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DTSTART;TZID=America/New_York:20250916T120000
DTEND;TZID=America/New_York:20250927T170000
DTSTAMP:20260417T075246
CREATED:20250817T202949Z
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UID:10003359-1758024000-1758992400@vpa.uncg.edu
SUMMARY:that which remains art exhibition
DESCRIPTION:That Which Remains\n\n\n\nExhibition by Leigh Ann Hallberg and Paul Bright\n\n\n\nSeptember 16 – 27\, 2025\n\n\n\n*Reception: Friday\, Sept 19th | 6-8P\n\n\n\n*Gallery walk-through with artists\, 6:30p\n\n\n\n\n\n\n\n\n\n\n\nMore About That Which Remains  \n\n\n\nBeginning with our hominin ancestors\, artists have always made use of found materials\, recovered objects\, and their specific qualities to create art. But increasingly\, materials for art became subsumed mostly as vehicles for depiction and expression; as a means to an end. The singular qualities of the materials of art begin to reassert themselves in the late 19th C\, not merely coincidentally with the rise of photography. The photograph\, so successful in recording the specificity of surfaces\, the lighting and chiaroscuro of forms\, the “facts” of appearances\, allowed a medium like paint to more freely exhibit its inherent qualities\, even when used in the service of depiction. (Much of Impressionism was structured and animated by this interplay of the physicality of evident paint and the expression it facilitated.) The introduction of collage in Cubism and the conceptual deployment of found objects in the work of Duchamp et al\, brought intense focus on the materials of art as well as the proposition that art no longer needed be as created as it had been. It could be composed of preexisting things\, found and repurposed objects\, in a new\, industrialized world of burgeoning objects of all kinds. The artist’s role in this context was largely that of selector – not unlike a photographer taking a picture – finding or stumbling across the right object to convey an intended meaning\, a meaning which very often arose in part from the found object itself\, which carried a history of past use and significance that intertwined with its new role as art object. Improvisatory\, aleatory or chance methodologies often guided selection of the objects and the creation of these works. Our work in That Which Remains acknowledges this lineage and these approaches in varying degrees. \n\n\n\nOur respective work is diverse in the forms it assumes\, in its intentions\, and in its stylistic permutations. But in That Which Remains\, we are presenting works that share  \n\n\n\na focus on traces\, palimpsests\, residue\, and remnants. With the commonality of being made from detritus\, from the Found\, of discarded parts and fragments\, the works evince improvisation\, construction\, and accretion as compositional methods. The work is varied but coheres through conceptual\, aesthetic\, and visual overlaps. Our interventions on our chosen objects can be minimal or subtle\, but they are significant. \n\n\n\nLeigh Ann’s work evinces a preoccupation with lineage\, phenomena of “nature\,” and scales of time and experience\, in both the outer and inner worlds of human experience and the related proportionality of abstraction and figuration. It incorporates manipulated and reconfigured heirlooms; a woman’s dress gloves (Chirality); a sectioned and reconfigured Murray Bay wool blanket (Murray Bay: Standing Wave; a broken plate with inscribed figures of a seemingly runic numerology (3:2); re-embroidered linens (Leighs\, Nana’s Helix); and durational paintings called Accretions. She also presents an elegant metaphor for our toxic\, over-consumptive present\, Core Sample\, a totem holding layered and compressed plastic waste\, reminiscent of glacial ice samples containing the stratified atmospheric history of eons.  \n\n\n\nPaul’s are fundamentally abstract works\, even when they are composed of figurative or recognizable elements. They eschew or disrupt narrative. They traffic in advertising imagery – the “de/collages” of found materials and removed posters\, the serendipitous Tear Sheets – and the found materials that pervade our lives (Just Like A Box). He is interested in how the physical degradation of their components mirrors their materialist and often retrograde messages. However\, when these elements and ambiguous images are recontextualized in collaged compositions\, they reveal an unexpected poetry. This is also elicited from the “aural quotidian” in his sound collages’ arrangement of found and recorded sounds (Wet in Dry)\, while the direct\, minimal contrasts of topical printed matter (of Minor Interventions) opportunistically reveals the unintended irony or ready-made satire of their sources. \n\n\n\n \n\n\n\nGreensboro Project Space Weekly Hours: \n\n\n\nTuesday-Friday\, 12-5p \n\n\n\nSaturday\, 2-5p
URL:https://vpa.uncg.edu/single-event/that-which-remains-art-exhibition/
LOCATION:Greensboro Project Space\, 111 E February 1 Pl\, Greensboro\, NC 27406\, USA
CATEGORIES:College of Visual and Performing Arts,Greensboro Project Space,School of Art
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ORGANIZER;CN="Greensboro Project Space":MAILTO:greensboroprojectspace@gmail.com
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250925T033000
DTEND;TZID=America/New_York:20250925T160000
DTSTAMP:20260417T075246
CREATED:20250911T181844Z
LAST-MODIFIED:20250911T181848Z
UID:10003433-1758771000-1758816000@vpa.uncg.edu
SUMMARY:A Decade of Darkness
DESCRIPTION:Photographer MJ Sharp is a documentary artist based in Durham\, North Carolina. She was a visiting Fulbright Scholar at the University of Exeter\, UK\, for the 2021/2022 academic year pursuing the art/science collaboration Our Disappearing Darkness and Recreating True Night  with nocturnal ecologist Dr. Kevin Gaston.  \n\n\n\nTo learn more about MJ Sharp visit: https://mjsharp.com/
URL:https://vpa.uncg.edu/single-event/a-decade-of-darkness/2025-09-25/
LOCATION:Gatewood Studio Arts Center\, 527 Highland Ave\, Greensboro\, NC 27412\, USA\, 527 Highland Ave\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Art
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20250925T193000
DTEND;TZID=America/New_York:20250925T210000
DTSTAMP:20260417T075246
CREATED:20250812T181253Z
LAST-MODIFIED:20250925T023349Z
UID:10003344-1758828600-1758834000@vpa.uncg.edu
SUMMARY:Robert Young\, saxophone
DESCRIPTION:https://youtube.com/live/RBP9-DLsyog?feature=share\n\n\n\n\n\n\n\n\nFueled by a deep desire to create an enthusiasm surrounding the classical saxophone\, Dr. Robert Young connects with audiences with his musicianship\, virtuosity\, and authenticity. Praised for his “effortless expression and facile technique” (The Saxophonist Magazine)\, Robert maintains an active career as a soloist\, chamber musician\, and educator. His artistry has afforded him opportunities to appear with ensembles and musicians from across the globe including the PRISM Quartet\, The Crossing\, Chris Potter\, Ravi Coltrane\, Uri Caine\, Charlotte Symphony\, Detroit Chamber Winds and Strings\, and the Charleston (SC) Symphony Orchestra.  \n\n\n\nAs a chamber musician\, Robert collaborated with The Crossing and performed alongside the PRISM Quartet on the GRAMMY Award-winning album Gavin Bryars: The Fifth Century (available on ECM Recordings). The New York Times praised the collective performance on this album as “superb”and “eloquent.” Young has appeared with the PRISM Quartet on numerous concerts including residencies at the Curtis Institute\, Shepherd School of Music (Rice University)\, and the University of North Carolina School of the Arts. He can be heard on several albums with this notable ensemble including The Curtis Project\, Heritage/Evolution\, Volume 2\, and The Book of Days.  \n\n\n\nAppearing with the Berkeley Symphony Orchestra as soloist in the 2023-24 season\, he was hailed as “uncommonly expressive…and technically prodigious” (San Francisco Classical Voice) for his performance of Guillaume Connesson’s acrobatic concerto\, A Kind of Trane. He has also been a soloist with the United States Navy Band\, performing Quicksilver by Chicago-based composer Stacy Garrop\, and has been featured as a soloist with the Rock Hill Symphony Orchestra\, Piedmont Wind Symphony\, UNCSA Symphony\, and Zagreb Soloists (Croatia). \n\n\n\nRobert holds a teaching position at the University of North Carolina at Greensboro as Assistant Professor of Saxophone. Young’s students have received honors at several local\, regional and national competitions and have been featured at several clinics and conferences throughout the country. He previously has served on the faculties of the UNC School of the Arts\, The Crane School of Music – SUNY Potsdam\, and Wichita State University. Young is often invited to give guest lectures and classes throughout the country. In Fall 2022\, Robert was invited as be a guest teacher for the renowned University of Michigan saxophone studio as a sabbatical replacement for the award-winning saxophonist Timothy McAllister. \n\n\n\nRobert earned his Doctor of Musical Arts (2011) and Master of Music (2008) degrees in saxophone performance from the University of Michigan where he studied with Professor Donald Sinta. At the University of Michigan\, he studied jazz saxophone with Dr. Andrew Bishop and was a recipient of the Lawrence Teal Fellowship. Young received a bachelor’s degree from the University of South Carolina (2006) in saxophone performance where he studied with Dr. Clifford Leaman.  \n\n\n\nAs a Conn-Selmer Artist\, Robert Young plays exclusively on Selmer saxophones. He also serves as a D’Addario artist/clinician and endorses Key Leaves products. \n\n\n\n\n\n\nDownload Program\n\n\n\n\n\nParking\n\n\n\n\n\n\n\n\nThe importance of philanthropy has never been greater. Please consider a gift to the School of Music to support our mission and ensure the future of music at UNCG. \n\n\n\n\n\n\n\nInstagram\n\nFacebook\n\nX\n\nYouTube
URL:https://vpa.uncg.edu/single-event/robert-young-saxophone/
LOCATION:Tew Recital Hall\, 100 McIver St\, Greensboro\, 27412\, United States
CATEGORIES:College of Visual and Performing Arts,School of Music
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