The 12th Annual Protégé Competition and Exhibition,which features works by high school students from Central Georgia at the Museum of Arts and Sciences, opens with an Awards Reception on Friday, March 27, 2015.
Working with local school systems, students enter works in the juried competition, which is judged by an expert artist. Their work is celebrated in an Exhibition in one of the Museum’s galleries and recognized with an Awards Presentation.
The Museum of Arts and Sciences presents its 3rd annual Emerging Artists exhibition, showcasing rising stars from the Southeast. Six contemporary artists, representing some of the nation’s finest undergraduate and graduate art programs, will display works ranging from large-scale abstract paintings to paper forms and ceramics. The exhibition opens on March 6, 2015 and runs through June 28, 2015.
The Museum of Arts and Sciences has invited a leading vertebrate paleontologist to shed new light on “Ziggy,” its 40-million-year-old Zygorhiza whale fossil and one of Georgia’s most valuable treasures. A public lecture is planned for February 26, 2015, at 7PM. Currently, the Museum classifies its Ziggy as genus zygorhiza, a subfamily of the dorudontinae species of ancient whales. A great deal of new scientific research has been uncovered in recent years about the dorudontinae species of ancient whales, which may impact the Museum’s educational programming. In February, the Museum will bring Dr. Mark Uhen, one of the nation’s leading vertebrate paleontologists, to Macon to review the fossil and consider the need for a reclassification of Ziggy from Zygorhiza to Dorudon serratus.
Steeped in the Southern legacy of storytelling, together with a sensitivity for place, Betty Bivins Edwards finds narration in art altogether natural. What she has to say about the South, however, is far from mere anecdote. Rather, in the tradition of her fellow Georgian writer Flannery O’Connor, she uses stinging wit and ironic humor to underscore the contradictions of a society clinging with only subliminal awareness to the assumptions of the past. This adherence to worn-out notions is all the more desperate, Edwards implies, because of the wrenching changes brought on by contemporary life.
Slechta’s art process is a simple one: light = color. It is the basic premise of how we perceive our natural world, only with Slechta’s art; there is a very specific place and time of this occurrence. John Cage once said, “There is no such thing as an empty space or an empty time. There is always something to see, something to hear.” In Slechta’s photograms, that principle is turned into moments of transience.
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