VA -- Winchester -- Museum of the Shenandoah Valley -- Exhibit: Rock Paper, Scissors:
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Description of Pictures: Rock, Paper, Scissors
THROUGH Oct 31 2021
This fascinating fiber art exhibition presents contemporary textiles and mixed-media works created by artists from New Image, an all-female group of active studio artists from Virginia, Maryland, and Washington, DC, who work primarily with cloth, paper, and alternative materials. Inspired by the natural landscape of the Shenandoah Valley and the materials used by New Image artists, Rock, Paper, Scissors presents a wide range of art, from standard quilts to three-dimensional works. All works will be on first-time public view at the MSV. On view until October 31, 2021. Rock, Paper, Scissors is organized and curated by Shenandoah Valley resident Trudi Van Dyke.
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MSVRPS_210715_004.JPG: Rock Paper Scissors
Works b New Image Artist
As the popular saying goes, "Art doesn't have to match your couch." It doesn't always need a frame. New Image Artists is a Fiber arts group made up of 12 professional artists who reach beyond the scope of any generalizations. They each maintain their own art practice but come together monthly to plan and prepare for creating cohesive group exhibitions.
This time of environmental crises, and now a pandemic, found these artists turning to themes upon which to reflect and express themselves by creating new work. The beauty of the Shenandoah Valley and the opportunity it presents to immerse in and escape through art began a discussion of `rock'. The mountains, the terrains, and the vistas are all embedded in the beauty of the rock. What could artists do with that theme? Soon these artists were sculpting rock -- hard and soft, fanciful and realistic -- in a myriad of media. Known for their work in a variety of fiber and mixed media, the artists began to expand their horizons. Within cutting, sculpting, printing, and stitching the artists found mutual ways in which their work intersected.
Paper, made from fiber, is clearly represented in many of the challenges the artists sought. The tool in common was scissors. Like rock and paper the variations on scissors are endless, as is the symbolism they can evoke.
It wasn't a stretch for the title and theme of the show to become, "Rock, Paper, Scissors," echoing the childhood game we had all grown up with. Each artist chose her own interpretation of a part or whole of the game and created new work in her own fiber-focused media to present at the Museum of the Shenandoah Valley.
Enjoy the exhibition and share a round of the game.
Trudi Van Dyke, Exhibition Curator
MSVRPS_210715_010.JPG: Imperfect Intention, 2020
B. J. Adams
Mixed media (various fabrics, paper, thread)
To represent the theme of Rock Paper Scissors, but not the game, I embroidered, appliqued, and pleated elements in random techniques. With Imperfect Intention I then joined them into an interrupted composition.
MSVRPS_210715_014.JPG: Making the Cut, 2020
New Image Artists
Mary Beth Bellah
Andrea V. Uravitch
Trudi Van Dyke, Curator
MSVRPS_210715_021.JPG: Rock Paper Scissors, 2019
B. J. Adams
Textiles, (various fabrics [cotton and blends, wool, poly], lace and various threads)
To actively represent the game Rock, Paper, Scissors, I embroidered two sets of hands, involved in playing.
MSVRPS_210715_025.JPG: The Common Vestigial Scissorbill, 2020
Mary Beth Bellah
MSVRPS_210715_035.JPG: Memory Catcher, 2020
Fish netting knots with pine paper
thread, gold leaf
My husband died suddenly a few years ago. As I go through his things, I am struck by the fact that when I throw something away that jogs a memory, the memory will most likely be lost forever. It is impossible to keep all the things and it is impossible to keep hold on to all the memories. This Memory Catcher references those childhood dream catchers my children made. Hopefully it can hold some of the memories of a long and lovely marriage.
MSVRPS_210715_043.JPG: Screaming Frill Lizard, 2020
Andrea V. Uravitch
Scissors, wire, fabric
My Screaming Frill Lizard is representative of the nature sculptures that I make. I frequently incorporate paper in my pieces as found in the frill on the lizard. I was attracted to the visual image which also expresses the frustrations we all feel at times. My goal is to draw attention to the natural world through my mixed media sculptures.
MSVRPS_210715_059.JPG: Par Hasard, 2020
The rock-paper-scissors game of chance relies on hands: a fist, an open hand, or two fingers. Who hasn't played the game? A game of selection, rock-paper-scissors depends on hiding, then revealing one's choice. I decided to make a scroll form because the scroll both reveals and hides. Used paper coffee filters printed with images of scissors (positives, line drawings, and negatives) overlap on the outside of my scroll. The inside is printed with images of stones from our creek. ‘The stone screens are made from my tracings in paint of the creek stones to represent both the presence and absence of stones moved along by the current.
MSVRPS_210715_067.JPG: Disconnected, 2020
Altered Book, Indigo
The Annotated Sherlock Holmes is a book that my late husband read to me when I was pregnant with each of our three children. He is gone, the children are grown, and the times and memories are fading away.
MSVRPS_210715_078.JPG: Stills From a Life 30, 2007
Cotton and silk organza
In a friend's studio, I saw an amazing collection of scissors in a jar -- and most of them were red! This piece is my impression of her collection seen from different angles.
MSVRPS_210715_085.JPG: Endgame, 2020
Linen, cotton, wool
In a world where the scissors are quilted linen, the only rock capable of winning is soft and embroidered.
MSVRPS_210715_089.JPG: Wildflowers Along the Highway, 2020
Cotton, polyester, assorted threads
Flowers and grasses along highways provide food for birds and small animals, and add visual interest and color for passing motorists.
MSVRPS_210715_094.JPG: Segment 0420, 2020
Scissors, wire, cotton
Transformed scissors, attached and fanned, become an organic segment, reminiscent of primordial spiral: encoded in nature, the earth, and galaxies around us.
MSVRPS_210715_102.JPG: Hard Places, 2020
When a strong creek current or flashflood carries a stone from one place to another, the stone resettles. But the empty hollow where the stone used to be remains as a memory of the place left behind. I began portraying rocks and stones in my work as a metaphor for migration, but now, in coronavirus times, the empty places, like empty streets and sidewalks, have become even more important.
MSVRPS_210715_108.JPG: Page Turner, 2020
Old papers, maps, letters, and marks are the ephemera of written and drawn history. Making a mark, leaving something for those who come after, are ways of recording history. As someone who has changed places often, I leave a mark in every place I have lived: something left as a memory of my presence, my being there at some time. I say, "It's for the archaeologists," because if ever they dig in a place I have been, they will find me. We had a midden in our old farmhouse in Belgium. I tossed pieces of broken pottery from our previous home in Korea in the midden, an old thimble of mine, small notepapers, cloth and buttons, and bits of our lives. I have left evidence of us in all our gardens, our compost piles, and in farm fields around the places we have called home.
MSVRPS_210715_116.JPG: A Thousand Cuts, 2020
Scissors: a tool or a weapon? Instrument for good or bad, making or destroying, cutting on the dotted lines. The images that dance across A Thousand Cuts are my scissors for sewing, paper-cutting, embroidery, and even a pair of surgical scissors from my grandfather's medical bag. I chose to arrange them with points down as a warning that these tools have blades that can hurt and stab, even though they are tools for creating.
MSVRPS_210715_121.JPG: Stills From a Life 36, 2009
Cotton and silk organiza
On my studio worktable I keep my scissors and other tools in two favorite black and white mugs. These translucent shapes are ®. placeholders for my many essential tools.
MSVRPS_210715_127.JPG: Paper Birch, 2020
Mary Beth Bellah
Cotton, copper wire, threads, embellishments
MSVRPS_210715_137.JPG: Rockbed, 2020
Mary Beth Bellah
Cotton, rocks, felt, threads
Much of my work refers to nature and frequently to tree forms. With the rock-paper-scissors theme it was easy to land on a rock bed strewn with autumnal leaves and the glorious paper birch. In both these quilts, I have to say, the fabric does most of the work.
MSVRPS_210715_141.JPG: Paperless, 2020
"Paperless" has a new meaning in the world of virtual communications. It is promoted as a means of environmental consciousness, as in it saves trees, which of course it does. It also saves money for the business that is promoting it as they are saved the costs of printing, assembling, and mailing. So, it's a win/win situation. But in the case of this Paperless, it is a very literal application. Rock, Paper, Scissors, but without the Paper.
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Wikipedia Description: Museum of the Shenandoah Valley
From Wikipedia, the free encyclopedia
The Museum of the Shenandoah Valley is located at 901 Amherst Street, Winchester, Virginia. The Museum endeavours to preserve and enrich the cultural life and heritage of the Valley. Located on the largest green space in the city of Winchester, the MSV is a regional cultural center including a museum designed by Driehaus Prize winner Michael Graves, seven acres of formal gardens, and the Glen Burnie House dating to the 18th century.
The MSV complex consists of three main components:
The Glen Burnie Historic House traces its history to surveyor James Wood (?-1759), who settled this land in the early 18th century and donated portions of his land to establish the city of Winchester, Virginia in 1744. His son Robert Wood constructed the central portion of the Glen Burnie Historic House in the 1790s. The house’s ownership passed through several generations of Wood and then Glass families until Julian Wood Glass Jr. (1910–1992), acquired it in 1955. Julian Wood Glass Jr. was the last descendant of James Wood to own the Glen Burnie Historic House.
Beginning in 1959, and aided by his partner R. Lee Taylor, Glass transformed the house into a country estate, and the couple designed the Glen Burnie Gardens. Glass created the Glass-Glen Burnie Foundation prior to his death in 1992, and entrusted the Foundation to open the site to the public as a museum. The Glen Burnie Historic House & Gardens opened to the public in 1998.
Today, interpretive panels tell the story of those who lived in the house from 1796 to 1992 and exhibitions are presented annually in the Drawing Room.
The house is listed on the National Register of Historic Places and the Virginia Landmarks Register.
The gardens surrounding the Glen Burnie Historic House were created beginning in 1956 and evolved over the latter half of the 20th century. Built for formal entertaining, the gardens include sculpture, fountains, and folly buildings. Highlights include rose, statue, vegetable, Asian, and perennial gardens. The pond in the Water Garden is stocked with golden trout.
The Museum of the Shenandoah Valley was designed by architect Michael Graves and opened to the public in 2005. The Museum contains four main galleries:
Shenandoah Valley Gallery
The broad sweep of Valley prehistory and history is explored in the museum's large Shenandoah Valley Gallery. A number of different exhibition techniques are used here, including multi-media presentations, interactive elements, images, maps, dioramas, and display of decorative arts. Objects on display include furniture, fraktur, silver and other metals, baskets, textiles, paintings, folk art, long rifles, and ceramics, for which the Valley is famous.
Presents changing exhibitions including, or relating to, the private collection of MSV benefactor, Julian Wood Glass Jr.
R. Lee Taylor Miniatures Gallery
This gallery presents an outstanding collection of furnished miniature houses and rooms by R. Lee Taylor (1924–2000), who lived at Glen Burnie from the late 1950s until his death. At the time of his death, Taylor had assembled fourteen completely furnished rooms and houses. On display are five houses and four rooms by R. Lee Taylor showcasing the work of more than seventy-five miniatures artisans. Also on display are four shadowboxes by the late Valley miniatures artist William P. Massey, who created his work between the 1930s to 1940s.
Changing Exhibitions Gallery
Several temporary exhibitions are presented throughout the year.
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