Gregg Museum of art & design
Exhibition Catalogs

The Gregg Museum of Art & Design often produces publications to accompany its exhibitions. These publications have won a number of awards and national citations. To view archived catalogs, please visit D.H. Hill Library or College of Design Library. For more information please contact program assistant Hilary Kinlaw.

 

Textiles: Tradition and Innovation (Bedouin, Israeli, Palestinian), 1996
This catalogue accompanied a Gallery of Art & Design (then Visual Arts Center) exhibition done as a part of the Israel/North Carolina Cultural Exchange. The catalogue includes essays by Dr. Charlotte V. Brown and Susan Wilchins, who traveled to the region to research the area’s rich fiber art traditions. Bedouin weaving, Palestinian costumes and Jewish crafts are all well represented in this beautiful catalogue. Artists represented include Tsip Dagan, Alexandra Stoyanov, Shula Litan, Archie Granot, Hertzel Oster, Ital Calderon, Dalia Barkey and Erica Weisz Schveiger, along with a number of anonymous Bedouin and Palestinian works. The text is in English, Arabic and Hebrew. 75 pages. Black & white and color photographs.

 

Early Architectural Photography of North Carolina

by Frances Benjamin Johnston and Bayard Wootten, 1994
This catalogue accompanied Preservation/North Carolina traveling exhibition. Essays include “Swagger and Bravado, Lyricism and Grace” by Elizabeth Matheson, a bio on Frances Benjamin Johnston by Pete Daniel and a Bayard Wooten bio written by Jerry Cotton. The introduction is written by J. Myrick Howard. 16 pages. Black and white photographs.

 

This is Not Tramp Art, 1993
A catalogue for a Gallery show that sought to dispel the myth of “tramp art.” Essays in this wonderful catalogue are “Tramp Art: A Personal Appreciation” by Michael Cornish” and “Toward Contexts: Chipping Away at the Tramp Myth” by Jack L. Lindsey, with an introduction written by Charlotte V. Brown. 28 pages. Nice color photographs.

 

Photographs of Science, 1993
The exhibition outlined in this catalogue was curated by Dr. Edwin A. Martin, a former part-time curator here at the Gallery who also happened to be the Head of the Philosophy & Religion Department. This exhibition explored the often-ignored relation between art, science and photography. A well-known, knowledgeable photographer himself, Dr. Martin wrote the text of this informative publication. 24 pages. Black & white photographs and illustrations.

 

Depression Documents: The Farm Security Administration in North Carolina, 1994
This exhibition included depression-era photographs taken by Marion Post, Walker Evans and Dorothea Lange. The catalogue includes an insightful essay written by Dr. Edwin A. Martin, the curator of this show. 24 pages. Black and white photographs.

 

The Neugents, Close to Home: Photographs by David Spear, 1998
This catalogue accompanies a traveling exhibition of photographs taken by North Carolina photographer David Spear. Spear documents the lives of The Neugents, a Tobacco Road family who happened to be his own neighbors. The catalogue includes commentary from guest curator Roder Manley. Informational essays include “David Spear’s Neugents” by John Szarkowski and “The Neugents at Home” by Tom Patterson. 10 pages. Black and white photographs.

 

Simplicity, Order, and Discipline, 1997
This catalogue documents a joint GAD/NCSU Libraries show that featured the work of architect and former NCSU professor George Matsumoto. The work was drawn from the Libraries’ Special Collections. Essays include: “Responsible Stewardship: An Introduction” by Susan K. Nutter, “Art Architecture, and Special Collections: An Archive for North Carolina Architecture” by Charlotte V. Brown and C. David Jackson, “A New Breeze at Mid-Century: Modern Architecture and North Carolina, 1930s to the 1960s” by David Black, and “’Performance Counts’ an Essay Written on January 9, 1997” by Robert Burns. 26 pages. Black & white photographs and illustrations.

 

Eduardo Catalano, 1997
This catalogue accompanied a traveling exhibition that appeared at the Gallery in 1997. The catalogue is put together my Mr. Catalano himself. Catalano was once the Dean of NCSU’s Design School. The introduction of this publication is written by Robert Burns. The rest of the text features commentary by Catalano. 32 pages. Black & white photographs and illustrations.

 

Modernist Eye: The Art & Design of Nathan Lerner, 2000
This show featured the work of designer Nathan Lerner. If you have never heard of Lerner, his work is more renowned than you may expect. Lerner was responsible for the design of the sponge mop, shoe polish applicator, ketchup bottles and many other products, including furniture. He was also an accomplished photographer. Essays include “Making the World a Better Place to Live” by Astrid Boger and “An Afternoon with Nathan Lerner” by Roger Manley. 32 pages. Color and black & white photographs and illustrations.

 

The Little Black Dress, 1998
This catalogue accompanied a retrospective of the “little black dress’” association with sorrow and seduction. The essay “The Little Black Dress: From Sorrow to Seduction” was written by John McIlwee. Black and white photographs. 20 pages.

 

Buildings on a Small Scale, 1999
This catalogue was made for the “Buildings on a Small Scale: The Collection of Steven Burke and Randy Campbell” show. Essays include “Castles in Spain” by Roger Manley and “A Small Community” by Steven Burke and Randy Campbell, with an introduction by Charlotte V. Brown. 20 pages. Color photographs.

 

With Beauty Before Us: The Navajo of Chil-chin-beto, 1999
This exhibition explored the material culture of the Navajo. Put together by then curator Roger Manley who spent a great deal of time with these people, the show featured objects selected not only for their aesthetic merit but also for their symbolic meanings. This informative catalogue features a personal narrative, “Circle of the World,” by Roger Manley. Other essays include “Growing Up Navajo” by Maxine Armstrong Touchine and “Spider Woman: Theme and Variation” by Mark Sloan. 36 pages. Black and white photographs.

 

Cultures Revealed: Appliques from Around the World, 2000
This show consisted of selections from the Nell Battle Booker Sonneman Collection. Essays in this exhibition catalogue include “Piecing Together Life and Art” by Patricia Malarcher and “Applique: Indian Sojourn” by Nora Fischer. 16 pages. Many color photographs.

 

North Carolina Clay: 1992, 1992
This catalogue accompanied a show that featured 62 North Carolina clay artists. The catalogue includes an essay by guest curator Phyllis Blair Clark and biographical sketches of each artist featured in the show. 48 pages. Many color photographs.

 

Ceramics: Israel, 1994
This catalogue accompanied a traveling exhibition that grew out of the North Carolina/ Israeli Cultural Exchange. It features text written in English, Arabic and Hebrew. 54 pages. Many color photographs.

 

1,2,3: A Series of Exhibitions for the North Carolina State University Permanent Art Collection, 1991
This series of exhibitions featured work from our permanent collection, presented in a series of three shows. Essays include “The University Collects” and “Building a Visual Vocabulary: A Celebration of Diversity” and “A Selection from the Textile Collection” by Beverly Ayscue and “The Freedom of the Arts: An Essay on Multiculture” by Bennett Ramsey. 36 pages. Black and white photographs. A smaller 12 page catalogue is available for each of the three exhibitions.

 

A Blessing from the Source: The Annie Hooper Bequest, 1988
This catalogue accompanied an exhibition of Hooper’s art. This exhibition marked a turning point and giant step in the gallery’s history. The first international symposium on outsider art occurred in conjunction with this show. The catalogue features a moving personal narrative by Roger Manley. 20 pages. Black and white photographs.

 

The New Narrative: Contemporary Fiber Art, 1992
This exhibition used work by nine artists to demonstrate how fiber art can transcend the boundaries of the “craft” label and move into the realm of expressing ideas and values. This was the first show in our then new galleries. The catalogue includes an introduction by Charlotte V. Brown, a catalogue essay by guest curator Nancy A. Corwin and detailed entries of the nine artists represented in the show. 60 pages. Color and black & white photographs.

 

New Art, New Material, 1989
This juried exhibition resulted from a collaboration between the Gallery, the Freudenberg Spunweb Company of Durham and the North Carolina Arts Council and a variety of individuals and corporations. A number of artists were given a $500 budget and 100 linear yards of the textile LUTRADUR for the creation of a work of art. The jury then selected three winners and an honorable mention to be displayed at various locations. This catalogue includes an introduction by Charlotte V. Brown. 32 pages. Black and white photographs.

 

Finery: The Curator’s Perspective, 1988
This early Gallery exhibition addressed “wearable” art, or clothing as art. Included in this catalogue are an introduction by Jean L Druesedow of the Costume Institute and an essay by the curator, Barbara Grubb. 48 pages. Many color photographs.

 

The Continuous Process, The Artist as Teacher, The Teacher as Artist, 1990
This exhibition covered work by the members of NC State’s Department of Design in the School of Design (now College of Design). The show served two purposes: first, to exhibit a great variety of work produced by the faculty, and second, to explore the relationship between the teaching and making of art. The exhibition included works by Chandra Cox, Lope Max Diaz, Charles Joyner, Michael Pause, Marianetta Porter, Dana Gordon Raymond, Kathleen Rieder, Margaret Sartor, Barbara Schulman, Piper Shepard, Wayne Taylor, Susan Toplikar and Susan Wilchins.20 pages. Black and white images.

 

Charles Hinman: Recent Work, 1990
This was an exhibition done jointly with the Hickory Museum of Art. The exhibition contained then recent work, earlier work, drawings documenting Hinman’s planning process, and a series of cast paper pieces differing from Hinman’s more common canvas work. Includes an essay written by Donald Kuspit with introductions by Charlotte V. Brown and Todd DeShields Smith. 20 pages. Color photographs.

 

The Art of Building in North Carolina, 1992
This exhibition of photographs by Tim Buchman combined the beauty of North Carolina architecture with the wonderful photography of Tim Buchman. Essays in this catalogue include a preface written by Charlotte V. Brown, an introduction written by J. Myrick Howard, “Some Stories Behind the Pictures” by Catherine W. Bishir, “Tim Buchman” by Edwin A. Martin, and “The Photograph and the Experience of Place” by J. Thomas Regan. 24 pages. Black and white photographs.

 

Bob Trotman: A Retrospective of Furniture and Sculpture, 1994
This show covered the career of noted studio furniture maker Bob Trotman. Also included were examples of his lesser-known sculpture. Essays include “The Furniture of Bob Trotman” by Nina Stritzler-Levine and “Narrower Boundaries: Positive Directions for the Creative Process,” a lengthy study of Trotman’s work, by Charlotte Vestal Brown. 48 pages. Numerous color photographs.

 

Passionate Collectors: Sonia and Isaac Luski, 2001
This exhibition featured work from the collection of Sonia and Isaac Luski of Charlotte, NC. Represented in this exhibition are pieces that illustrate the diversity of the Luski’s collecting tastes. They include wood, glass, works on paper and metal. There is a forward written by Charlotte V. Brown, an introduction written by Robert Hobbs, “Perceptions: A Contemporary Crafts Collection” by Andrew Glasgow, “The Luski Glass Collection” by Ruth T. Summers, and “Making Pictures: Paintings by Louis Jones” by Mary Agnes Beach. 52 pages. Numerous color photographs. A VERY attractive catalogue.

 

Mildred Davis, A Collector’s Eye: Historical Embroideries, 1998
Mildred Davis has long been considered one of the world’s leading experts on embroidery. This show was drawn from Davis’ extensive collection of coverlets, hangings, wraps, shawls, appliqués, pillow covers and fragments. This handout includes a brief biographical sketch of Mildred Davis written by Ann Roth. This publication is a handout which accompanied the exhibition.

 

Ceremonial Robes, 2001
This exhibition displayed a number of ceremonial robes drawn from the Gallery’s collection. Chinese and Nigerian robes and Japanese kimonos were all represented in this show. Essays include “Chinese Robes” and “Japanese Kimonos” by Janine LeBlanc and “Robes of Honor and the Survival of Tradition in Nigeria” by Dr. Rebecca Martin Nagy. This small publication was a handout which accompanied the show.

 

The New Heritage of North Carolina Pottery, 2000
This exhibition documented the work of a new generation of potters representing the exciting and changing nature of the North Carolina pottery world. Included in this exhibition were works by Kim Ellington, David Stuempfle, Ben Owen III, Douglas Rankin and Will Ruggles. This publication is a small handout with an introduction written by Charlotte Vestal Brown.

 

Under An Urging Moon: Recent Works by Rick Horton, 1989
This exhibition featured the work of North Carolina-born, lawyer-turned-artist Rick Horton. Horton is an NC State alumnus. This catalogue includes an introduction by Charlotte Vestal Brown and an in depth interview with Rick Horton by Beverley Ayscue. 12 pages. Color and black & white images.

 

Relative Visions, The Artistic Differences Between a Mother & Daughter: The Work of Mary Ann Scherr and Sydney Jo Scherr, 1996
This was the Gallery’s first exhibition of important metalwork. The catalogue includes an introduction by Charlotte Vestal Brown and an essay by Cynthia Wolfson. 12 pages. Black and white images.

 

Lidia Zavadsky: Jars, 1993-1994, 1996
This catalogue accompanied a traveling exhibition which originated at the Israeli Museum in Jerusalem. The work included in this exhibition surveys Zavidsky’s work of the period between 1992 and 1994, when she worked in the Netherlands and Jerusalem. The catalogue includes an essay written by Dr. Michael Levin. The text is in English and Hebrew. 36 pages. Numerous color images.

 

Mark Hewitt: Potter, 1997
This exhibition featured the work of the potter Mark Hewitt. Born and trained in England, Hewitt moved to North Carolina and has become accepted as one of the North State’s finest potters. This beautiful catalogue includes an introduction by Charlotte Vestal Brown and a preface by guest curator Sherman Lee. Essays include “Mark Hewitt: Artist” by Charles Millard, “Asian Ancestors” by Louise Allison Cort, “Consuming Pots: Listening to Mark Hewitt’s Customers” by Charles Zug and “A Pot in the Hand” by Mark Hewitt. 74 pages. Color and black & white images.

 

Other Exhibition Catalogues

 

Randy Schull
Vernacular Pottery of North Carolina, 1982-86
Color: The Spectrum of Expression
West African Textiles
Photography of the Monterrey Peninsula
Fabulous Furniture
Mark Leithhauser
The Right Stuff: A Juried Exhibition of Upholstered Furniture
Ceramics from the Tate Collection
Daniel Jocz: Uncommon Sense
Friends fo the Gallery Collect/Photographs from the Rick Horton Bequest
B.B. Craig
New Furniture by Michael Joerling
Celebrating the Stitch
Matthew Nowicki: Sketches and Visions
David Hyman: Photographs 1976-1992
Folk and Outsider Art from the Permanent Collection
Antfarm Decade