| ArtFest 2007
April 2-20, 2007
Artfest is Texas A&M University's annual student art contest sponsored by the MSC Visual Arts Committee. Participants may enter a maximum of three selections in six different categories including drawing, painting, sculpture, photography, mixed media and computer-generated still images.
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| Ethereal Vestments by Joyce Martin
February 28 - March 30, 2007
Ethereal Vestments: Sculpture by Joyce Martin features new and recent work by the Fort Worth-based sculptor. Martin, using unusual and often recycled materials, creates unique abstractions of the female body along with other sculptural forms. In this exhibition, visitors will see aluminum mesh, dried lotus leaves, bamboo skewers, hair pins, and cardboard transformed into powerful commentary on the human condition.
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| Walk: A 1950 Kodak Brownie Finds Its Present-Day Soul
Photographs by Eric Henderson
January 8 - February 23, 2007
New York City Photographer and Texas A&M Former Student Eric J. Henderson '91 pushes a second-hand Kodak Brownie to new limits and into a vibrant dialogue with its nominal past, experimenting with multiple exposures and long shutter speeds.
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| Double Yellow Lines: Recent Work by Jessica Dunne
November 1 - December 17, 2006
For contemporary painter and printmaker Jessica Dunne, sitting in a traffic jam during peak commuting hours is a time to study her surroundings and even potential subjects. The exhibition consists of paintings and prints that portray the urban Californian landscape, more specifically the streets of San Francisco.
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| There is No Why Here: Architecture of Evil
October 4-27, 2006
Karl P. Koenig, a clinical psychologist, never received satisfactory answers to his questions about human behavior during the Holocaust. His gumoil photographs show remnants of 10 concentration camps throughout Europe. This exhibition is traveled by Holocaust Museum Houston.
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Symbols of the Soul: Paintings by Travis Conrad Erion
August 2 - September 29, 2006
The super-realist paintings of Colorado artist Travis Conrad Erion revisit the concepts of symbolism made popular in Europe by the Renaissance and Flemish painters. Instead of religious symbols, Erion chooses to portray secular, seemingly everyday, objects. Though the artist is faithful to the realities that he represents, the titles reveal that these objects have meanings beyond their appearances.
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