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40th Juried Exhibition, A Sense of Place

The Gertrude Herbert Institute of Art is pleased to announce the 2022 juried fine art competition, A Sense of Place. Open to participants from throughout the United States, this event, now in its 40th year, seeks to recognize the outstanding quality and diversity of work being generated by contemporary American artists.

Founded in 1937 and housed in the historic Nicholas Ware mansion (c. 1818), the Gertrude Herbert Institute of Art (GHIA) is Augusta’s only independent nonprofit visual arts school and gallery. The Institute serves as a showcase for local, regional, and national artists, offering rotating exhibitions of outstanding contemporary artwork year-round. In addition, professionally taught studio art classes in a wide variety of media are provided to students of all ages and experience levels.

Juror: Erin Dunn  Erin Dunn is Curator of Modern and Contemporary Art at Telfair Museums in Savannah, GA, where she has worked since 2014. She supports the modern and contemporary art program by coordinating and organizing exhibitions at Telfair Museums’ Jepson Center. Her projects are wide-ranging, but one driving focus is the interpretation and communication of social and cultural issues addressed through the medium of photography, explored previously through Watershed: Contemporary Landscape Photography and Youthful Adventures: Growing Up in Photography. Recent exhibitions include a retrospective of American photographer Bruce Davidson and solo presentations of work by artists Sonya Clark and Noel W Anderson. In addition, Dunn has spearheaded several exhibitions for Telfair’s #art912 initiative, which raises the visibility and promotes the vitality of artists living and working in Savannah. Dunn holds a BA from Emory University and an MA from the University of Georgia.

Non-Refundable Entry Fee: $35 entry fee for up to 3 entries/images. Each image counts as an entry.

Awards

Three cash prizes will be given, including a $750 Best of Show Award and two $500 Juror’s Awards. At the juror’s discretion, additional noncash Merit awards may also be presented. Award recipients will be announced on Friday, September 2, 2022, at the opening reception for A Sense of Place. 

Eligibility

The 2022 juried fine art competition is open to all US artists age 18 and older. All works must be original, not previously exhibited at the Gertrude Herbert Institute of Art, and completed on or after June 1, 2020. Work that predates this cut-off date will not be considered. Entries in the following media will be accepted: painting, drawing, mixed media, printmaking, ceramics, sculpture, fabric art and photography. Film and video pieces are ineligible due to our limitations. Entries are not judged in media categories.

Calendar of Events

June 15, 2022 – Entry deadline

July 18 – Notification letters sent to artists

On or before August 15 – Delivery deadline for accepted works

September 2–October 7 – Exhibition on view

September 2, 2022, from 6-8 PM – Awards presentation and reception

October 21 – Deadline for artwork to be picked up. Return shipment can take up to 2 weeks after the closing date of show to be shipped due to the volume of artwork.

Alfred Hutty: Painter, Printmaker, Preservationist

One of the principal artists of the Charleston Renaissance, Alfred Heber Hutty (1877–1954) was a native of Grand Haven, Michigan. He spent most of his youth in Kansas City, where his innate artistic abilities led to a scholarship at the then-new Kansas City School of Fine Arts when he was only fifteen. Later, he was employed as a glazier and that led to his pursuit of stained-glass design, initially in Kansas City, later in St. Louis, and finally In New York City, where he was employed by the Tiffany Studios. He studied with Birge Harrison at the Art Students League and at the nascent art colony in Woodstock, New York, where he was among the first artists to settle full time.

After service during World War I, Hutty visited Charleston, South Carolina, for the first time, a visit that, legend has it, prompted him to send a telegram to his wife: “Come quickly, have found heaven.” He began dividing his time seasonally between homes and studios in Woodstock and Charleston and soon became a fixture in Charleston’s art circles. From 1920 to 1924 he was the director of the Carolina Art Association (now the Gibbes Museum of Art), and in 1921 he was a founding member of the Charleston Etchers’ Club. His principal subject, the local scene, naturally led to an interest in historic preservation. The Society for the Preservation of Old Dwellings, among other groups, provided opportunities for artists—among them, Hutty, Alice Ravenel Huger Smith, and Elizabeth O’Neill Verner—to create work that was deeply rooted in Charleston’s past. 

Hutty’s contributions to the cultural vibrancy of his adopted home were recognized in the city’s daily newspaper: “Charlestonians cannot do as much for this brilliant artist as he has lovingly done for Charleston.” He is represented in the Morris Museum’s collection by nearly fifty works of art—paintings, watercolors, etchings, drawings, and one of the very few pieces of sculpture he made.

SPRINGFEST ART SHOW!

SpringFest 2022, a dazzling display of some of the finest artwork in the area located in the North Augusta Arts and Heritage Center with a reception and announcement of winners.

OPEN TO ALL VISUAL ARTISTS?

Delivery Dates & Times

Monday, March 14 & Tuesday, March 15th 10-4:00 pm

Reception

Thursday, March 17th 5-8:00 pm

Exhibition Dates

March 17th – April 8

Pick Up Date

April 8th 10-4:00 pm

Competition Guidelines

1. Maximum of two (2) submissions per individual with a $25 entry fee.

2. All entries will be eligible for the Best in Show, First, Second, and Third Place awards.

3. 3-D art will be accepted in the Art Competition but must not weigh more than 50lbs. Pedestals will be provided by the Arts and Heritage Center.

4. Any artwork that has been exhibited in a previous SpringFest Art Competition or displayed in the Arts and Heritage Center will not be accepted. By entering the contest, the artist certifies that their artwork is original and does not infringe upon any third-party rights.

5. Winning entries will be announced during the Reception at The Arts and Heritage Center. The Reception will be held on Thursday, March 17, 2022 from 5:00pm – 8:00pm. This reception is free and open to the public.

Competition Terms and Conditions

1. Traditional, contemporary, impressionist, and abstract works of art are welcome. Two-dimensional works will be considered in all media including, but not limited to, oil, acrylic, watercolor, pen and ink, pastel, pencil and photography. Art must be original. No giclee prints please.

2. Artwork must be framed and securely wired for hanging. Gallery-wrapped canvases (with painted sides) are also acceptable. The use of plexi-glass is strongly recommended. The festival committee will not be responsible for glass breakage. Work not adequately prepared for display will be disqualified.

3. Framed artwork should weigh no more than 50 pounds. Artwork must be completely dry upon delivery.

4. Artist name, address, phone number, e-mail address and sale price or insurance value must be clearly labeled on the back of the submission. If the artwork is not for sale, please clearly write NFS and then write the insurance value between parentheses on the label on the back of the artwork – example: NFS ($400)

5. Work must be submitted with a completed AHCNA Loan agreement.

6. All properly submitted artwork will be publicly displayed at the Arts and Heritage Center from March 17 through April 8, 2022. The Arts and Heritage Center is in the NA Municipal Center, 100 Georgia Avenue, in downtown North Augusta.

Judging and Awards

1. The winner of the Best in Show Award will be awarded a cash prize of $300. First Place will be awarded a $250 cash prize, Second Place will be awarded a $150 cash prize and Third Place will be awarded a $100 cash prize. Ribbons will be awarded for winners and Honorable Mentions.

2. All decisions by the judge are final and non-disputable.

3. Notifications and cash awards will be mailed to the winning artists within two weeks of selection.

4. Photographs of the winning artworks may be used for future NACAC publicity or promotional materials. Credit will be given to the artist.

Entry, Delivery and Pickup

1. Entries may be hand delivered to the Arts and Heritage Center, to the attention of the Executive Director, Arts and Heritage Center, 100 Georgia Avenue, North Augusta, SC 29841 anytime between 10 AM and 4 PM. If other arrangements need to be made please contact the director at The Arts and Heritage Center: director@artsandheritagecenter.com.

2. All entries must be received by March 15 at 4 PM and must include an entry fee of $25 per artist. Either checks or cash are accepted and checks should be made payable to North Augusta Cultural Arts Council.

3. All entries not sold must be picked up at the Arts and Heritage Center on April 8 between 10 AM and 4 PM. If other arrangements need to be made please contact the director at The Arts and Heritage Center director@artsandheritagecenter.com.

4. Please complete the attached AHCNA Loan agreement. Bring this with you when you drop off your artwork.

5. Items not picked up after the deadline for pickup may be subject to a storage fee or become the property of the North Augusta Cultural Arts Council.

Sales

1. All work will be available for sale unless otherwise noted.

2. The Arts and Heritage Center will retain a 30% commission from each sale.

3. Artists should clearly mark the sale price of their work.

4. Any artwork not for sale should be clearly marked NFS, and the insurance value should be listed on the entry form.

5. Prices may not be changed during the show and works sold may not be removed until after the show.

Thank You for supporting the arts in north augusta!

Thank you for your interest and participation in the 2022 SpringFest Art Competition. A copy of this information and the entry form are available at www.naartscouncil.org .

For more information, please contact John Bigger at bigger.j41@comcast.net or (803) 278-1805.

For questions regarding the delivery, pickup and art sales contact Mary Anne Bigger at the Arts and Heritage Center at 803-441-4380 or email at director@artsandheritagecenter.com.

 

Horace Talmage Day: Views of Augusta, 1937–1941

The eldest of four children born in Amoy (now known as Xiamen), China, to American missionary parents, Horace Talmage Day (1909–1984) came to maturity as an artist during the 1930s. Although he traveled widely and continued to explore new subjects throughout his life, he is particularly well known for his depictions of Augusta, its environs, and the countryside throughout Georgia and South Carolina, especially the Lowcountry. These first captured his imagination when he moved to Augusta in 1936.

He took up painting in his youth in Amoy and later in Fuzhou, China. Primarily self-taught, by the age of twelve he was painting accomplished landscapes of south China scenes in both oil and watercolor. After his graduation from the Shanghai American School in 1927, he went to New York City to attend the Art Students League, where he studied with Boardman Robinson, Kenneth Hayes Miller, and Kimon Nicolaïdes.

When he graduated from the Art Students League, he was the artist-in-residence at the Henry Street Settlement before being named the first director of Augusta’s Gertrude Herbert Institute of Art. In 1941 Day left Augusta when he married artist Elizabeth Nottingham, and the two codirected the art department of Mary Baldwin College in Staunton, Virginia.

Day spent the last seventeen years of his career, 1967–1984, in Alexandria, Virginia, while continuing to travel widely, painting everywhere he went.

Manning Williams: Jack Island Trials

In the 1970s and 1980s, the paintings of Manning Williams depicted Charleston city scenes, suburban landscapes, roadways, friends, and family. As David Houston writes in Manning Williams: Reinventing Narrative Painting, that “body of work . . . may be understood as narratives of a larger community in the context of place and time” (page x). Among these paintings is one that is, arguably, Williams’s masterpiece, Jack Island Trials (1983–1985). Houston writes that its sheer size and compositional complexity identify it as “a culmination of his early scene painting. It signals a major shift for him in his quest for creating a narrative painting for his time” (page xi). This extraordinary work, several of the artist’s preliminary studies, and photographs of Williams in his studio by acclaimed photographer Jerry Siegel, make up the current exhibition, which constitutes a kind of visual coda to Reinventing Narrative Painting, the exhibition that was organized by the Gibbes Museum of Art in Charleston and is on view at the Morris until September 12.