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<\/figure>\n\n\n\n\n\n\n\nThe header immediately\ndeclares this websites sole purpose for existing: Valdosta State Universities\nVirtual Exhibition. The design is\nminimal, black and white; the bright yellow logo of the \u201cIn Bold\u201d exhibition pulls\nthe eye down to the explaining that this is the safe virtual exhibition for the\ngraduating artists and interior designers. Clicking on the in bold link directs\nto a happy group photo of the senior class, bursting with laughter and excitement,\npunctuated with touching paragraph about their exhibition. The last line talks\nabout this show being a method of documenting their lives and art progress.\nThis rings ironic and leaves me wondering if this was written before or after\nthe cancellation of the in person gallery opening. This website seems to be\nmuch more literal document of the senior class then a material exhibition. It\nwill remain online as a sort of web monument to these students who have\nsacrificed their big moment. Scrolling down leads to black and white portraits\nof the individual seniors. These pictures all capture the unique personality of\nthe artists and feature little black doodles surrounding their bodies. A click\non any of these will go to the individuals statements and portfolio. <\/p>\n\n\n\n
A\u2019niecia De Four\nis the first artist displayed. Her page is topped with a quote from Frida Kahlo\na personal inspiration to her self-representative work. Her portfolio is a beautiful\nshow case of alla prima self portraits, feminist printmaking about the nude\nfemale form, and naked ceramic figurines. Her goal is clearly not for women to\njust see A\u2019niecia in these pieces but to see themselves reflected in them. <\/p>\n\n\n\n
Chelsea Klewicki\nhas the most distressing emotional work of the exhibition. She creates work\nabout her role as a new wife and being a new mom. Gritty negative and the\nstruggles of new motherhood are shown along the side the more endearing happy\nwork about becoming someone\u2019s mommy. \u201cLife\u201d is work that is physically painful\nto look at in the best way. It depicts the weathered body of a heavily pregnant\nwoman. The paint is applied thickly to the point that large cracks appear on\nthe surface: mimicking the stretch marks on pregnant woman\u2019s breasts and\nstomach. Other works display her infant son proudly. This is not the portfolio\nof someone who just does not like motherhood; this is a woman who has clearly\nfelt changed by her experience and is sharing that in a very vulnerable raw\nway. <\/p>\n\n\n\n Shelby Coulters\nwork focuses on mass produced mediums that can be used to quickly spread her admitted\npropaganda. She does not mince words or come to her messages with polite\nquietness so often expected when women are talking. Her work explores themes of race, gender, and\nclass inequality. \u201cAunt Sam\u201d is the most succinct piece for this message. It\nparodies the iconic uncle sam poster with several different variations on hair\nand skin color that give individual characteristics to the mass produced work.\nAt the bottom it demands the viewer pay attention the lack of women in power in\nthe US. <\/p>\n\n\n\n This show is\nnot half-baked. However the feeling of incompleteness looms over it. There is\nso much missing. I am missing the ceramic rural house of Isaac Wright, the face\njugs of Alexis Bass, and so many more works I\u2019m not even aware of that sit\nwaiting for corona to pass to be completed. This is not the fault of the senior class who\npulled off and amazing feet with this beautiful creative website that showcases\neveryone so well. It is only incomplete because I know this is what they had to\ncompromise with and it feels completely unfair. What they have made is no doubt\nprofessional, beautiful, and something to be proud of but I cannot help but be\nheartbroken for them. <\/p>\n","protected":false},"excerpt":{"rendered":" By Sophie Anderson \u201cBECAUSE OF THE EXTRAORDINARY CIRCUMSTANCES OF THE CORONAVIRUS \u201c are the first words that draw my eye on the page of the senior exhibition and they ring loud through the whole virtual exhibition. There can be no doubt that this senior class has been challenged like no other. The senior show is … Continue reading A Bold Bittersweet End<\/span><\/a><\/p>\n","protected":false},"author":553,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[136],"tags":[],"class_list":["post-1094","post","type-post","status-publish","format-standard","hentry","category-seniors2020"],"acf":[],"_links":{"self":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/1094","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/users\/553"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/comments?post=1094"}],"version-history":[{"count":1,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/1094\/revisions"}],"predecessor-version":[{"id":1097,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/posts\/1094\/revisions\/1097"}],"wp:attachment":[{"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/media?parent=1094"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/categories?post=1094"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.valdosta.edu\/artcriticism\/wp-json\/wp\/v2\/tags?post=1094"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"https:\/\/blog.valdosta.edu\/artcriticism\/wp-content\/uploads\/sites\/101\/2020\/05\/93266554-1337926639732345-3564742316453265408-n_orig-576x1024.jpg\")
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