The Cameron Art Museum is housed in a 42,000 square foot facility designed by the architectural firm of Gwathmey Siegel & Associates (NYC).

The Cameron presents changing special exhibitions comprised of fine arts, crafts and design.

The Museum presents changing special exhibitions comprised of fine arts, crafts and design.

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State of the Art/Art of the State

EXHIBITION RUNS: May 8 – October 30, 2011

NO JURORS, NO FEES

This exhibition is generously funded in part by:
A donor through the North Carolina Community Foundation The Thomas S. Kenan, III Foundation The Alvin and Fanny B. Thalheimer Foundation
and Mike and Phyllis Ryan . In-kind support provided by Our State Magazine Ustream Holiday Inn Resort Wrightsville Beach Hampton Inn Landfall Hampton Inn Medical Park Hilton Wilmington Riverside.

Artist Roster

Organized by the Cameron Art Museum, this exhibition focuses on contemporary art by artists currently living in, or native to, the state of North Carolina. Artists are invited to bring a single work of art to be installed in the museum, delivering the work within a 24-hour period. During this timeframe, an internationally renowned curator will be present to greet each artist, shake his/her hand, and direct the exhibition installation. The design of this project provides any participating artist equal opportunity to meet a significant curator working in the field of contemporary art today and have their work seen by all visiting curators.

This event pays homage to the open, creative curatorial spirit of the late art world maverick, Walter Hopps (1932-2005). In 1978, responding to a comment from his junior colleague, Deborah Velders (Jensen) about the problems artists face gaining access to notable curators, Walter Hopps conceived an entirely open, unmediated event to remedy the situation. His program invited any artist to bring a single work of art, to meet Hopps, and see installation of work. This event called “36 Hours” occurred in a gritty, street-level alternative space called MOTA (Museum of Temporary Art), located in downtown Washington, D.C. There was no jurying, no selection (or rejection), and no entry fee. The only restrictions were size (work needed to fit through the door), weight (regarding transporting/placing and support capacity), and the delivery time frame (36 hours). This unprecedented opportunity for artists was covered by the Washington Post, and attracted over 400 works of art, all by artists living and working in the Washington, D.C. area.

PARTICIPATING CURATORS

Susan Davidson: Senior Curator, Collections & Exhibitions, Solomon R. Guggenheim Museum, New York. Before joining the Guggenheim, she was collections curator at the Menil Collection, Houston, Texas for 18 years. Davidson’s research areas include Surrealism, Abstract Expressionism, and Pop Art, and she specializes in the art of Robert Rauschenberg. Her most recent exhibitions and catalogues include: Robert Rauschenberg: Gluts; Art in America: 300 Years of Innovation; No Limits, Just Edges: Jackson Pollock Paintings on Paper; Peggy and Kiesler: The Collector and the Visionary (The Story of Art of This Century); and American Pop Icons. Davidson holds advanced degrees in art history from the Courtauld Institute of Art, London, and George Washington University, Washington, D.C.

Nicholas Cullinan: Curator of International Modern Art at Tate Modern, London. There he has worked on exhibitions including Duchamp, Man Ray, Picabia; Cy Twombly: Cycles and Seasons, and Pop Life: Art In A Material World. Cullinan has previously worked at The Museum of Modern Art, New York, and the Guggenheim Museums in New York, Bilbao and Venice. He writes regularly for journals including Artforum, The Burlington Magazine, Frieze and October and is currently working on a monograph on Cy Twombly for Phaidon and a book on Robert Rauschenberg's photography for Schirmer/Mosel. Among other projects, he is curating Tacita Dean's Unilever installation for Tate Modern's Turbine hall and the exhibition Twombly and Poussin: Arcadian Painters at Dulwich Picture Gallery, both of which open in 2011. Cullinan completed his PhD on Arte Povera at the Courtauld Institute of Art, University of London.

Apsara Di Quinzio: Assistant curator of painting and sculpture at the San Francisco Museum of Modern Art. She has organized solo exhibitions with Felix Schramm, Paul Sietsema, Mai-Thu Perret, and Vincent Fecteau and R. H. Quaytman. She is a co-curator of the upcoming 2010 SECA Art Award Exhibition, and organized the 2008 iteration as well. For SFMOMA, she also organized Abstract Rhythms: Paul Klee and Devendra Banhart, and she is in the process of editing the book The Air We Breathe: Artists and Poets Reflect on Marriage Equality, co-published by DAP, to be released in fall 2011. Last year, The Andy Warhol Foundation awarded her a Curatorial Fellowship to develop an international group exhibition that will open at SFMOMA in the fall 2012.

Timothy Anglin Burgard: The Ednah Root Curator of American Art and the Curator-in-Charge of the American Art Department for the Fine Arts Museums of San Francisco. He designed the 2005 reinstallation of the new de Young Museum’s permanent collection of American art. A graduate of Dartmouth College, he holds Master of Arts and Master of Philosophy degrees from Columbia University. He worked previously at The New-York Historical Society and at the Harvard University Art Museums, where he served as the University’s first curator of American art. He is the author or co-author of thirteen books and numerous scholarly articles. Through his curatorial work, he has pursued his strong interest in interdisciplinary and multicultural studies that transcend traditional categorizations.

LOCAL HOTELS AND LODGING

The following hotels have partnered with the Cameron Art Museum to offer special rates on lodging for participants of the State of the Art event:

Hampton Inn Wilmington – Medical Park
www.wilmingtonmedicalpark.hamptoninn.com
2320 South 17th St - (910) 796-8881

Hilton Wilmington Riverside
www.wilmingtonhilton.com
Downtown 301 N Water St. - (910) 763-5900

Conditions Governing Exhibition at the Cameron Art Museum

DELIVERY AND PICK-UP (please read carefully)

Artists are responsible for delivery to and from the museum. The Cameron Art Museum will not be responsible for any damage incurred in transit. Artists must hand deliver a single work of art to be installed in the museum within a 24-hour period (between 5:00 pm Friday, May 6 and 5:00 pm Saturday, May 7, 2011). Space in exhibition is not guaranteed and is on a first come first serve basis.

Artists must pick up their artwork at the designated pick-ups times. Artwork may be picked up on Sunday October 30 from 5:00pm – 7:00pm and Monday October 31 from 2:00pm – 6:00pm. Artist understands that the Cameron Art Museum is not responsible for any work left on its premises after the specified pick-up dates.

USAGE RIGHTS

By submitting for exhibition, artists grant the Cameron Art Museum permission to reproduce images of said work for all standard museum purposes, including, but not limited to, documentation and record-keeping, publication in exhibition materials, brochures, educational materials, exhibition publicity in all media including print, television, the museum’s website and other educational websites. Artists grant the use of these images as stated here without further compensation from the Cameron Art Museum. Artist and title recognition will be included at use.

INSURANCE

The Cameron Art Museum will insure the work while on premises for the length of the exhibition for the agreed current market value. The lender agrees that in the event of loss or damage, recovery if any, shall be limited to such amount as paid by the insurer, hereby releasing the Museum, its officers, agents and employees from liability for any and all claims arising out of such loss or damage beyond the insurance proceeds. In respect to an object which has been industrially fabricated and can be replaced to the (living) artist’s specifications, the Museum’s liability shall be limited to the cost of such replacement.