest, 2023. Fiber; Kari Varner. Blueprints for Slaughter, 2021. Cyanotypes on Arches Aquarelle; Caitlin Parker. Abandoned Farm with Tree, 2022. Natural dye on recycled textiles, cotton, linen, raw silk, thread, canvas; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood.

From left to right: Elaine Quave. Tropical Milkweed, 2017. Porcelain, stoneware, earthenware, steel; Matt Smith. Learning to Count (West Fork Fire), 2021. Photo documentation of temporary site-specific installation, archival inkjet print; Becs Epstein. 365 Apologies: July to August, 2023. Handmade books, laser-engraved ceramic, 3-D printed stands, naturally dyed cotton gloves; Maggy Rozycki Hiltner. Superfun(d), 2021. Found red and white quilt, linen, cotton, artist-designed printed cotton, ironing board cover fabric, pre-quilted fabric, fusible adhesive, cotton embroidery floss, thread, machine and hand quilting and piecing, hand embroidery; Kalliopi Monoyios. Gyre, 2019. Single-use plastic food wrappers; Carmen Ostermann. Eurasion Tree Sparrow Passer Montanus, 2021. Stoneware, paint, wood;Megan Broughton. Lilliehöökbreen, 3/5 Variable Edition, 2022. Sugar-lift aquatint etching with overbeaten abaca paper pours by Anela Ming-Yue Oh; Becky McDonah. Panic Purchasing: A Reliquary for Toilet Paper, 2020. Copper, silver, shibuichi, glass, toilet paper Amy Edwards. Si eam videris, occidere; If You See It, Kill It, 2018. Copper, cast silver, embroidery floss; Rachel Simmons. Visible Climate: Postcards from America’s Changing Landscapes (Deluxe Edition #12), 2023. Paper, mixed media drawings; Rebecca Hutchinson. Balanced Blooms, 2020. Harvested willow, Fired and unfired porcelain paper clay, handmade paper from post-consumer materials; Adrienne Sloane. No Place to Rest, 2023. Fiber; Kari Varner. Blueprints for Slaughter, 2021. Cyanotypes on Arches Aquarelle; Natalie Thedford. Weaving with Blue Tarp and Orange Electrical Conduit, 2022. Unraveled plastic tarp (repurposed), corrugated electrical conduit (repurposed), tape, screws; Ann Coddington. Albatross 1, 2021. Twined linen and discarded plastic, Xray; MaryBeth Boone. Swift Encounters, 2022. Handmade and Mohawk Superfine papers, painted papyrus, and Pay Attention, 2023. Relief and pressure prints, Garamond type, French cover weight paper.

 

From left to right: Ann Coddington. Albatross 1, 2021. Twined linen and discarded plastic, Xray; MaryBeth Boone. Swift Encounters, 2022. Handmade and Mohawk Superfine papers, painted papyrus, and Pay Attention, 2023. Relief and pressure prints, Garamond type, French cover weight paper.

 

Victoria Spindler-Fox. The Half of It, 2023. Mixed media – cloth, wire, kudzu, glass.

 

Larissa McPherson. Tree Armour, 2023. Aluminum chain mail with patinaed copper scales.

 

Links to video artists’ pieces included in the exhibition:

McLean Fahnestock: A Long Season, and  Dominion Part I

Isabel Zeng: What’s Left of Us

 

This exhibition is free and open to the public during Arrowmont business hours.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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