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X-WR-CALDESC:Events for Longwood Center for the Visual Arts
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DTSTART;VALUE=DATE:20260220
DTEND;VALUE=DATE:20270208
DTSTAMP:20261007T000115Z
CREATED:20260215T182611Z
LAST-MODIFIED:20261007T000115Z
UID:10000050-1771545600-1802044799@lcva.longwood.edu
SUMMARY:The Soul of America at 25: K. Johnson Bowles
DESCRIPTION:20 February 2026 — 7 February 2027 \nThe Soul of America at 25 commemorates the iconic and beloved work created with community volunteers by artist and former LCVA Director K. Johnson Bowles. \nLCVA exhibitions and programs are made possible through the generous support of the Wells Fargo Foundation\, the Walter J. Payne Foundation\, Anne Carter & Walter R. Robins\, Jr. Foundation\, Walmart\, Helton House\, Haley Auto Mall\, Candice Jamison Dowdy ’69 & Charles H. Dowdy III + Northwestern Mutual\, Lisa & Tim Tharpe\, Rock Foundation\, Community Foundation for a Greater Richmond\, Harriet Butterworth Miller ’51\, Joni Beachly + Focused Financial\, YakAttack\, Cifers Enterprises\, Peachtree House Foundation\, Wilma Register Sharp ’66 & Marc B. Sharp\, and Mindy & Nash Osborn + North Street Press Club. \nPictured: Detail of The Soul of America\, 2001\, mixed media\, 96 x 192 x 8 inches
URL:https://lcva.longwood.edu/event/the-soul-of-america-at-25-k-johnson-bowles/
LOCATION:Longwood Center for the Visual Arts\, 129 N. Main Street\, Farmville\, VA\, 23901
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://lcva.longwood.edu/wp-content/uploads/2026/02/123695944_3437400139629621_4996382949286846567_n.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260220
DTEND;VALUE=DATE:20261109
DTSTAMP:20261015T213104Z
CREATED:20261015T212951Z
LAST-MODIFIED:20261015T213104Z
UID:10000058-1771545600-1794182399@lcva.longwood.edu
SUMMARY:Highlights from the Collection: Untitled (Natural Bridge)
DESCRIPTION:William T. and Harriet Butterworth (Class of 1951) Miller Gallery \n20 February–8 November 2026 \nWilliam Thompson Russell Smith came to the United States from Scotland as a boy\, settling in Pittsburgh\, Pennsylvania\, with his family. He studied art under James Reid Lambdin (American\, 1807–1889)\, who had been a pupil of Thomas Sully (English-American\, 1783–1872). In 1835\, Smith moved to Philadelphia\, where he wrote poetry and painted theatrical scenery. Inspired by the works of the Hudson River School\, he traveled throughout Pennsylvania\, Virginia\, and New England to make sketches directly from nature. Smith began exhibiting his landscapes at the Pennsylvania Academy of Fine Arts in 1934 and became well known for his monumental views of nature. \nIn the late 1830s and through the 1840s\, he summered and sketched in Virginia near Charlottesville and worked with geologist William Barton Rogers (American\, 1804–1882). Rogers was a professor at the University of William and Mary (1828–1835)\, the University of Virginia (1835–1853)\, and later founded the Massachusetts Institute of Technology. He was the first state geologist\, conducted the first geological survey of Virginia\, and wrote the Geological History of the Appalachian Chain (1835)\, in which he discussed the action of water on various minerals and rocks. Natural Bridge in Rockbridge County\, Virginia\, is a 215-foot limestone arch formed by the flow of Cedar Creek\, a branch of the James River\, in the Ordovician Era\, 500 million years ago. Smith recorded this view of Natural Bridge while working with Rogers and created this painting sometime in 1844 based on his sketches. \nSmith was likely known to Rogers through Rogers’ brothers\, scientists working in Philadelphia and throughout Pennsylvania on a similar geological survey of that state. Rogers’ brothers also assisted him in his work and were part of the broader national scientific and philosophical movement to study\, document\, and celebrate the natural beauty of the United States. The movement was part of the views championed by Virginian and third President of the United States Thomas Jefferson (1743–1826)\, who developed the Expansionist Movement and the concept of Manifest Destiny. For Jefferson and others of the period\, collective national identity was inseparable from the natural world. \nAlthough Natural Bridge was a sacred site for the Indigenous Monacan people\, Thomas Jefferson purchased it\, along with 157 acres\, from King George III for 20 shillings in 1774.  Believing it to be as significant as Niagara Falls in New York\, he urged artistic depictions of the Natural Bridge\, which he described as the “most sublime of nature’s works.”  The location became a popular tourist destination and reached its peak fame in the mid 1800s. In 2016\, the Commonwealth of Virginia made it a state park. \nSOURCES \nBarton\, Emma Savage\, ed. with the assistance of William T. Sedgwick.  Life and Letters of William Barton Rogers. Vol. 1. Boston and New York: Houghton\, Mifflin and Company\,1896. \nMount Vernon Ladies’ Association. “William Thompson Russell Smith.” Museum of George Washington’s Mount Vernon. Accessed February 10\, 2026. https://emuseum.mountvernon.org/people/2236/william-thompson-russell-smith. \nOliver\, Christopher. Virginia Arcadia: The Natural Bridge in American Art. Richmond\, VA: Virginia Museum of Fine Arts\, 2001. \nPictured: William Thompson Russell Smith (Scottish-American\, 1812–1896)\, Untitled (Natural Bridge)\, c. 1844. Oil on canvas. Collection of the Longwood Center for Visual Arts\, American Art Collection\, Gift of Arthur J. Phelan\, Jr.\, 1979.02.
URL:https://lcva.longwood.edu/event/highlights-from-the-collection-natural-bridge/
LOCATION:Longwood Center for the Visual Arts\, 129 N. Main Street\, Farmville\, VA\, 23901
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://lcva.longwood.edu/wp-content/uploads/2026/10/Smith-1979.02.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261006
DTEND;VALUE=DATE:20270701
DTSTAMP:20261008T204159Z
CREATED:20261008T204159Z
LAST-MODIFIED:20261008T204159Z
UID:10000060-1791244800-1814399999@lcva.longwood.edu
SUMMARY:Aimee Joyaux: Color-Aid ®
DESCRIPTION:William T. and Harriet Butterworth (Class of 1951) Miller Gallery and Thomas Sully Gallery \n6 October 2026–30 June 2027\nCelebratory reception: 20 November 2026\, 5–8 p.m.  \nColor-Aid ® is a group of paintings that explore Aimee Joyaux’s bursting sense of urgency\, a frantic and anxious response to our new world order. Joyaux states: \nI am a concerned observer of the global artistic and political scene. The shapes of our time are shifting as environmental transformation and fluid borders refuse any static definition. I don’t feel that we are in a free fall but very little that I read is reassuring. It’s hard to feel anything but grim. Our barbarity is haunting. And yet\, art is a place for hope\, an opportunity for honesty\, an invitation to pay attention\, to request reflection\, perhaps to inspire conversation. So\, I paint. I look backwards and I look forwards. \nPlants become abstract forms to play with\, stand-ins\, excuses to engage with texture and color and act as references\, symbols of life and death\, our canaries in the coal mine. Color-Aid ® is also a consumer product. They make color swatches used by artists and designers both as indexes but also raw material. They are very fun to just look at. I love the idea of color as an aid. My use of bright color is in part an effort to give myself some energy\, hope\, and beauty. \nJoyaux’s work has been exhibited both nationally and internationally at venues including the Virginia Museum of Fine Arts\, Taubman Museum (Roanoke\, VA)\, National Women in the Arts Museum (Washington\, DC)\, and the School of the Art Institute of Chicago\, among others. She earned an MFA from the University of Oregon and BA from Southern Oregon State University. \nPictured: Aimee Joyaux\, Snakes\, 2023–2025. Shellac\, acrylic\, oil stick\, oil pastel\, pencil\, charcoal\, and gold leaf on canvas\, 36 x36 inches. Photograph courtesy of the artist.
URL:https://lcva.longwood.edu/event/aimee-joyaux-color-aid/
LOCATION:Longwood Center for the Visual Arts\, 129 N. Main Street\, Farmville\, VA\, 23901
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://lcva.longwood.edu/wp-content/uploads/2026/10/Joyaux-Snakes.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20261014
DTEND;VALUE=DATE:20270412
DTSTAMP:20261008T200307Z
CREATED:20261006T235349Z
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UID:10000059-1791936000-1807487999@lcva.longwood.edu
SUMMARY:A Small Piece of a Pretty Picture
DESCRIPTION:Lower Level Gallery \n14 October 2026–11 April 2027 \nOpening Reception: 14 October 2026\, 5–8 p.m. \nThis exhibition features work by Erin E. and Philip C. Stead. As the LCVA’s 11th Arts and Letters Exhibition\, the presentation continues the tradition of showcasing the best in children’s literature and illustration in conjunction with the Virginia Children’s Book Festival. \nAs award-winning illustrators\, authors\, and collaborators\, Erin E. and Philip C. Stead’s work speaks to enduring themes of friendship\, cooperation\, and embracing mistakes made in life. The Steads have created over 30 children’s books. Their book\, A Sick Day for Amos McGee (Roaring Brook Press\, 2010)\, won the 2011 Bank Street – Best Children’s Book of the Year and the 2011 Caldecott Medal. Working side-by-side\, respecting each other’s vision\, and intentionally listening\, the couple’s process creates enduring works filled with wonder and delight. Their philosophy for their work is simple: always work to impress each other. \nThe carefully chosen visual elements along with a poet’s economy of words placed on a white ground evokes feelings of calm\, reflection\, and mindfulness. The work embraces the imperfection of human industry\, keeping intact “mistakes” which\, ultimately\, pay reverent homage to revelations afforded in life’s unexpected journeys and challenges. Art\, like life\, doesn’t have to be perfect to have meaning and evoke wonder. \nPictured: Philip C. Stead\, Sometimes It’s Nice to Be Alone\, 2023. Monotype with oil etching ink on paper\, 16.25 x 25 inches. Photograph courtesy of the artist.
URL:https://lcva.longwood.edu/event/a-small-piece-of-a-pretty-picture/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://lcva.longwood.edu/wp-content/uploads/2026/10/P-Stead-sometimes-its-nice-to-be-alone.jpg
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