List 8 Tourist Attractions in Lynchburg, Virginia | Travel to United States
Here, 8 Top Tourist Attractions in Lynchburg, US State..
There's Amazement Square, Old City Cemetery, Riverwalk Trail, Point of Honor, Lynchburg Museum, Liberty Mountain Snowflex Centre, Blackwater Creek Trail, Maier Museum of Art and more...
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Top 11. Best Tourist Attractions in Lynchburg - Virginia
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The most beautiful places and sight in Lynchburg.
Top 11. Best Tourist Attractions in Lynchburg - Virginia: Amazement Square, Old City Cemetery, Riverwalk Trail, Point of Honor, Lynchburg Museum, Liberty Mountain Snowflex Centre, Maier Museum of Art, Historic Sandusky, Pest House Medical Museum, Anne Spencer House, Regal Cinemas River Ridge Stadium 14
Best Attractions & Things to do in Lynchburg, Virginia VA
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List of Best Things to do in Lynchburg, Virginia (VA)
Amazement Square
Old City Cemetery
Riverwalk Trail
Point of Honor
Blackwater Creek Trail
Lynchburg Museum
Liberty Mountain Snowflex Centre
Maier Museum of Art
Historic Sandusky
Anne Spencer House
Thomas Cole to Thomas Moran: 19th-Century American Landscapes at the Maier
Metropolitan Museum of American Art Research Associate, Dr. Shannon Vittoria, explores the development of 19th-century American landscape painting through a series of works from Randolph College's collection, focusing on the European roots and transatlantic travels of artists including Thomas Cole, Asher B. Durand, George Inness, and Thomas Moran, among others.
Vittoria joined the American Wing of the Metropolitan Museum of American Art in October 2015. She specializes in American painting and works on paper, with a focus on landscape art and women artists. She contributed to the research and organization of Thomas Cole's Journey: Atlantic Crossings (2018). As an Andrew W. Mellon Curatorial Fellow in the department (2013-14), she assisted with research for Thomas Hart Benton's America Today Mural Rediscovered (2014–15).
Vittoria received her PhD in art history from the City University of New York's Graduate Center, where she completed her doctoral dissertation, Nature and Nostalgia in the Art of Mary Nimmo Moran (1842–1899). She has held curatorial research positions at the Frick Collection, the Morgan Library and Museum, and the New York Historical Society.
This lecture is the 2nd Annual Sandra Whitehead Memorial Lecture, a series which highlights works from the Randolph College Collection. The series is supported by the Honorable Paul Whitehead, Jr. and was established in 2018 in memory of his wife Sandra Stone Whitehead.
Justice-in-Education Scholars Video Series: Lisette Oblitas
We’re pleased to share the inaugural video in a new interview series created by Justice-in-Education scholar Isaac Scott.
Lisette Oblitas is the Administrative Assistant at the Society of Fellows and the Heyman Center for the Humanities at Columbia University. She has taken courses towards her BA Degree at Wesleyan University through the Center for Prison Education and in 2016 she became a Columbia University Justice-In-Education scholar. She continues her studies and intends to major in Psychology and the Arts.
As a Visual Artist, her work has been displayed in different cities in the US. Shared Dining, a collaborative art piece inspired by the original Dinner Party by Judy Chicago, was exhibited at the Brooklyn Museum in NY; the American Visionary Art Museum in Baltimore, MD and the Maier Museum of Art in Lynchburg VA. She has participated as an Art Panelist for State of Denial: the illegal incarceration of women, children and people of color at the Elizabeth A. Sackler Feminist Art Center at the Brooklyn Museum and the Vision of Confinement: A Lens on Women in The United States Prison System at Hunter College in East Harlem.
She is a native of Peru, fluent in Spanish and English. She has volunteered with the Judy Dworin Performance Project and Avodah Dance.
22nd Annual Berlind Symposium: Artist talk by Binh Danh (October 5, 2013)
Binh Danh moved to the United States from war torn Vietnam as a young child in 1979. Danh has emerged as an artist of national importance with work that, in his own words, deals with mortality, memory, history, landscape, justice, evidence, and spirituality.
The Berlind Symposium was established by friends and family of Helen Clark Berlind '58 to honor her memory on the occasion of the Maier Museum of Art's 80th Annual Exhibition of Contemporary Art. The symposium has expanded and extended the educational impact of Randolph College's annual exhibition by inviting scholars and artists to discuss issues relevant to each annual exhibition.
'Contemporary Vietnamerican Art': Opening Reception Panel Discussion (September 5, 2013)
Video of the Maier Museum of Art at Randolph College's 102nd Annual Exhibition: Contemporary Vietnamerican Art' opening reception panel discussion on September 5, 2013. The panelist were three Randolph College students: Julie Dinh Doan '14, Teague Nelson '14, Phuong Tran '15, as well as Patrick Hubble a Lynchburg resident and Vietnam War re-enactor who has worked with artist An-My Lê. The panel discussion was moderated by Randolph College Assistant Professor of Art History, Leanne Zalewski, Ph.D.
The 24th Annual Helen Clark Berlind Symposium: Panel Discussion
Panel discussion with artists Kevin Beasley, Todd Gray, and Toyin Odutola whose work was featured in the exhibition “Breath/Breadth: Contemporary American Black Male Identity.” Moderated by Evie Terrono, Ph.D., a professor of Art History at Randolph-Macon College.
Kevin Beasley's Raw Materials | Art21 New York Close Up
Does the past have a sound?
Celebrated for his material-oriented practice, Kevin Beasley juxtaposes sound, silence, and sculpture to examine the legacy of cotton in the American South. Set to the beat of his improvised drumming, the film shows Beasley at work in his Queens studio finishing his multipart exhibition, A view of a landscape, at the Whitney Museum of American Art—his most ambitious work to date.
The installation is centered around the motor of a modern cotton gin—a machine originally invented in the late 1700s that streamlined the most labor-intensive part of cotton production, separating the fiber from the seed. Acquired on eBay, the motor was in operation from 1940–1973 in Maplesville, Alabama; in parallel to an era of intense social change that encompassed both the Great Migration and the passing of the Civil Rights Act. Housed in a glass soundproof chamber, the running motor is a visual, yet silent experience. Divorcing its sound was inspired by the motor's former owner, who was unable to articulate its sound to Beasley upon purchasing, but as a feeling that will shake your insides.
The industrial roar is channeled into an adjacent gallery, recorded by an array of specialized microphones surrounding the motor in the vitrine—a complete sensory switch from the gallery next door. A noted musician, Beasley manipulates and enhances the motor's tones through a soundboard, each vibration embedded with a sonic history of the Southern soil. For Beasley, sound is just as tactile as any other material, and has increasingly become a way to process the world.
Revealing the personal story that inspired the installation, Beasley describes his emotional response when he saw cotton growing on his family's Virginia farm. Why am I so mad at this plant? This plant is not doing anything except growing and being beautiful. This creative journey is chronicled in three large slab sculptures. These wall-like assemblages are composed of seemingly disparate materials—a Yale sweater, durags, and sound equipment—set into place by a wall of Virgina-cotton, and mirror the contemporary complexity of race in the United States.
Kevin Beasley (b. 1985, Lynchburg, Virginia, USA) lives and works in Queens, New York. Learn more about the artist at:
CREDITS | Director & Producer: Christine Turner. Series Producer: Nick Ravich. Editor: Troy Herion. Cinematography: Jon Chen & Nick Fitzhugh. Location Sound: Edward Morris II. Production Coordinator: Danielle Brock. Music & Sound Mix: Troy Herion. Color Correction: Jonah Greenstein. Design & Graphics: Chips. Artwork Courtesy: Kevin Beasley. Archival Media Courtesy: Library Of Congress. Thanks: Casey Kaplan, Stephen Decker, Em Joseph, Veronica Levitt, Shani Strand, & Whitney Museum Of American Art.
This film is possible thanks to Hedy Fischer and Randy Shull. Additional support of New York Close Up is provided, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; and by individual contributors.
© Art21, Inc. 2019. All rights reserved.
#KevinBeasley #Art21 #Art21NewYorkCloseUp
Music at the Maier (March 2013)
Classical art songs performance by the Opera on the James' Young Artists, themed to resonate with the exhibition, Modern Movement: Arthur Bowen Davies Figurative Works on Paper from the Randolph College and Mac Cosgrove-Davies Collections. Including: Hailey Clark (soprano), Justin Manalad (baritone), Brendan Daly (tenor), Sarah Kraus (mezzo-soprano), and Tom Getty (pianist).
The 24th Annual Helen Clark Berlind Symposium: Artist Talk by Todd Gray
Reading from “Hold Still: A Memoir with Photographs” by Sally Mann
Reading from “Hold Still: A Memoir with Photographs” by Sally Mann
C2CC Deaccessioning Dilemma
Recorded: Thursday, November 19, 2015
Deaccessioning is the opposite of accessioning—it is the permanent removal of an object from a collection. Disposal refers to what happens to a collection object after it has been deaccessioned. Although this important tool for collections control is as old as museums, these processes are fraught with contradiction and controversy. This webinar will address the deaccessioning and disposal of objects in the context of good collection stewardship, including criteria for justifying these decisions and deciding how to dispose of deaccessioned objects. The legal and ethical considerations of deaccessioning and disposal of objects from museum collections will be discussed, as well as and how these procedures should be documented. Critical and contentious issues will be considered including how funds from deaccessioning should be used, whether or not donors should be notified, and how to deal with public misconceptions about the process. Guidelines will be provided for writing deaccessioning and disposal policies and procedures. Questions are invited from the participants.