that which remains art exhibition
2025-09-16 12:00 - 2025-09-27 17:00 (America/New_York) | Greensboro Project Space, 111 E February 1 Pl, Greensboro, NC 27406, USA
That Which Remains

Exhibition by Leigh Ann Hallberg and Paul Bright

September 16 – 27, 2025

*Reception: Friday, Sept 19th | 6-8P

*Gallery walk-through with artists, 6:30p

More About That Which Remains

Beginning 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.

Our 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

a 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.

Leigh 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.

Paul’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.

Greensboro Project Space Weekly Hours:

Tuesday-Friday, 12-5p

Saturday, 2-5p

A Decade of Darkness
2025-09-22 03:30 - 16:00, 2025-09-23 03:30 - 16:00, 2025-09-24 03:30 - 16:00, 2025-09-25 03:30 - 16:00, 2025-09-26 03:30 - 16:00 | Gatewood Studio Arts Center, 527 Highland Ave, Greensboro, NC 27412, USA, 527 Highland Ave, Greensboro, 27412, United States
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.

To learn more about MJ Sharp visit: https://mjsharp.com/

Adam Frey, euphonium
2025-09-22 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/Y834VVlhA80?feature=share

Adam Frey travels the globe sharing his talents as a performer and advocate for live music. Adam has soloed with orchestras and bands the world over, including the world famous Boston Pops, Cheju Symphony Orchestra (South Korea), US Army Orchestra (Washington DC), Harvard Pops (MA), Fort Collins (CO), Indian Hill (MA), the Vaasa Symphony Orchestra (Finland), Atlanta Philharmonic (GA), Camerata Eleutheria (Argentina), Cascade (WA), Greensboro (NC), Clemson (SC), LaGrange (GA), Minot (ND), Bellevue Philharmonic (WA), and Northeastern (MA) Symphony Orchestras. He also performs regularly with wind bands and brass bands that have included Soli Brass in Holland, Point of Ayr in Wales, the National Youth Brass Band of Switzerland and wind bands from Singapore, Thailand, Brazil, South Korea, Guatemala, the Dominican Republic, Columbia, Peru, Australia, Russia, Finland, China, Germany, Hong Kong, and the United States.

Adam has been guest soloist at festivals around the globe, including four times at the Midwest Clinic (USA), the WASBE Convention (Singapore), Melbourne International Festival of Brass (Australia), Trombonanza (Argentina), Carlos Gomez Festival (Brazil), Jeju International Wind Festival (South Korea), Asia Pacific Band Directors Conference (South Korea), Westby Low Brass Workshop (Norway), Peru Low Brass Festival (Peru), Colombia Festubal (Colombia), Tubmania (Thailand), and Orquesta Latinoamericana de Vientos (Colombia) to name a few.

A native of Atlanta, Georgia, Adam Frey received his musical training at the University of Georgia, the Royal Northern College of Music, and the University of Salford. As a major ambassador of the euphonium, Adam has more than one hundred and twenty works that have been composed or specifically arranged for him. Most are published by Euphonium.com Publications, Pinnacle Brass Publications, and Absolute Brass.com.

For 17 years, Adam has hosted the International Euphonium Tuba (IET) Festival at Emory University. This event each June hosts more than 175 students and teachers from around the world in a week of playing, learning, and inspiration. Participants range from high school and college students to adult amateurs. More details at: www.IETFestival.com

Adam Frey is also Associate Professor at the University of North Georgia. His website, www.euphonium.com, contains sound files, performance schedules, photos from his world travels, and his recordings and publications.

Adam Frey is a Yamaha Performing Artist and Guest Clinician.

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Studio Voice Recital
2025-09-23 17:30 - 19:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/qDEC73okv9U?feature=share

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Luke Ellard, clarinet
2025-09-23 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/NgJe10aNkHw?feature=share

Clarinetist, composer, educator, and new music collaborator Luke Ellard strives for art that continually reaches out, valuing a relational spirit, informed engagement, and unapologetic authenticity.

For Luke, collaboration is what gives music life. As a clarinetist, they have performed with members of Bang On a Can All Stars, Eighth Blackbird, International Contemporary Ensemble, Fifth House Ensemble, Arkansas Symphony, Winston-Salem Symphony, and Mallarmé Chamber Music. As a composer, their music has been performed and commissioned by ensembles such as North Texas Wind Symphony, HOCKET, New Trombone Collective, Barkada Quartet, among others. Their current performance projects center around their self-produced solo cross-genre/electronic band LE, performing with their new music quartet Sounding Board, and commissioning new exciting works for the clarinet.

Dr. Ellard serves on the faculty at the University of North Carolina at Greensboro as Assistant Professor of Clarinet, having previously served on faculty at the University of Oklahoma and Midwestern State University while teaching privately and performing in the Dallas-Fort Worth area. Luke earned their Doctor of Musical Arts in Clarinet Performance with related studies in Contemporary Music and Music Entrepreneurship at the University of North Texas, studying under Kimberly Cole Luevano. Additionally, Luke has earned degrees from Indiana University Jacobs School of Music (James Campbell & Eric Hoeprich), the University of Texas at Austin (Yevgeniy Sharlat, Dan Welcher, & Donald Grantham), and Louisiana Tech University (Lawrence Gibbs, Joe L. Alexander).

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Jazz Ensembles I and II: All Blues
2025-09-24 19:30 - 21:30 | The Crown at the Carolina Theatre, 310 S Greene St, Greensboro, 27401, United States
The Miles Davis Jazz Studies program begin their 2025-26 season at The Crown with “All Blues!” This concert celebrates the blues in all its forms – from the vocal prowess of Aretha Franklin to the energetic complexity of John Coltrane. Jazz Ensembles I and II will set your soul on fire in this very special concert. Get your tickets now, because they ALWAYS sell out!

The Miles Davis Jazz Studies Program at UNCG is a unique and innovative undergraduate jazz program designed to emulate the traditional process of learning jazz, through a combination of mentorship, real-world playing experiences, and a communal approach to learning. Although the program is housed in one of the largest music schools in the Southeast, it is kept intentionally small, resulting in an intensive and highly personalized learning environment.

UNCG offers the following degree programs for students interested in studying Jazz:

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

TicketPriceAdult$16.20Seniors$10.20Military$10.20Students$10.20Ticket prices include a $3.00 processing fee and applicable sales tax.

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Robert Young, saxophone
2025-09-25 19:30 - 21:00 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
https://youtube.com/live/RBP9-DLsyog?feature=share

Fueled 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.

As 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.

Appearing 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).

Robert 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.

Robert 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.

As 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.

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Aaron Goldberg
2025-09-26 19:30 - 21:30 | Tew Recital Hall, 100 McIver St, Greensboro, 27412, United States
featuring Garrett Arellano, Chad Eby, Brevan Hampden, and Thomas Heflin

https://youtube.com/live/n8l7Cs68C00?feature=share

The Miles Davis Jazz Studies Program at UNCG is a unique and innovative undergraduate jazz program designed to emulate the traditional process of learning jazz, through a combination of mentorship, real-world playing experiences, and a communal approach to learning. Although the program is housed in one of the largest music schools in the Southeast, it is kept intentionally small, resulting in an intensive and highly personalized learning environment.

UNCG offers the following degree programs for students interested in studying Jazz:

Bachelor of Music (B.M.) – Performance

Post-Baccalaureate Certificate in Jazz Studies

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The 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.

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