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MU Libraries Spring Art Exhibition: 2025 Appalachian Innovation: Crafting the Future

Marshall University Library Exhibition

Appalachian Innovation: Crafting the Future

Marshall University Libraries Art Exhibition 2025

Mission Statement

MISSION STATEMENT

Mission Statement: "Appalachian Innovation: Crafting the Future"

In the heart of Appalachia, where tradition meets innovation, this year’s art exhibition celebrates the transformative power of creativity. "Appalachian Innovation: Crafting the Future" invites Marshall University students, faculty, staff, and our Appalachian community members to explore and express their visions of the future through art, poetry, and craftsmanship.

This exhibition serves as a platform for showcasing forward-thinking ideas and creative solutions that redefine Appalachia's story as we move toward the future. We encourage submissions that explore new perspectives, challenge conventions, and reimagine what is possible in our region. Using mediums, both acquainted and new, we invite artists to explore how these mediums can redefine Appalachian identity and contribute to a future that embraces creativity and progress.  Whether through the strokes of a brush, the shaping of clay, the cadence of words, the twisting and weaving of fibers, or the skillful crafting of handmade works, we seek pieces that inspire dialogue about innovation and its role in shaping our collective future.

Join us in celebrating the spirit of Appalachian creativity and resilience. Together, let us illuminate the pathways where tradition and innovation converge to forge a dynamic and inclusive future for our community and beyond.

Jurors

JURORS

Drinko Display and Outreach Committee

  • Kacy Lovelace – Research and Student Success Librarian

  • Michelle Alford – Library Information Systems Technologist

  • Diane Palmieri – Staff Librarian

  • Patsy Stephenson – Staff Librarian / Government Documents

  • Meghan Sexton-Harness – Library Research Specialist

  • Jenny Holderby – Library Associate

  • Lisa Hughes – Library Research Specialist

  • Dr. Heather Stark, Art Historian, School of Art & Design

  • Courtney Chapman, Gallery Director, School of Art and Design

  • Lauren Wills, Gallery Intern
  • Crystal Stewart, Director, Administration & Engagement

  • Jody Perry, Senior Director, Client Services

October Morning at Seneca Lake by Marissa Mynes

"October Morning at Seneca Lake," captured at Seneca State Park, showcases the breathtaking natural beauty found in West Virginia's state parks. This stunning scenery not only inspires tourism but also invites others to experience it firsthand. In turn, the revenue generated from visitors staying in these areas helps to strengthen the state's economy.

Untitled Stoneware by Josh Perry

No details provided.

Running Man by Laura Moul

This glass cull is from Blenko Glass. This discarded glass created unique patterns. Unfortunately, Blenko can no longer make piles of glass outside of the plant.

Magic Moment by Laura Moul

Blenko Glass-glass cylinder travel a conveyor belt to temper the glass temperature above a lehr

Jane's Creation by Laura Moul

Jane Gilchrist was a dedicated and wonderful artist who tie dyed this fabric. Unfortunately she died.

Cass Legacy by Laura Moul

Cass Scenic Railroad State Park continues to remind us ofthe steam engiage and their contributions to WV history

Swinging Bridge by Laura Moul

This bridge was built by Civilian Conservation Corp in the 1930's. It is still in use today at Babcock State Park.

Harpist at Historic Church by Laura Moul

While visiting a historic church in Cades Cove TN this performer added music for visitors to enjoy.

Untitled by Doug Baisden

Doug Baisden is a veteran and untrained artist whose work is based on his time in active service.

Medium: Graphite

Beauty in the Eye of the Mandala tiled by C. Michelle Alford

Appalachian Innovation is about always being ready to try new things and pivot as needed in a constantly changing world. Our heritage has been one of hard work, though we have often historically struggled with pivoting with the changing world around us. Here I wanted to embrace the potential for change and innovation as a tool to further explore my art.

Floral Mandala Decontructed by C. Michelle Alford

A continuation of my experiments in converting my pen and ink art into digital and laser engraved work. In this piece I used a process of scanning my pen and ink work, converting it to a digital file format useable by the laser, then engraving the image on a selection of 3x3 in wood tiles. In this piece I mounted the tiles separately, providing an effect similiar to a quilt block laid out with negative space borders. The use of the laser allowed me to reproduce my artwork accurately and with great detail, while also providing a new surface and physical dimension to it.

Really Really Tall Water Fountain by Magdalen Robinson

3D Mixed Media

The Laidley Lot Tire Tables by Leah Teasdale

3D Mixed Media

Dreaming of New River Gorge by Heather Mains

Gorge bridge is reimagined in a "dream-like" vision of the future. The bridge stands centered representing tradition, steel/mining industries, and the hardworking people who established our Appalachian communities. Salt was used in this piece, representing the positive "salt of the earth" qualities I associate with Appalachians. The fog/mist symbolizes out challenges and the unknown. Ther looser brushstrokes and splatters are about being more open-minded and challenging the norm, while the overall theme is bright and optimistic for our future.

Fabricated Horizons by Kaylie Williams

Fabricated Horizons is related to the theme because I have utilized the art of quilting which has been a long tradition within the Appalachian Mountains and combined it with digital art. I took inspiration from the New River Gorge Bridge, which is a very well known landmark in the state and stylized each part to look like different pattern fabric materials that have been stitched together to look like a quilt. I think recreating a subject that is known to be handmade and adding technology into the mix is a great way to show how the Appalachian culture has evolved.

Railroad Behind Bars by Cassandra Watson

The railroad industry has been in decline in the U.S. for quite some time. This photograph illustrates a future of the once vibrant railways being closed off and forgotten.

Cassandra Watson is a Huntington resident and graduate of Marshall University with a bachelor's degree in English Education. Taking up photography as a hobby, her work typically encompasses the simple yet striking wonders of the architecture and nature around her. She strives to capture the beauty and emotions in our everyday surroundings.

Demolishing a Restaurant by Cassandra Watson

"Demolishing a Restaurant" is a photo that shows the old Applebee's in Barboursville, WV being demolished before the new Outback steakhouse was built in its stead. Stereotyped as a rural, poor, and anti-progressive region, this piece shows the contrary; we tore down an old restaurant located near the mall and built a new expensive restaurant. When buildings are destroyed, we acquire a blank slate in hopes of creating new development and future growth in our communities. The Appalachian region is full of continuous change and residents who are willing to tear down those stereotypes and create a better future (and restaurant) for themselves.

Blue Sky, Pittsburgh High Rise by Cassandra Watson

"Blue Sky, Pittsburgh High Rise' is a photo of tall building in Pittsburgh on a nice sunny day. Located within the Appalachian mountain range is Pittsburgh, a place that not not everyone considers to be a true part of Appalachia. A mid-sized city, cultural hub, and home to many pepperoni roll lovers, Pittsburgh challenges the stereotypical conceptions people have about Appalachia being a poor, rural, and white dominated region. As many young Appalachians are leaving the rural areas and moving to more urban ones in hopes of job opportunities and a better future, they are innovating their Appalachian identity. You can still find the blue sky, even if you are in a city. You can still find your Appalachian identity, even if you are in a city. Take a moment, look inward, and look up.

"A Scenic Autumn Day in Ritter Park" by Cassandra Watson

"A Scenic Autumn Day in Ritter Park" shows one of the many natural delights that you can experience in the Appalachian region, fall foliage in a community park. With the Appalachian identity being rooted in a connection with nature, it's imperative that we preserve our parks as we lose more of the wilderness to the industrial and housing structures we create. By maintaining our parks, we create a safe environment for communities to gather, admire, express, and learn. Who would want to live in a future without parks?

A Bright Steep by Cassandra Watson

"A Bright Steep" is a photo of a steep slope on the side of a rocky hill in Williamson, WV. A large jagged wall that seems insurmountable, the green growth that lies on top, and a hopeful future appearing above. This piece represents the rocky hardships (addiction, poverty, racism, et cetera) that Appalachians can face and the beauty and potential that lies above such resiliency.

Wadeable Stream by Mandee Wilson

Appalachia has always been a great, underappreciated freshwater resource that needs to sustain modern civilization. This piece represents the many wadeable streams which run from areas of resource extraction in our region. These are areas that are required to be continually monitored for contaminants of concern to ensure the ecological characteristics are either not disturbed or are being remediated properly. The dark brown clay, representing soil, was hand pulled on the wheel. At the leather hard stage, the bottom feet were hand carved and the white slip, representing the stream, was applied. The green glaze, representing the riparian zone, is shown slowly growing back to the banks. This piece is meant to show appreciation for, not only the beauty in our region, but to acknowledge the advances in environmental testing and assessment and the wonderful people that wade these streams every day.

On the River by J A Thompson

This piece relates to innovation and Appalachia by showcasing how the regions natural beauty and landscape brings in "outsiders". This picture was taken on the set of a film being made here in Huntington, on which I worked. Names from LA and New York were in our region just to capture the beauty that Appalachian nature can provide, which no others can. This in turn, brings in more tourism and more recognition for states in Appalachia like West Virginia. And provides oppurtunities for those of us pursuing things like the arts without being forced out of the state!

Cardinalis Cardinalis by J A Thompson

As an artist from West Virginia, I often associate the term Appalachia with my home state. So the first thing that came to mind was the beauty of West Virginia nature and the coal industry. West Virginia is a spiritual state, whether that be through Christianity or other religions. I always heard that cardinals, the state bird, were signs that a loved one was watching over me. As I've grown up, I've encountered more of them, which would coincide witht he tragedies and losses I've experienced. Birds are also representative of freedom. This piece portrays my view of the state. The cardinal representing all of those who we've lost, representing our state bird, and representing how mountaineers are always free. I used leaves and sticks found throughout the state and across the counties that have given me a chance to seize new oppurtunities. The stick being from Boone county (my home), the leaves from Cabell (where I attend college), and the coal from Mingo (where the love of my life is from). I also chose the coal, because as I stated previously, it is one of the many things that come to mind when I think Appalachia. It was the economic powerhouse for our region for decades. So naturally the eye of the cardinal should represent this with a piece I found and carved into the shape I wanted. The yarn is to represent how textiles are important in the south and in Appalachia. Think barn quilts. And the wood, the wood is made os scrap wood I collected throughout my classes to form a panel fit for the cardinal. I stained it blue to represent the sky and blue ridge mountains. Overall, the piece shows how much goes into Appalachia and how it has its fame. The coal, the freedom, the community, the mountains. Thats what makes Appalachia and thats what gets people here.

Medium: Wood, foraged leaves and stick, yarn, coal, matboard, wood stain

Waiting for the Guests by Larry Sumpter

This painting of a solitary woman...patiently waiting for the "guests".....is more representative of the ever increasing venues and vibes that have sprung up in Appalachia for the benefit of the people who live and work here. Recreation is a great part of that. It is up to the observer to decide what the occasion is that she is celebrating.

Medium: Oil on canvas

Roses in Glass Vase by Larry Sumpter

The blooming roses in the piece depicts the creativity and color that people of this region are known for, and will continue to be.

Medium: Oil on Canvas

Sidewalk Cafe' by Larry Sumpter

Places that are depicted in this painting, are typical of restaurants and cafe's that are springing up all around West Virginia and this Appalachian. This truly shows that entrepreneurial spirit and innovative spirit of those willing to take risks to improve their cultural environment.

Medium: Oil on canvas

Mushroom Patch by Seth Morris

Junk cars are a common sight in rural areas of WV. Rather than letting these components rust to nothing or end up in the scrapyard, I give them a new life, a new future where they can be appreciated.

Medium: Ferrous metal/acrylic paint

Little Brown Bat by Marissa Mynes

"Little Brown Bat" highlights this species, which is native to West Virginia. The state's rolling hills provide an ideal habitat, aiding the bat's recovery from its current endangered status. Protected areas such as national forests and state parks within West Virginia offer ample opportunities for the species to prosper and ensure its survival.

Medium: Intaglio copper plate print

Birdhouse Three by Ann Grimes

Taking care of birds in the future.

I took a pottery class at the Huntington Museum of Art! I found that I enjoy working with clay. I have made a series of birdhouses some are magical with flowers and fairies while others welcome the little birdies with a head growing out of the house with an open mouth. My hope is to now start a project that combines both felting and clay.

Medium: Stoneware

Three Pink Flowers by Ann Grimes

For as long as I can remember I have enjoyed art. As a child I recall lying on my back looking at the wood grain patterns on the ceiling. I saw animals and faces and all kinds of things. I liked the repetitive patterns in the wallpaper wall in our home. I can’t image not touching things because I love textures. I incorporate color, texture, pattern and design into my art pieces. I experiment with a variety of everything from cake icing dyes to mulberries to achieve interesting colors in my wool roving, material and paper. Calligraphy sometimes shows up in the background or scratched in the frame. I am inspired by everything I see. Everywhere I look I find something tantalizing, a treat for the eyes.

Medium: Fiber 

Squares by Ron Grimes

Ron is a West Virginia native who grew up on a family dairy farm in Tyler County where he and his wife, Ann, now have a second home. Ron earned a BS degree in agriculture education from West Virginia University and later an MA in Vocational Education from Marshall University. After teaching agriculture in Tyler and Ritchie County for 5 years, Ron joined the West Virginia Department of Education in 1979 and retired in 2015. After being involved in an auto accident and becoming immobilized for weeks Ann started him weaving simple potholders. His oldest sister was assisting with teaching a class on twining at their church. She showed the family how to twine rugs during a family gathering. He adapted quickly to rug making. The most recent rug-making technique he has enjoyed is the art of making locker-hooked rugs and wall hangings, a 20th-century textile technique. Both methods embrace the use of recycled materials.

Rectangles by Ron Grimes

Locker Hooking is a vintage fiber art technique originating in Great Britain in the 1920s and can be used for creating a variety of items such as coasters, rugs, bags, tapestries, wall hangings, or other art pieces. The technique involves pulling yarn or fabric strips through a canvas in loops that are then locked into place with another hidden strand of wool or twine. A wonderful way to recycle materials and become innovative.

Random Colors by Ron Grimes

Locker Hooking is a vintage fiber art technique originating in Great Britain in the 1920s and can be used for creating a variety of items such as coasters, rugs, bags, tapestries, wall hangings, or other art pieces. The technique involves pulling yarn or fabric strips through a canvas in loops that are then locked into place with another hidden strand of wool or twine. A wonderful way to recycle materials and become innovative.

Pink Borders by Ron Grimes

Locker Hooking is a vintage fiber art technique originating in Great Britain in the 1920s and can be used for creating a variety of items such as coasters, rugs, bags, tapestries, wall hangings, or other art pieces. The technique involves pulling yarn or fabric strips through a canvas in loops that are then locked into place with another hidden strand of wool or twine. A wonderful way to recycle materials and become innovative.

Magical Birdhouse by Ann Grimes

Taking care of our birds.

Medium: Stoneware

Loving Art @ 103 Years Old by Ann Grimes

With medicine and technology improving our lives, hopefully will be healthier, and live longer and be able to enjoy life for many years.

Medium: Mixed Media

Love by Ann Grimes

I am inspired by everything I see. Everywhere I look I find something tantalizing, a treat for the eyes. Even if it is a shadow or a crooked line, I can be inspired and use it in my art. I have worked in many different media. I was introduced to felting wool in a workshop. I immediately fell in love with the medium.

Medium: Fiber

In Love by Ann Grimes

Crafting in the future hopefully will see the gifts in nature.

Medium: Fiber

I Spy Three Little Flowers by Ann Grimes

I was introduced to felting wool in a workshop. I immediately fell in love with the medium. I learned to spin several years ago and now use felting techniques and spun wool in my pieces. Every piece is different. It is my hope that each viewer will be intrigued and inspired. And then I took a pottery class at the Huntington Museum of Art! I found that I enjoy working with clay. I have made a series of birdhouses some are magical with flowers and fairies while others welcome the little birdies with a head growing out of the house with an open mouth. My hope is to now start a project that combines both felting and clay.

Medium: Fiber

Everything Has Purpose by Ann Grimes

In the future people need to recycle and reuse to save our planet.

Medium: Mixed Media

Circles by Ron Grimes

Locker Hooking is a vintage fiber art technique originating in Great Britain in the 1920s and can be used for creating a variety of items such as coasters, rugs, bags, tapestries, wall hangings, or other art pieces. The technique involves pulling yarn or fabric strips through a canvas in loops that are then locked into place with another hidden strand of wool or twine. A wonderful way to recycle materials and become innovative.

Blue Streak by Ron Grimes

Ron and Ann met in Tyler County during their first teaching position. He was teaching agriculture, and she was teaching art. Her artistic background has had a positive influence on his appreciation and understanding of the art world. After being involved in an auto accident and becoming immobilized for weeks Ann started him weaving simple potholders. After making seventy-five of those, Ann suggested he learn how to make I-Cord for her felt purse handles. He became an expert at I-Cord making filling several large storage tubs. His oldest sister was assisting with teaching a class on twining at their church. She showed the family how to twine rugs during a family gathering. He adapted quickly to rug making. The most recent rug-making technique he has enjoyed is the art of making locker-hooked rugs and wall hangings, a 20th-century textile technique. Both methods embrace the use of recycled materials.

VOTE HERE!!!!!

Important Dates

IMPORTANT DATES

Show dates:

January 13 – May 9, 2025

  • Electronic submission deadline:

November 25, 2024

  • Jurors select artworks (electronic):

November 28-30, 2024

  • Email notification of accepted artworks:

November 29, 2024

  • Drop off in-person submissions and accepted (electronic entries) to library:

December 5, 8:00 a.m. – 8 p.m.

December 6, 8:00 a.m. – 4 p.m.*

  • In-person submissions selected by jurors:

December 9 – 13, 2024**

  • Install dates:

December 17 – 20, 2024

  • Pickup artwork at the end of the exhibit:

May 19 – 23, 2025 | 8:00 a.m. – 4 p.m.***

*Entries will be accepted electronically by November 25, 2024 or in-person on December 5 & 6, 2024. All entries must be submitted by December 6, 2024 at 4:00 p.m.

** For dropped off, in-person submissions, artists will only be contacted if their submission(s) is not accepted for exhibition.

*** Please contact Kacy or Michelle if you need to pick up your artwork after 4:00 p.m. Students who are leaving campus before the May 19 – 23, 2025 pick up dates can make arrangements to collect their artwork before these dates.

Questions

QUESTIONS? Contact Kacy Lovelace, Research and Student Success Librarian at kacy.lovelace@marshall.edu or 304-696-6226 or Michelle Alford, Library Information Systems Technologist at michelle.alford@marshall.edu or 304-696-6674.

Submitting an entry form to the exhibition constitutes an agreement on the part of the artists with all conditions to this prospectus.

No work accepted for the exhibition may be withdrawn before the closing date. We reserve the right to refuse entry if, upon arrival, the work is found unacceptable. All artworks will be photographed, digital images shared by MU Libraries, and images stored in Marshall Digital Scholar.