Retrospective Solo Exhibition
When: February 17 - March 4, 2016
Lecture by John Rudel, (Class of 1998): Friday, February 19, 2016, 5:00 p.m.
Opening Reception: Friday, February 19, 6-8:00 p.m.
Location All Events: S. Tucker Cooke Gallery, Owen Hall
Gallery Hours: Monday - Friday, 9:00 a.m. - 6:00 p.m.
All events are free and open to the public
This retrospective exhibition and lecture honors Professor Virginia Derryberry and her twenty years of service to University of North Carolina Asheville and the Department of Art and Art History. During her time with the University, Derryberry received many notable awards including the Feldman Professor Award for scholarship in 2010; the Distinguished Teacher of the Year Award, the university’s highest faculty honor in 2005; and the UNC Asheville University Research Council Award for Professional Scholarship and Creative Achievement in 2004. Derryberry also served as director of UNC Asheville’s nationally acclaimed Undergraduate Research Program and Department Chair of the Department of Art and Art History from 2009-2014. Click here to read the University news relase about the exhibition and here to read the article about the exhibition in the Mountain Express
Lecture by John Rudel
Derryberry worked closely with alumnus John Rudel who received his BFA in painting in 1998. In his lecture, Rudel will discuss Derryberry's work, her influence as a mentor, and his own work.
Rudel is currently Batten Associate Professor of Art at Virginia Wesleyan College where he also serves as Curator of Exhibitions. In 2014, Rudel was awarded the Batten Professorship, an award for faculty excellence in teaching and scholarship, community contributions, and passion for inspiring excellence in others. He has exhibited his work across the country in venues including the Georgia Museum of Art (Athens, GA), the University of Miami Art Museum (Oxford, OH), the Lauren Rodgers Museum (Laurel, MS), the Williamsburg Art and Historical Center (Brooklyn, NY), and the Virginia Museum of Contemporary Art (Virginia Beach, VA). Read more about John Rudel.
View the exhibition catalog for Private Domain
Alumnus Larkin Ford also worked closely with Derryberry, and his exhibition, Under The Kitchen Sink, will open at the same time as Private Domain in the 2nd Floor Gallery in Owen Hall. Derryberry would love to see other art alumni at the lecture and opening reception.
Virginia Derryberry, The Hermetic Bride from Alchemical Narratives.
dress, mixed media, 96 x 48 inches, 2010.
Virginia Derryberry’s work is shown regularly in solo and group exhibitions throughout the United States, and her paintings have been written about in an extensive list of publications including New American Paintings, volume 82, 2009, and the fifteenth anniversary edition, 2010. Derryberry has been honored for her contributions to her field with awards such as Outstanding Artistic Achievement from the Southeastern College Art Association (2013); Visiting Artist at the American Academy in Rome (2010 and 2016); the Award of Merit (2015) and an Annual Artist Fellowship from the Southeastern College Art Association (2005); a residency at Moulin a’ Nef, Auvillar, France, through the Virginia Center for the Creative Arts (2004); and two Individual Artist grants from the state of Georgia (1995 and 1993). Her drawings and paintings are in numerous private collections throughout the Southeast and in the permanent collections of the Carnegie Museum of Art, the Morris Museum of Art, the Museum of Contemporary Art of Georgia, the Asheville Museum, the Bank of America Southeast Collection, and the Tennessee State Museum. Her work is also represented in two major public art commissions: a site-specific installation of sixteen paintings at the Hartsfield-Atlanta International Airport and a ten-piece multi-panel painting at the Knoxville Convention Center. This solo exhibition, Private Domain, will travel to venues in South Carolina and Alabama following its time at UNC Asheville.
Private Domain Exhibition Statement
Virginia Derryberry, 2016
My art has always addressed the themes of transition and mutability by creating tense dialogues between powerful but mortal subjects in Eden-like landscapes. Although my paintings are figurative, I have always sought to move beyond either portraiture or a specific story line into the depiction of a virtual world where anything is possible. In a recent series, Third Nature Constructions, I used fabric, costuming, and sewing to question the nature of my narratives and the nature of what constitutes “domestic” in the use of these materials. I have now expanded the nature of narrative in my paintings by using elements of “fabrication” that extend the traditional rectangular format. These explorations have taken many forms, including the making of contemporary versions of nineteenth-century crazy quilts to the making of stand-alone costumes placed in relationship to the paintings. In the Artifactual series, I sewed sections of previous paintings onto fabric embellished with embroidery and trapunto. Now, I have begun to do the reverse, that is, to sew fabric and costumes onto paintings. This latter approach is more open-ended and has both expected and unexpected results. What unites all of this work is the desire to weave together multiple threads of a narrative from many cultural and material sources.