Teresa Cole exhibits new works at whitespace in Atlanta

Teresa Cole's 3rd solo exhibition, Depth of Surface at whitespace will include handmade paper works and two installations created from hand-printed and hand-dyed Japanese paper. This show contains pieces that utilize paper in two different ways. The first way is through a group of works where the imagery and handmade papers are created at the same time. These works were produced at Dieu Donne´ Paper Mill in New York City where different colored pulps are meshed together to create both image and structure. The second way of working pushes the paper to become structural. This is manifested in installations that use Washi or Japanese paper by printing on each sheet then folding and dying  and finally forming the sheets into their own surface.  All the works employ patterned imagery as a grammar, a dialect, a language of desire.

Opening Reception: Friday, February 19th | 7 - 10 pm
Exhibition Dates: February 19th - March 26th, 2016

Tulane Contemporary Glass at St. Tammany Art Association

The St. Tammany Art Association’s current exhibit, Tulane Contemporary Glass, spotlights the energy and influence behind Tulane University's Glass program and its founder, Professor Gene Koss. On view are works from professors, graduate students and former students of the glass art program at Tulane which has inspired and shaped the New Orleans glass art movement. The exhibit features works by Gene Koss, Dan Alley, Christopher Gray, Weston Lambert, Andrew Ledford, Dakota Moe, Devon Murphy, Francine Judd Stock and Lisa Tahir.

Tulane Contemporary Glass will be on view from February 13 - April 2, 2016. The St. Tammany Art Association is located at 320 N. Columbia Street, Covington, Lousiana. Gallery hours are Tuesday through Friday, 10am – 4pm and Saturdays, 11am – 4pm.

Stephanie Porras authors new book on Pieter Bruegel

The question of how to understand Bruegel’s art has cast the artist in various guises: as a moralizing satirist, comedic humanist, celebrator of vernacular traditions, and proto-ethnographer. Stephanie Porras, Assistant Professor of Art History, reorients these apparently contradictory accounts, arguing that the debate about how to read Bruegel has obscured his pictures’ complex relation to time and history.

Rather than viewing Bruegel’s art as simply illustrating the social realities of his day, Porras asserts that Bruegel was an artist deeply concerned with the past. In playing with the boundaries of the familiar and the foreign, history and the present, Bruegel’s images engaged with the fraught question of Netherlandish history in the years just prior to the Dutch Revolt, when imperial, religious, and national identities were increasingly drawn into tension. His pictorial style and his manipulation of traditional iconographies reveal the complex relations, unique to this moment, among classical antiquity, local history, and art history.

An important reassessment of Renaissance attitudes toward history and of Renaissance humanism in the Low Countries, this volume traces the emergence of archaeological and anthropological practices in historical thinking, their intersections with artistic production, and the developing concept of local art history.

Pieter Bruegel's Historical Imagination, published by Penn State University Press, will be available April 15, 2016.