Kim Keever photographically captures colliding, billowing colors into soft yet explosive choreography, creating imagery as beautiful as it is technical. Trained as an engineer, Keever uses precision and innovation to compose his photographs, utilizing a strategic dispersal of specially prepared pigments into a 200-gallon aquatic tank, creating dynamic, random movement confined with the glass walls. After photographing through the glass, Keever crops the images to achieve the desired compositions. In this process dualities emerge: the images exist in a space between chance and control, between explosiveness and grace.

A recipient of the New York Foundation for the Arts Grant, Keever, had been honored with numerious exhibitions throughout the United States and abroad. His work is in the permanent collections of the Mint Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the Hirshhorn Museum, Microsoft, Bank of America and Philip Morris.

Kim Keever photographically captures colliding, billowing colors into soft yet explosive choreography, creating imagery as beautiful as it is technical. Trained as an engineer, Keever uses precision and innovation to compose his photographs, utilizing a strategic dispersal of specially prepared pigments into a 200-gallon aquatic tank, creating dynamic, random movement confined with the glass walls. After photographing through the glass, Keever crops the images to achieve the desired compositions. In this process dualities emerge: the images exist in a space between chance and control, between explosiveness and grace.

A recipient of the New York Foundation for the Arts Grant, Keever, had been honored with numerious exhibitions throughout the United States and abroad. His work is in the permanent collections of the Mint Museum of Art, the Metropolitan Museum of Art, the Museum of Modern Art, the Hirshhorn Museum, Microsoft, Bank of America and Philip Morris.

Clamp’s deeply personal images are influenced by simple yet poignant childhood memories. The commonplace toys and objects featured in his paintings are artifacts gathered in the process of recollecting childhood experiences, particularly the hours spent with his beloved grandfather, amidst his grandfather’s collected “treasures” and tools. The objects are meaningful to the artist and to his execution of both content and the carefully executed textures within the paintings. The viewer is invited to bring his or her own personal history to the narrative that unfolds within each painting.

A native of Leesville, South Carolina, Christopher Clamp received his BFA with a concentration in painting from Winthrop University in 2001. He was recently honored by being included in the prestigious biennial Re-Presenting Representation at the Arnot Museum in Elmira, New York. He has also been honored with inclusion in the 2001 South Carolina Triennial at the South Carolina State Museum.

Born in Charlotte, North Carolina in 1911, Romare Bearden had achieved a stature known by few artists during their lifetimes by the time of his death in 1988. He was, and still is, considered America’s greatest collagist and was thus honored by receiving the National Medal of Arts in 1987 from then President Reagan. The artist’s works are in the permanent collections of most every major American Museum including the Museum of Modern Art and the Metropolitan Museum of Art. Retrospectives of Bearden’s art have been organized by the Museum of Modern Art, the Mint Museum of Art, the Detroit Institute, the Studio Museum in Harlem, the High Museum in Atlanta, and for the Council for Creative Projects.

Throughout his life, Bearden depicted many rituals and social customs of twentieth century rural Black America. The images of spiritual ceremonies, baptisms, and burial, industrial hardships, musical arrangements and daily life have become the themes that critics and collectors most frequently associate with his work. Visually and emotionally stimulating, Romare Bearden’s collages and prints are beautiful to behold and fantastic to contemplate.

Born in Elloree, South Carolina, Jesse Redwin Bardin became nationally recognized for his evocative abstract paintings that seem to glow from within. His paintings tend to be primarily monochromatic, dealing with elemental concepts, contemplation and activity.

Bardin was the recipient of numerous awards and honors including the South Carolina Guild of Artists in 1958, the Ford Foundation Purchase Award in 1960 and inclusion in the American Federation of Arts, 50 Artists – 50 States traveling exhibition. In 1982, the Columbia Museum of Art launched a career retrospective. Bardin’s work can be found in museum collectors including the Mint Museum, the North Carolina Museum of Art, and the Gibbes Museum among others.

Throughout his career, Charles Basham has become more and more attuned to the subtle changes in weather and atmosphere. In his pastels and oil paintings, the energy and impact of light is realized in harmonized color whose saturation and temperature have been pushed and raised beyond previous limits. In doing so, he has captured dramatic and compelling moments of morning and evening light over the farmlands of the Midwest and the marshes and beaches of the low country in South Carolina.

Charles Basham received his B.F.A. and M.F.A. from Kent State University in his native state of Ohio, where he still resides on the family farm where he grew up. He has been making art for thirty years and as a result has enjoyed much acclaim for his visually stimulating and emotionally charged landscapes.

Frank V. Dudley (American 1868-1957) was born in Delavan, Wisconsin, the eldest of three brothers. Both parents were deaf, but the three children were fully hearing. In Delavan, young Frank was a childhood friend to future Brown County, Indiana, artist Adolph Robert Shulz (American 1869-1963). After high school, Dudley began working as a commercial painter for his father’s business. Frank had always showed artistic talent however, and his father encouraged him to study fine art. The next few years saw Frank traveling back and forth from Delavan to Chicago, alternating between business entrepreneurship and taking art instruction. Eventually, Frank and his brother Clarence established a commercial photography studio in Chicago. Frank also continued his fine art ambitions, and first had paintings accepted into exhibitions at the Art Institute of Chicago in 1902, beginning his career as a professional fine artist. He also began exhibiting with the Society of Western Artists in 1903. After his wife Mahala’s death of tuberculosis in 1904, Dudley became more active in the Chicago art world, including exhibiting with the Palette and Chisel Club. Dudley married his second wife, Maida, in 1913. Dudley and his family were active with the Dunes Pageant of 1917, an event attended by 40,000 people that was centered on preserving the Indiana Dunes on the southern edge of Lake Michigan. Dudley created a seminal painting of the event, and he subsequently began featuring the area almost exclusively in his work. Dudley became nationally known for his Indiana Dunes subjects, and the number of dunes paintings he eventually exhibited at the Art Institute of Chicago, the Society of Western Artists, and the Hoosier Salon totaled well over 800. Frank Dudley won the prestigious Logan Medal at the Art Institute of Chicago in 1921, and he also won eight major prizes at the Hoosier Salon between 1927 and 1941. Between his artistic focus on the dunes, and his tireless environmental activism, Dudley became inextricably linked to the area. He was christened “The Seer of the Dunes.”

Sources: Judith Vale Newton and Carol Weiss, “A Grand Tradition: The Art and Artists of the Hoosier Salon, 1925–1990,” Hoosier Salon Patrons Association, Indianapolis, Indiana, 1993; Rachel Berenson Perry, “Frank V. Dudley: Artist and Activist of the Indiana Dunes,” in the magazine “Traces of Indiana and Midwestern History,” Indiana Historical Society, Indianapolis, Indiana, Summer, 2004, pp.14–23; James R. Dabbert and others, “The Indiana Dunes Revealed: The Art of Frank V. Dudley,” Brauer Museum of Art, Valparaiso University, Valparaiso, Indiana, and University of Illinois Press, Urban and Chicago, 2006.

A Canadian native, Boxall holds a MFA from the San Francisco Art Institute. After moving to Charlotte in 2018, Boxall immediately began constructing her intelligent, expressive paintings using a mix of materials: acrylic, spray paint, pastel and oil.

During Boxall’s academic years she was the recipient of numerous honors and awards, including the Elizabeth Greenshields Foundation Artist Grant and the San Francisco Art Institute MFA Fellowship. Boxall’s work has been featured in exhibitions across Canada, Australia and the United States, most recently in a solo exhibition at the Mint Museum.