The Chronicle stops the presses- Play offers new twist on classic story
- Students create illustrations for Georgia Ports Authority
-
Graduate student channels classic horror in thesis film - Alumnus creates mobile gallery
- SCAD libraries hold artist’s book competition for students
- Griffis discusses development of Arthur legend
- Noted author speaks to students
- The Green Scene: 'We have a dream'
- Personnel File: New staff members join SCAD-Savannah
- SCAD hosts regional IDSA conference
- Titus Kaphar to speak at SCAD
- The Bee Line
- Women’s lacrosse sets records in Kennesaw State win
- Athlete Feats highlights for Feb. 22
- Baseball takes series from St. Thomas
- Women’s basketball wraps up second place in Florida Sun
- Athletics updates for Feb. 15
- Baseball off to best start in program’s history
- Big third period leads lacrosse team to victory
|
 |
|
|
|
 |
The Arts
|
Kaphar challenges traditional perspectives
 Titus Kaphar reconfigures two classic portraits in “Descent,” one of the pieces in his exhibition “Painting Undone.” Kaphar will visit SCAD for an artist talk and reception March 7. By Katie Wall Published: Friday, March 7, 2008 After serving as artist in residence at the Studio Museum in Harlem during 2007, Titus Kaphar — who graduated from Yale University in 2006 with a Master of Fine Arts degree in painting — has garnered much acclaim. His work attacks traditional hierarchical roles and imposes contemporary narratives on long-standing institutions. Although Kaphar has exhibited in Berlin, New York, San Francisco and Vienna, the Savannah College of Art and Design is hosting his first solo postgraduate show, “Titus Kaphar: Painting Undone.” Guest curated by Isolde Brielmaier, Ph.D., with assistance from SCAD curator Erin Dziedzic, the exhibition is on display in Red Gallery, 201 E. Broughton St., through April 3. Kaphar begins his paintings by appropriating copies of European and American portraits from the 18th and 19th centuries. Then he strategically reconfigures them to change their meaning. In “Descent,” for example, he re-creates two famous portraits. The first painting in the diptych is a copy of Sir John Baptiste de Medina’s “James Drummond, 2nd Titular Duke of Perth.” The other is an inverted copy of Anne-Louis Girodet de Roussy-Trioson’s “Jean-Baptiste Belley.” The figure in the second painting, Belley, has historical ties with the city of Savannah. As a teenager, he fought in a division of 545 Colored Volunteer Chasseurs in the American Revolution’s 1779 siege of Savannah. During this siege, volunteers from the French colony of St. Domingue, now Haiti, are said to have held off British forces, allowing the French and American soldiers to retreat unharmed. Later in life, Belley was elected as one of three St. Domingue representatives of the French colonies. During his service as a representative, he debated in the Convention of 1794, where representatives agreed to abolish slavery. After copying the two portraits, Kaphar sliced a young black man from the first canvas and re-attached him to the second canvas with Belley. This configuration reassigns the young man’s admiring gaze to Belley, just as the act of cutting into the canvas re-configures the delineation between painting and sculpture. “In each piece, meaning is formed in the relationship between the historical image on the surface and the residue of the physical intervention,” Kaphar explained. “In many of my pieces, the appropriated painted image becomes the site where the intervention is performed.” Kaphar and Brielmaier will hold a gallery talk March 7, 4 p.m., in the Red Gallery. An artist reception will follow during the SCAD gallery hop, 5-7 p.m. Wall is a project manager in the communications department. January 26, 2001 -- ‘Catalyst’ closes the gap between art and life
February 2, 2001 -- An interview with Kristy Deetz March 2, 2001 -- SCAD sweeps through Broome Street March 30, 2001 -- The South in beads April 20, 2001 -- Graphic designer shares tales of corporate design |