Exhibitions

Hair City Fair by House Pencil Green, Joseph Herring and Amy Ruddick’s design/art studio, is a multimedia installation that explores the carnival as a site of artistic production, communal ritual, and aesthetic consumption.

Although each Land Report artist investigates formal and conceptual issues based in the landscape as an individual, the essence of our collective lies in the intersection between the things each of us point at – as if we were pointing to locations like road signs. New meanings and contexts emerge when viewers see the conversations that open up between works in an exhibition that would not normally occur when pieces are exhibited in isolation. Furthermore, the development of the work for each exhibition is a result of the artists being in direct and indirect dialogue with each other, the spaces they inhabit and the people they interact with there. Through this active process, members of the collective make new work as if it were a conversation, even though each artist acts autonomously and there is no hierarchical structure imposed.

In our current moment the lines between art and advocacy have started to blur. Although artists have always addressed political and human rights concerns, the current era of activism is tipping the scale and gravity of cultural production. Questions of how the art is used to affect public opinion and sway others to a cause are being asked worldwide.  Why do artists choose to make work that confront problems in the world?  Why would they decide to advocate?

“Degrees of Visibility” is Ashley Hunt’s study of the visual politics of mass incarceration, a nine-year survey of prison landscapes throughout all 50 U.S. states and territories. Asking how camouflage, disappearance and concealment have allowed mass-scale imprisonment to spread invisibly all around us, it shows glimpses of a carceral society alongside the imagining of prison abolition.

Making projections into an unknown future can be a dangerous business. As we deal  with feelings of impending doom, we create space(s) for self-preservation in an  attempt to meet the moment when it arrives. Until then, we remain suspended in space  and time. As it relates to the works in this exhibition, the title is employed as an  affirmation rather than a negation. Float, Fly, Transcend.

Born in Carolina, Puerto Rico, and currently based in Oakland, California, Sofía Córdova's work considers “sci-fi and futurity, dance and music culture(s), the internet, mystical objects, extinction and mutation, migration, and climate change under the conditions of late capitalism and its technologies”

Imagery of snakes has a long historical heritage in American culture that traces back to the country’s founding.

FretHaus 2021 features work from Auburn University School of Industrial and Graphic Design's Industrial Design Senior Thesis and opens to the public April 25, 2021.

Tigers are predators, a label which invokes sinister images of violence and peril; the wrath of the wild. We don’t normally imagine predators in languid pools, draped in an unconstrained landscape...

Tigers are predators, a label which invokes sinister images of violence and peril; the wrath of the wild. We don’t normally imagine predators in languid pools, draped in an unconstrained landscape...