Press Release  September 23, 2020

SCAD Museum of Art Welcomes Visitors

SCAD Museum of Art

Guo Fengyi: To See From a Distance exhibition at SCAD Museum of Art.

The SCAD Museum of Art has six new exhibitions on view for the Fall/Winter 2020 season showcasing international artists including Guo Fengyi, Emily Mae Smith, Edgar Sanchez Cumbas, KAYA, and a group exhibition curated by Sam Bardaouil and Till Fellrath. The exhibitions and artists’ dynamic work reflect many of SCAD’s top ranked degree programs including photography, illustration, drawing, film & television, sculpture, and fibers.

“I am delighted to reopen Georgia’s two finest museums–SCAD Museum of Art and SCAD FASH–to the public. Additionally, SCAD continues to offer dynamic digital experiences featuring prominent guests and the university’s impressive permanent collection. Whether virtually or in-person, SCAD’s emphasis on education through exploration remains as we celebrate our preeminent exhibition and the artists–many of whom are SCAD alums–who create them,” said SCAD president and founder Paula Wallace.

New exhibitions include:

Guo Fengyi: To See from a Distance (on view through November 29), the first major institutional exhibition of the artist’s work in the U.S. The exhibition features more than 30 works from Guo’s brief yet prolific career, providing an overview of her visionary drawings, which incorporate the diagrammatic, the mystical, and the wildly imaginative. Together, Guo’s works speak to the power of drawing as a means to comprehend and “see” the unknown.

SCAD museum of art

Emily Mae Smith's Feast and Famine exhibition at SCAD Museum of Art
 

● Emily Mae Smith’s exhibition Feast and Famine (on view through January 1) presents a selection of paintings from the past five years that explore dichotomies in the artist’s work, with corporeality manifesting as either hard and slick or soft and sensual. Smith’s wildly inventive paintings are steeped in art history yet offer novel mythologies. Oriented firmly in the tradition of Western figurative oil painting, they reject the structures that have canonized the voices of white men and suppressed alternative subjectivities.

● Presented in the SCAD Alumni Gallery, Edgar Sanchez Cumbas’ NO. This Is Not the Color of Flesh (on view through November 8) includes recent paintings and drawings that demonstrate the artist’s varied approach to media. Sanchez Cumbas (B.F.A., illustration, 1994) manipulates paint, found objects, and drawing in an expressive, non-objective art practice. Many of his paintings incorporate layers upon layers of thick impasto, which accumulate into abject allusions to skin and human bodies.

SCAD Museum of Art 

Edgar Sanchez Cumbas' NO. This Is Not the Color of Flesh exhibition at SCAD Museum of Art

● KAYA’s Under_Ursus (On view September 29–January 3) presents a new site-specific iteration of the collaborative duo’s OraKle Paintings in SCAD MOA’s exterior gallery, the Jewel Boxes. KAYA engages in the slippage between medium, site-specificity, and authorship: neither the artists, the location, nor the nature of this work is singular. At the heart of the installation is the notion of an ever-expanding artwork, endlessly changing with unbound potentiality and cultivating new modes of being in each shifting context and conceptual manifestation.

● The group exhibition I Put a Spell On You: On Artist Collaborations (Opening October 1), guest curated by Sam Bardaouil and Till Fellrath, surveys 11 distinct models of collective practice, highlighting the complex, co-authored process of artistic production. The exhibition includes work by Eva & Adele, Harry Shunk, and János Kender, Elmgreen & Dragset, Kahlil Joseph, Hesham Rahmanian and Rokni and Ramin Haerizadeh, GCC, Bárbara Wagner and Benjamin de Burca, Nadia Kaabi-Linke, Bianca Kennedy and Felix Krauss, and Reena Spaulings. Presented within the context of the SCAD Museum of Art and its student and community audiences, I Put a Spell On You amplifies the importance of learning from one another and highlights the innovation of collaboration and the strength that lies in mutual support.

In addition to the new exhibition openings, the museum has extended many of the museum’s spring and summer exhibitions to give members and guests the opportunity to view the compelling works by acclaimed international artists. These include Igshaan Adams’ exhibition Getuie, Charlie Billingham’s A Rake’s Progress, Shoplifter’s Chromo Zone, and Kenturah Davis’ Everything that Cannot Be Known.

SCAD Museum of Art

Charlie Billingham's A Rake’s Progress exhibition at SCAD Museum of Art

SCAD curators and leadership will also continue its robust virtual programming throughout the fall 2020 season for SCAD students, alumni, museum members and the public. This programming will include a series of: #MUSEUMATHOME exhibition videos, exhibiting artist interviews, virtual museum tours, and industry conversations and discussions.

The SCAD Museum of Art reopened to the public on September 10 with new hours: Thursday–Saturday, 10 a.m. to 5 p.m. and Sunday, noon to 5 p.m. SCAD leadership has developed new safety protocols that comply with the latest CDC guidelines for the opening including temperature screenings, mask requirements for all employees and visitors, and social distancing in all galleries.

For more information on the exhibitions and upcoming virtual programming, please visit scadmoa.org.

About SCAD Museum of Art
The SCAD Museum of Art is a premier contemporary art museum that features emerging and established international artists through commissioned works and rotating exhibitions, engages local communities with special initiatives of an international scope, and serves as a resource for SCAD students and alumni during their academic careers and beyond.

The museum has presented exhibitions by artists including AES+F, Jane Alexander, Radcliffe Bailey, Janet Cardiff and George Bures Miller, Carlos Cruz-Diez, Subodh Gupta, Alfredo Jaar, Sigalit Landau, Liza Lou, Elaine Mayes, Lorraine O’ Grady, Ebony G. Patterson, Robin Rhode, Bill Viola, Carrie Mae Weems, Kehinde Wiley, and Fred Wilson, as well as site-specific installations by Daniel Arsham, Kendall Buster, Jose Dávila, Michael Joo, Odili Donald Odita, and others. The museum’s permanent collection includes the Walter O. Evans Collection of African American Art, the Modern and Contemporary Art Collection, the Earle W. Newton Collection of British and American Art, the 19th- and 20th-century Photography Collection, and the SCAD Costume Collection.

An award-winning, architectural icon, the museum incorporates the oldest surviving antebellum railroad depot in the U.S. into its striking design. Nestled in the heart of Savannah’s vibrant historic downtown district, the museum attracts visitors from around the globe. It has been recognized by the Georgia Trust for Historic Preservation, the Congress for the New Urbanism, the International Interior Design Association, and the Historic Savannah Foundation, and received the American Institute of Architects Honor Award for Architecture, a pinnacle achievement. For more information visit scadmoa.org.

SCAD Museum of Art

Kenturah Davis' Everything that Cannot Be Known exhibition at SCAD Museum of Art

SCAD: The University for Creative Careers
The Savannah College of Art and Design is a private, nonprofit, accredited university, offering more than 100 academic degree programs in more than 40 majors across its locations in Atlanta and Savannah, Georgia; Lacoste, France; and online via SCAD eLearning.

SCAD enrolls more than 15,000 undergraduate and graduate students from more than 100 countries. The innovative SCAD curriculum is enhanced by advanced professional-level technology, equipment, and learning resources, as well as opportunities for internships, professional certifications, and collaborative projects with corporate partners. In 2019, the prestigious Red Dot Design Rankings placed SCAD as the No. 1 university in the U.S. and in the top two universities in the Americas and Europe for the third consecutive year. Career preparation is woven into every fiber of the university, resulting in a superior alumni employment rate.

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