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“Never Judge A Book By Its Contour" Handmade paper and cerami
“Never Judge A Book By Its Contour" Handmade paper and ceramic, bas relief, 2011-2012, 21 ½” x 29 ½’ “Household Economics,” “Dress Making,” and “Non-professional Course” Serigraphs, 2011-2012, 13” x 10” Alli DelleDonne, 1988-
Alli DelleDonne is a 2012 ɫ graduate with a BFA in Art and Ar
Alli DelleDonne is a 2012 ɫ graduate with a BFA in Art and Art Education. She won the Outstanding Student of the Year Award and was an honor graduate and a member of several honor societies. She won first place in the Juried 2012 Valdosta State Student Competition for the three silk screen prints on paper that are now a part of our permanent collection. DelleDonne creates works on paper and in ceramic form. As of 2013 she was living in Fermandina Beach Florida and working at the Amelia Island Pottery Studio. When DelleDonne was searching for a theme and images for a print making project she came to the archives: “I knew I wanted to do something with ɫ when it was a women-only college. I have always been interested in vintage photographs, and I really like the history of ɫ.” 1 Of her experience working with archival images she said: “It was interesting seeing how much things have changed over the years. I loved seeing the old books and course catalogs …. At that point, it was just a matter of figuring out which images would work best for me and my project.”2 According to DelleDonne, “The layering of text and imagery allows the viewer to discover each layer on its own while also appreciating the print as a whole. I innately strive to make something beautiful, but I hope the viewer can also take away a sense of being home from my works.” When these pieces won the Student Art Competition in 2012, the ɫ Archives and Special Collections purchased the pieces to add to their art collection. After all, how many archives have been part of creating art? After the purchase, DelleDonne donated the magnificent sculpture of a cameo in an elaborate ceramic frame. It is an amazing and unique piece that compliments the smaller prints. The old traditional cameo elements combined with the clockwork picture of the woman’s mind create an anachronistic piece, highlighted by the heavy, but deliberately cracked ceramic clay frame. According to DelleDonne, Art is a place to call home: knick-knacks, crafts, found objects, handmade items, and treasured heirlooms. All the comforting things of home accompanied with a deep underlying past and meaning. I am fascinated by past and present socially constructed stigmas and preconceived notions regarding what is considered domestic. I am also interested in what society considers a “housewife”. Crafts, vintage advertisements, handmade objects, and imperfection play a crucial role in the planning and making of my works. In this screen print series I incorporated imagery from South Georgia State Normal College Bulletins ranging from 1913 to 1917. By physically removing the faces of the female figures it allows them to be anonymous to the viewer. The layering of text and imagery allows the viewer to discover each layer on its own while also appreciating the print as a whole. I innately strive to make something beautiful, but I hope the viewer can also take away a sense of being home from my works. (email from Allie DelleDonne, 5-7-2012)
“Untitled" 2013, Acrylic on Canvas, 48” x 50” Great Britain,
“Untitled" 2013, Acrylic on Canvas, 48” x 50” Great Britain, 1957 Andrew Tatler-Burgess
Andrew Tatler-Burgess was born in England, educated at the Win
Andrew Tatler-Burgess was born in England, educated at the Windsor Boys School and the City and Guilds of London Institute, before studying at the Royal Academy of Art in Holland. He has engaged in all aspects of the art world, since he has been a painter for more than twenty years, a dealer who has sold artworks in several galleries he and his wife have owned around the United States, and a collector, part of whose collection of medieval illuminated manuscripts, antique books, and botanical engravings the library displayed in 2012 and bought for its permanent collection, naming the acquisition The Tatler-Burgess Collection. Mr. Tatler-Burgess is currently enrolled as a student in interdisciplinary studies at ɫ, and has recently opened a business called Vapeus, in downtown Valdosta. In the fall of 2013, the library hosted an exhibition of oil and acrylic paintings by Mr. Tatler-Burgess that included paintings he had done for the Florida Heritage Art Series which were exhibited in the Florida State Capital gallery by the Florida Department of State in 2007. Limited edition prints were struck from some of the paintings and sold to benefit the preservation of natural resources throughout the state. The exhibit also included personal favorites such as The Geisha, a work inspired by the 2005 film, Memoirs of a Geisha, of which Mr. Tatler-Burgess commented: “Her stoic façade projects intimacy to her client and hides her true emotions.” Mr. Tatler-Burgess created this painting for the third floor collection displaying local artists. Its subject, Football, is a tribute to Valdosta State. He donated it the ɫ Archives and Special Collections in 2013.
“Landscape 1954” Oil on canvas, 22” x 53 ½” Arthur Deshaies
“Landscape 1954” Oil on canvas, 22” x 53 ½” Arthur Deshaies United States, 1920-2011 Donated by Julie Bowland
Arthur Deshaies was of French-Canadian ancestry and born in P
Arthur Deshaies was of French-Canadian ancestry and born in Providence, R.I. By the age of ten, he was forsaking making traditional drawings of persons or objects in favor of “putting colors together and making designs”1, as well as producing prints with drypoint on aluminum and printing the impressions with his mother’s washing machine wringer2. He studied at Cooper Union until World War II, when he joined the army and served as a paratrooper. After the war, he got his BFA at Rhode Island School of Design in 1948, and received an MFA from Florida State University in 1950, where he eventually returned to teach in their Art Department from 1963-1989 after having taught at Indiana University, the Ogunquit School of Painting and Sculpture, and the Pratt Institute in NYC. Deshaies is especially noted for his initiative in being the first printmaker to use a large block of plaster as a plate for printing3, and for his early use of large sheets of Lucite to create engravings, a technique he recounted and provided examples of in his essay, “Experiments in Lucite Engraving”. Deshaies is recognized as one of the world’s leading printmakers and a highly talented painter, and as such received many notable grants and awards recognizing his merit. Among them are a Fulbright fellowship to France in 1952, a Tiffany Foundation Grant in 1960, a Guggenheim Fellowship in Creative Printmaking in 1961, and grants for residencies at the artist colonies of MacDowell and Yaddo. His works can be found in many notable museums in the U.S. and Europe, including the Museum of Modern Art in New York, the Brooklyn Museum, and the Smithsonian Institution’s American Art Museum, as well as in many private collections. 1. Brown, Blanche.“’The Death That Came for Camus’, by Arthur Deshaies”, Museum of Fine Arts, Florida State University, Fall 2011. Web. 25 September 2013. 2. Deschaies, Arthur. “Experiments in Lucite Engraving”, in Eichenberg, Fritz, ed., and McNulty, Kneeland, intro. Artist’s Proof: a Collector’s Edition of the First Eight Issues of the Distinguished Journal of Prints and Printmaking. Greenwich, CT; New York Graphic Society, 1971. Issue # 2, p. 21. 3. Brown, Ibid.
“ɫ Architecture” Computer Graphic Print, 11 ½ “ x “14” Court
“ɫ Architecture” Computer Graphic Print, 11 ½ “ x “14” Courtney Page Hackett United States, 1986- First Place, Centennial Art Competition, ɫ, 2008
Courtney Page was a Senior Art major when she was awarded Firs
Courtney Page was a Senior Art major when she was awarded First Place for “ɫ Architecture” in the Centennial Art Competition held at ɫ that was open to any student artist who was enrolled on campus during Fall 2007. Using Adobe Illustrator, she chose West Hall dome for her subject, since she considered it “a beacon of light”1 for our students. Upon graduation she became an instructor at the Chastain Center for the Arts, as well as teaching children’s classes at Imhotep Academy and the Boys and Girls Club. She is producing exciting, vibrant mixed media and acrylic paintings that can be seen at Courtney P. Hackett Art2 and sells lovely, imaginative jewelry at Etsy3. The ɫ and Special Collections purchased this piece in 2008. 1. “Page Wins First in Centennial Art Competition”, March 4, 2008, http://www.valdosta.edu/about/news/releases/2008/03/artaward-030408.php Accessed May 21, 2013. 2. Courtney P. Hackett Art, https://www.facebook.com/CourtneyPageArt/app_2373072738?filter=1 , Accessed May 21, 2013 3. Artsy KP Jewelry, http://www.etsy.com/shop/ArtsyKP , Accessed May 21, 2013
“Destruction” Oil on canvas, early 1970s, 48” x 57” Dan Puisseg
“Destruction” Oil on canvas, early 1970s, 48” x 57” Dan Puissegur United States, 1952-2005 President’s Award, 1973
Dan Puissegur was born in Puerto Rico to Cuban parents who mov
Dan Puissegur was born in Puerto Rico to Cuban parents who moved to Moultrie, GA, where Dan grew up and graduated from high school in 1969. After the family moved to Lakeland, Florida, Dan exhibited in many of the galleries of the Tampa-St. Petersburg metropolitan area over many years, and also did set design for theater and opera that took him as far afield as the Caramoor Music Festival, New York, and London. He spent increasing time in his later years in New York City, where he died in 2005. His influence continued after his death, when for Indian fashion week in the first week September, 2007, designer Namrata Joshipura displayed a collection described as a lavish “theatrical production that draws inspiration from the works of the late Cuban American artist Dan Puissegur -- a consummate renaissance man, Dan loved nurtured and inspired his friends and loved ones. The collection "Happy Day" is inspired by his exploration of color, movement and personality.”1 “Destruction” is one of the largest and most arresting paintings in our collection. It depicts an earthquake swallowing up a town, with fires raging in the background. The colors are predominantly earth and fire tones with some greenery in the background. It is an ambitious canvas for so young an artist, and especially striking considering that it is unlikely he could have had personal knowledge of one. 1. “Figuratively Speaking Appraisal Report”, WLIFW S/S Sep ’07 Delhi-Appraisal REPORT, The Fashion Weekend. 8 October 2007. Web. 20 May2013.
“A Painted Lady” Acrylic on canvas, 23 1/2” x 36” Earle McKey I
“A Painted Lady” Acrylic on canvas, 23 1/2” x 36” Earle McKey III United States, 1943- Donated by the Art Department, ɫ
Earle McKey III is a botanical artist whose prints and paintin
Earle McKey III is a botanical artist whose prints and paintings of flowers, fruit, and birds resemble the works of classic botanical and bird artists of the late 18th and early 19th century, such as William Bartram and John James Audubon. He graduated from Valdosta State College with a degree in Art Education, and also studied at the Parsons School of Design in New York City. He has had two one-man shows at the State Botanical Garden of Georgia, and he has participated in group shows at The Cloister on Sea Island, Georgia. Some of his works can be purchased as note cards or prints at http://withlacoocheeware.com/ He is a long-time resident of Valdosta and is an active participant in the Lowndes County Historical Society. “A Painted Lady” is very different from the majority of works that McKey does, which are usually depictions of flowers, fruits, or birds, done in the classic style of botanical prints of the late eighteenth and early nineteenth century. The title of this painting is referring to a term used to describe late Victorian and Edwardian houses that have been painted in three or more colors to enhance their architectural details. The most famous neighborhood of this type is found in San Francisco, but other distinctive groups of such homes can be found in Baltimore, St. Louis, New Orleans, Cincinnati, and Cape May, NJ. But since none of those communities have palmetto trees, it must be somewhere around here, but it isn’t a landmark such as the Lapham-Patterson House, or the Fairview Inn or The Crescent or Pebble Hill. The pastel colors do enhance the sense of the colorful architecture, and the warmth of the semi-tropical climate.
“Thistle Mandala” Watercolor on paper, colored pencil, 23k gol
“Thistle Mandala” Watercolor on paper, colored pencil, 23k gold leaf, 23 ½” x 23 ½” Elantu Veovode Born 12/13/48, Two Gray Hills, NM, United States
Elantu Veovode bought her first work of art at the age of eigh
Elantu Veovode bought her first work of art at the age of eight and began collecting art books shortly thereafter. Her mother, who was born in Russia, raised her in a variety of locales, including British Columbia, Colorado and an Indian reservation in New Mexico, with forays to such exotic locations as Alaska, NY and Montreal. Influenced by numerous family members and friends who immigrated to America as well as Native American family, she began developing her view of the world at an early age. She was home-schooled and developed a keen interest in many subjects. She began working at 17 and eventually got a degree in Slavic Linguistics from the University of Texas, but began her life’s work in the arts in 1969 under the tutelage of Inuit artist Aggeak Quakjuk, with whom she studied for two years. In 1986 she won a grant to study at Jagiellonian University in Cracow, Poland, where she focused on the topic of Pre-Christian Elements in Eastern European Folk Art. Her work is owned by many private collectors and has been displayed at the Helen Day Art Museum of Stowe, VT and ɫ Library. She is the author of two books, The Contented Poacher: Tales and Recipes from a Epicure in the Wilderness (2003) and Eclipse (2011). She is presently enrolled in Art classes at ɫ in order to learn techniques she has not previously mastered. Elantu donated this piece to the ɫ Archives and Special Collections in 2013 after an exhibit of her work appeared in Odum Library. Elantu draws and paints small, brightly colored works on paper because she has a limited range of vision. Legally blind, she was born with tunnel vision that allows her a small, but detailed window on the world. Although she depicts plants, animals, and angels, she is most identified with her paintings of knotwork mandalas, distinctly Celtic in design, that incorporate flowers, animals, birds, insects, musical instruments, and the Greenman into their design. They are made by first drawing the design onto the paper with India ink and allowing it to dry overnight, then applying the first layer of permanent color and allowing it to dry. Subsequent layers of colored ink are then washed over the color to create spaces. If gold leaf is going to be used, it will be added a day after the colors have dried. Finally, colored pencil or a wax transfer is added last and blended in for highlights. The final effect is stunning and mesmerizing to viewers. Her works are available as prints, limited edition gold leaf prints and paintings. Quite likely the reason her paintings appeal is because they have deeper foundations than is apparent on the surface: “Many of Veovode’s works are based on mathematics, repeating motifs, knots based on a prime number and non-linear equations. Some of her more recent work incorporates images from physics and string theory.” “The use of plants and animals in my designs defines my work. I begin with the zoomorphs, arranged in a pleasing mathematical relationship to one another, and then design the knotwork to complement the figures. In many cases, the knotwork is designed to describe movement associated with the animal.” (Elantu Veovode, 2013 interview)
“Budapest” Acrylic on canvas, 23” x 27”, acquired in 2011 And “
“Budapest” Acrylic on canvas, 23” x 27”, acquired in 2011 And “Still Life” Oil on canvas, 31” x 43” (Mary) Irene Dodd United States, 1941- Purchased by the ɫ Art Funding Pool in 2011
Irene Dodd is a painter in watercolor, acrylic, and oils and t
Irene Dodd is a painter in watercolor, acrylic, and oils and the daughter of painter Lamar Dodd. She received her A.B. degree at Duke University in 1964 and studied at the University of Georgia with Lamar Dodd, Howard Thomas, and Everett Kinstler, receiving her MFA in 1967. She became a member of the Art Department at Valdosta State College in 1967, was department head from 1972-1980, and remained until her retirement in 2002. She continues to reside in Valdosta, GA. Ms. Dodd has participated in a number of individual and group shows throughout the Southeast and the United States. She has won prizes at the following events: Georgia Watercolor Exhibition, 1984, and Southern Watercolor Exhibition, 1984 & 1985. She illustrated Darien: the death and rebirth of a southern town, by Spencer B. King (1981), which is owned by Odum Library. She was named “Artist of the Month” by the Southern Artists League in April, 2006. Her paintings are owned by the Smithsonian Institution and various museums in Georgia. Shortly before her retirement from ɫ, she stated in an interview to the Valdosta Daily Times: “It’s like students asking, ‘How do I know a painting is finished?’ Well, it’s never finished. Well, if you painted the perfect painting, or wrote the perfect article, why continue? There are times to continue with a certain painting and a time to stop, but the painting is never finished if painting is your life. New experiences, past experiences, your attitude on a given day, they are all reflected, and hopefully, each painting is a piece representing a larger statement.” “Budapest” with its purples, pinks, greens and whites showcases a common element of Dodd’s work, the reflection. The rich colors are echoed in the reflection of the buildings. “Still Life” is an earlier work by Dodd featuring strong colors. We have four paintings by Irene Dodd on display in the library. Two of her works are on the first floor as part of the Lamar Dodd Collection.
“North Georgia Diptych” Aqueous media on paper, Date, 60” x 40
“North Georgia Diptych” Aqueous media on paper, Date, 60” x 40” J. Stephen Lahr United States, 1943- Donated by J. Stephen Lahr
John Stephen Lahr was born in Lincoln, Nebraska, where he r
John Stephen Lahr was born in Lincoln, Nebraska, where he received his BFA and M.Ed degrees from the University of Nebraska at Lincoln in 1968 and 1972. In 1974 he began his teaching career in public school in Nebraska, then later moved on to the Universities of Nebraska at Lincoln, Nebraska at Omaha, Missouri at Columbia, and finally settled at Valdosta State College, at which he served from 1985-2013. As an artist, he prefers to work in mixed-media, aqueous media, collage, assemblage, and photography. Among the museums and corporate collections that hold his work are Sun Bank Atlanta, GA; University of Nebraska at Omaha Eppley Collection; and the Joslyn Art Museum Omaha, NE, Permanent Collection. Among the many juried exhibitions at which Lahr’s work has been displayed are these: Georgia Art Education Association Annual Juried Membership Exhibitions: 2008, Athens, GA, 2009 Young Harris College, Art and Craft, 2011 Kennesaw State University, Creativity Every Day; Greater London Works on Paper Exhibition, summer 1996; Southeastern Watercolor VIII, De Land (FL) Museum of Art and the Coastal Art Center, fall/winter 1995-1996; Georgia Watercolor Society 14th Annual National Juried Exhibit, Macon, GA, spring 1993. Only a small portion of his numerous honors can be listed here: his inclusion in Who’s Who in American Art from 1983 to 2011, his selection by the Georgia Art Education Association as Art Educator of the Year for 2008, his inclusion in the Archives of Southern Artists at the Morris Museum of Art in Augusta, Georgia, and his election to the office of President of the Georgia Art Education Association.
“Untitled” one piece from a trilogy called “Jettys” Mixed me
“Untitled” one piece from a trilogy called “Jettys” Mixed media on canvas, 1973, 23” x 47” Joe W. Taylor United States, 1941-
Joe W. Taylor came to St. Augustine as a baby with his family
Joe W. Taylor came to St. Augustine as a baby with his family in their Model T Ford “in the middle of a hurricane” in 1942.1 Except for his absences due to naval service and studies at Valdosta State College and the New York Art Institute, where he studied under Everett Raymond Kinstler, Moses Soyer and Robert Brackman, St. Augustine has been the city where he has lived and pursued his career, eventually owning the Colours Studio Gallery on Aviles Street before retiring in 2002. His paintings can currently be seen in the Aviles Gallery and his studio in Elkton, FL. He is an outdoor painter, who does much of his work on location at Aviles Street, with its many authentic historic buildings, and Lincolnville, a historic African-American neighborhood with the highest concentration of Victorian residences in St. Augustine, many built by black carpenters. He also does portraits and enjoys painting farm animals and is so noted for his paintings of roosters that he is called “the rooster painter”.2 The canvas we own, an untitled canvas from a trilogy called “Jettys”, was done as a class project in 1973 and consists of oil, acrylic, and gold foil faded to silver. Taylor admits it is totally different from his style as a realist, but he said was done as an abstract because it was for Irene Dodd’s class. 3 1. Lane, Marcia. “Passion for Painting.” The St. Augustine Record. The St. Augustine Record, 17 July 2011. Web. 21 June 2013. 2. “Joe W. Taylor”, St. Augustine Fine Artists, Online Arts, n.d. Web. 25 June 2013. 3. Taylor, Joe. W. “Re: Question about an older piece.” Message to Deborah S. Davis. E-mail. 21 April 2013.
“Dancers Series # 45” Watercolor, 23 1/2” x 36” John Kolb McIve
“Dancers Series # 45” Watercolor, 23 1/2” x 36” John Kolb McIver United States, 1930-
John McIver was born in Jacksonville, FL. He received an A.B.
John McIver was born in Jacksonville, FL. He received an A.B. from Trinity College in CT, but became a self-taught painter of watercolors. He in turn taught others in his home town of Jacksonville, where he lived, exhibited, and sold numerous pieces of work to members of the community until 1967, when he then moved to Evansville, IN and later Grandville, MI. He continued to paint representational watercolors for thirty-six years up to 1993, when he abruptly changed his style and produced abstract canvases instead, though he still works in the watercolor medium. A 2005 exhibit recently described his present work as “collage and crafts energy-filled canvases of color, light, and texture…reminiscent of delicate Japanese-inspired textiles1.” He presently lives in Hickory, N.C., and is still exhibiting his works within the state. Mr. McIver is a member of the American Watercolor Society and has exhibited his works there and with the Southern Watercolor Society. Among the collections which hold his work are the Oklahoma Museum of Oklahoma City, the Jacksonville Art Museum, and the Asheville (N.C.) Art Museum. His painting that we own, “Untitled”, belongs to his earlier, representational period. 1. “Modern Eye Gallery in Charlotte, NC, Offers Exhibit by Gallery Artists”, Feature Articles, Carolina Arts, May 2006. Web. 30 August 2013.
“Sealine-1” Oil on wood panel, 48 ½ ” x 48 ½ ” Joseph W. Pember
“Sealine-1” Oil on wood panel, 48 ½ ” x 48 ½ ” Joseph W. Pember United States, 1922-2009 Unknown source of acquisition, 1970s
Joseph Willard Pember was born in Bangor, Maine in 1922, and g
Joseph Willard Pember was born in Bangor, Maine in 1922, and graduated with a B.A. in world history from the University of Georgia in 1943. After serving in the Army Infantry, he returned to the University of Georgia, where he studied under Lamar Dodd and graduated with an M.F.A in 1947. He came to Valdosta State College as an Assistant Professor of Art in 1948, where he remained until 1980, retiring with the rank of Professor Emiritus of Art. One of his former students, Robert Leedy, a 1979 VSC graduate and successful artist, has vivid recollections of his classes with Mr. Pember: “Mr. Pember was a big proponent of plein aire painting and his watercolor classes were usually full during Spring Quarter. Like many of the ɫ philosophy classes during springtime, the majority of Mr. Pember’s were conducted outside. Nothing made me happier than a beautiful, sunny, spring morning where I was painting watercolors en plein aire.”1 But the classes didn’t just paint outdoors on the lawns of the campus; in discussing an early work of his titled Water Lillies I, Mr. Leedy remembers: “We trekked out to a small swamp in South Georgia and painted water lillies that were just starting to bloom. I remember ants crawling across my paper and bees drowning in my mixing water.”2 For the subject of an interior still life, Pember made the unusual choice of eggs and lit them with studio lights; the bored young Leedy chose to depict them in bold abstract colors, and Pember loved the result. The canvas we own, “Sealine-1”, is a large abstract oil painting on canvas dating from the 1970s of a seascape probably done en plein aire, quite possibly in Maine, where his father’s family was from, or perhaps on the coast of Georgia or Florida. It is a strong painting, full of the energy of the sea and wind, and the predominant colors are blue and black, with lesser touches of white and green. 1. “New Print Available: ‘West Hall’”, Robert Leedy Watercolors: The World According to Me, 17 February 2010. Web. 20 June 2013. 2. “Water Lillies I”, Robert Leedy Watercolors: The World According to Me, 1 January 1995. Web. 20 June 2013.
"St. Marks Winter Palm" Oil on canvas, 2007, 40” x 30” Julie B
"St. Marks Winter Palm" Oil on canvas, 2007, 40” x 30” Julie Bowland United States, 1957- Donated by Julie Bowland
Julie Bowland derives her talent from both her parents, for he
Julie Bowland derives her talent from both her parents, for her father is a retired psychologist and art therapist as well as an artist with whom she has done joint exhibitions, and her mother had created ceramic wall hangings and collages from her father’s drawings. Growing up in Indiana and Michigan, her interest in art was nurtured by repeated trips to Chicago’s Art Institute to view the works of Monet and Van Gogh. She eventually returned to her native Florida, where she earned a B.F.A from Florida State University painting lush, tropical swamps; then moved to the very different climate of the Southwestern desert, where she earned her M.F.A. at Arizona State University at Tempe. She taught Art at Florida State University and Tallahassee Community College, served as director of the 621 Gallery, and Director of Art in Public Places for the Tallahassee/Leon County Cultural Resources Commission before assuming her present position as faculty member in Valdosta State’s Department of Art and Director of its Fine Arts Gallery in 2002. Ms. Bowland’s work has been exhibited in a number of regional solo, two person and group shows, and she has won several awards in the Annette Howell Turner Center of the Art’s Best of Spring Into Art and Thomasville Cultural Center’s Summer Showcase competitions. Continuing her interest in the Southwestern landscape, she has painted and taught plein air painting workshops several times at Escalante Canyons Art Festival in Utah. Her paintings are held by many private collectors and a number of public and corporate collections, including the Museum of Arts and Sciences in Daytona Beach, Buchanan (Michigan) Museum of Fine Arts, Florida State College at Jacksonville, the City of Tallahassee Permanent Collection, and First South Bank in Tallahassee. “St. Marks Winter Palm” was painted at St. Marks National Wildlife Refuge, south of Tallahassee, Florida for inclusion in the exhibit, “The Triumph of Plein Air: St. Marks Refugees”, a title chosen to express the love that she and her artist friends had for “painting outdoors at this beautiful refuge on the coast as opposed to working in a studio…I love the spontaneity of painting in the wild, responding directly to the energy of a place. The changing light, heat, cold, bugs, wind, birds and alligators all add to the dynamic experience of painting outdoors.”1 “St. Marks Winter Palm” is very characteristic of Ms. Bowland’s work, depicting a wooded, tropical Florida landscape, with intense glowing colors that include pink and purple highlights seldom seen in real landscapes. She explains why she uses color like this: “My color choices are intended both of an exaggeration of the natural colors I see in the wild as well as an expression of my feelings; they are both based on my response to nature and a personal expression of emotion. There is no formula, but I avoid brown and even green and I find them boring in a landscape painting. There are so many more interesting colors which you can see if you really look carefully.”2 Ms. Bowland donated this picture to the ɫ Archives and Special Collections. She is an active member of both the University Art Collection committee and the Library Art Committee. 1. Bowland, Julie. “Need some information about the painting you donated to the library.” Message to Denise L. Montgomery. E-mail. 9 September 2013. 2. Ibid.
“The Visitor” Colored pencil on paper, 29 ¼” x 23 ½,” late 1980
“The Visitor” Colored pencil on paper, 29 ¼” x 23 ½,” late 1980s Leon Colvin United States, 1953- Donated by Carol Gillespie, in honor of Maxine Gillespie, librarian, Valdosta State College, 1968-1980
Among the artists in our collection, Leon Colvin has probably
Among the artists in our collection, Leon Colvin has probably achieved the greatest success as a result of overcoming the most tremendous odds. As a child he lived in the Poss Homes housing project in Chattanooga, with no exposure to art beyond newspaper comics and art instruction in elementary school. Yet his teachers were quick to recognize his talent, asking for his help in providing drawings of Santa Claus and George Washington for holiday bulletin boards, and classmates actually parted with their lunch money for his highly realistic drawings of Samson. Upon reaching his teens, he was asked to study art at Kirkman Tech, and he used the bus rides as an opportunity to explore downtown on foot. His route to school took him past Fowler Brothers Furniture Store, where he stopped to gaze in enchantment at the wildlife paintings in the windows. Finally one day he got the courage to go inside and said, “I want to paint like that.” A kindly saleswoman gave him postcards of the pictures. Though he was one of only 27 African-Americans studying at Kirkman, his fellow students were very tolerant for the late ‘60s, and the faculty was surprisingly receptive to his rather unusual choice of subject matter. After graduation, he went through a period of what he described as “drifting”—first working as a physical therapist, then as a waiter, in Atlanta, before deciding to move to Valdosta in 1979 and to devote himself to his art full-time. He was the first local artist to do a one-man show at Valdosta’s Cultural Arts Center, and his career took off after that as a regional artist, where he has become one of the best-known wildlife artists in the Southeast. He does oil paintings, but his specialty is drawings in colored pencil of birds, often with flowers, and wildlife of all kinds. He is so fastidious in his work on the drawings that he will scrutinize them outdoors, under a magnifying glass, looking for imperfections. He pays particular attention to the eyes of his subjects, because as he told one reporter, he “learned very early on the eye is the key to the whole expression of his subject.” “The Visitor” is one of Colvin’s colored pencil drawings, which depicts a green hummingbird and a bluebird perched on the branches of a blooming pink azalea bush. What makes this picture so appealing is that the birds are portrayed with more warmth and life than most pictures of this type, and look real enough to fly off the paper.
“Crepe Myrtles on the VCC” (Valdosta Country Club) Mixed media
“Crepe Myrtles on the VCC” (Valdosta Country Club) Mixed media on canvas, 2012, 46 ½” x 34 ½ ” Ronald Zaccari United States, 1937- Purchased by the Foundation
Ronald Zaccari’s parents, who played in jazz bands and were in
Ronald Zaccari’s parents, who played in jazz bands and were interested in the arts, denied him coloring books but instead gave him plenty of paper and clay with which to create drawings and figures from fourth grade on. Intending to be a basketball coach, he went to Slippery Rock State University, but wound up majoring in art instead after he had taken an art course as an elective and was encouraged to major in it by the teacher. Ron Zacarri then went on Carnegie Mellon to study studio art while simultaneously studying art history at the University of Pittsburg. He finished his academic studies at Penn State, pursuing a doctorate in Art and Anthropology, where his studies in the functionalism of Claude Levi-Strauss led him into his career as a university administrator. Ronald Zaccari taught in the art departments of Edinboro State University, the University of Colorado at Boulder, and was Head of the Visual Arts Department at Southeastern Louisiana University, and held the rank of Professor of Art in all his university administration jobs. Over the years his work has been exhibited in Louisiana, Texas, Florida, New York, West Virginia, and Georgia, and he has served as a judge or juror at exhibitions in Florida, Texas and Louisiana. His sculptures are owned by private collectors and one is in the Jerry and Kay Jennett Lecture Hall on the campus of ɫ. “Crepe Myrtles on the VCC” came about as a result of the fact that Ronald Zaccari’s home sits on the tee box of the 7th hole of the Valdosta Country Club with crepe myrtles between it and the golfers teeing off, which he sees every day. He started sketching it one day, then transferred it to a painting.1 The painting also includes pieces of colored sewing thread, which he used to draw on the painting by using a wood stylus and Elmer’s wood glue to manipulate the strings. He used another instrument in order to remove the excess glue. The painting was originally included in a 2012 exhibit at the Turner Art Center, along with some other smaller pieces were also purchased by the foundation. 1. Zaccari, Ronald. Personal Interview by Denise Montgomery. 3 September 2013
“Growing Ideas” Computer Graphic Print, 26 ½” 21 ¼” Thomas And
“Growing Ideas” Computer Graphic Print, 26 ½” 21 ¼” Thomas Andrew Larson United States, 1985-
Drew Lawson was born in Morven, GA and received a B.F.A. from
Drew Lawson was born in Morven, GA and received a B.F.A. from ɫ, where he majored in art with a concentration in graphic design. Since his graduation, he has done wonderful graphic posters that can be seen at http://talartwork.blogspot.com/ and is an animator who has created an animated series called Valwood, numerous short video films, and one film, Mario’s Day Off, that has received over 300,000 hits on YouTube. This piece placed in the Centennial Art Competition in 2008 and was purchased by the ɫ Archives and Special Collections.
Poissons de Chants Computer Illustration 2006, So Far So Good:
Poissons de Chants Computer Illustration 2006, So Far So Good: The poissons push forward with their plan to rescue Rene Magritte, # 18 37” x 37” 2007, The Escher dance was a favorite distraction, #27 29” x 48” 2008, Negotiating with sheep, #32 33” x42” Tom Lundquist United States, 1950-
Tom Lundquist was born in Minneapolis, MN, took his degree at
Tom Lundquist was born in Minneapolis, MN, took his degree at California State University at Northridge, and teaches introductory art classes part-time at Santa Monica College. He describes himself as “not reclusive …visually oriented and I hope the prints are more interesting than I am.”1 Lundquist specializes in producing thematic series of computer-generated prints, of which the most ambitious is Poissons de Chants, and were created between 2005-2012. In an e-mail, Lundquist commented: “The Poissons de Chant (PdC) series of prints illustrates the adventures of a mythical troupe of singing fish from Montreal. Most of the characters are production assistants, agents, accountants, or animal performers that work for the fish. When the "poissons" appear, they are often hidden in bowls. The elaborate narrative that is described in the series doesn't really exist. Though a number of people have suggested that I write a story to go with the illustrations, the only thing I really enjoy doing is making pictures. PdC eventually ran to 96 prints. Everything in this exhibit is produced through some form of digital modeling and/or digital painting. I turned to computer imagery after spending much of my younger years making elaborately detailed drawings. The ability to create much more complex images was an irresistible draw and I was willing to put aside traditional drawing values to do it.”2 The works make sly references to artists such as Salvador Dali and Rene Magritte. The series consists of 96 images in all and three additional images without the fish. Part of this series was displayed at the gallery in the Fine Arts building at ɫ, and those works were subsequently donated to the University. The Library is displaying the following three prints from the Poissons de Chants series: So Far So Good: the poissons push forward with their plan to rescue Rene Magritte (#18), The Escher dance was a favorite distraction (#27), and Negotiating with sheep (#32).These three reference libraries or museums. Patrons who wish to get copies of Lundquist’s prints can download them free of charge at: http://tomlundquist.us/ 1. Lundquist, Tom. “From ɫ: I need some information for profile to accompany your pictures.” Message to Denise L. Montgomery. E-mail. 26 June 2013. 2. Ibid.
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