Facebook  Instagram  X

The Third Street Box Office Project

SUMMER 2024

As the nation approaches the 60th anniversary of the Civil Rights Act passed on July 2, 1964, The Paramount Theater of Charlottesville will host area artists to activate a local remnant of the South’s segregation laws, The Paramount’s Third Street Box Office. Artists will present temporary exhibitions that address the history of segregation and civil rights.

Timeline

KORI PRICE - WALKING DUALITIES

July 2, 2024 Opens to the public

July 23, 2024 Exhibition closes


TOBIAH MUNDT - SHADOWS OF THE PAST

July 30, 2024 Opens to the public

August 20, 2024 Exhibition closes


NICK BRINEN - ASCENDING LIGHT

August 27, 2024 Opens to the public

September 17, 2024 Exhibition closes

Three (3) selected artists will receive an honorarium of $2,500 each to present an original work on the site of The Paramount Theater’s Third Street Box Office. Selected projects will be on display for three (3) weeks.


The Third Street Box Office at The Paramount Project is supported by a grant from The League of Historic American Theaters (LHAT) DEIB Initiative with the stated goals of sharing our historic, exterior space with community artists to extend our mission; igniting dialogue and fostering conversation; drawing attention to artists in our local community; and driving visitors to the Downtown Mall in Charlottesville.


New City Arts is providing consulting support for The Third Street Box Office at The Paramount Project.

WALKING DUALITIES

Exhibition Statement


We walk in dualities of space and dualities of time. We are a product of history, a preamble of what comes next. Our present carves a path between the past and the future.


In the installation, Walking Dualities, Black people from our present become apparitions representing Black folks from our country’s not-so-distant segregated past. These apparitions are en route to The Paramount Theater’s 3rd Street Box Office. Each apparition is captured in a moment of their time and shown converged all together to merge their past with our present. At the Box Office, a mother and daughter walk up to purchase a ticket, sharing the same space with a couple who are there to do the same. Each photograph in the installation compresses time into a singularity where we can exist in unison with these apparitions from the past and those unseen and unknown who will come after us.


Walking Dualities is also a nod to W.E.B. Du Bois’s concept of double consciousness and a reminder that the double standard of the American declaration that “all men are created equal” has not yet been actualized. While the Civil Rights Act and continued activism have created significant change for Black people in our society, the generation-spanning wounds of segregation can still be felt today. Through something as quiet as unconscious bias or as vocal as white supremacy, the legacy of segregation and the Jim Crow South continues to affect current systemic and social issues. As our society continues on its path toward equity, it’s important for us to understand how both the whole picture and the nuances of the past have informed and led to our present. We must not only interact with the facts of the past, but we must stop to feel and empathize.


As you walk alongside these apparitions from the past, I invite you to envision what it would mean to use this alternative box office, this alternative entrance. What it would mean to have structures and signage put in place to keep you out of sight, to live a life where you are an invisible part of society.


-


"It was important to me to repair and re-install my art as soon as possible and make sure that I didn't hide the damage that had been done. Inspired by the Japanese ceramic art tradition of Kintsugi, a method of repairing broken ceramics with lacquer and gold or silver dust, I chose to apply gold leafing to the areas where the banners were cut. These areas not only remain as documentation of the vandalism that occurred, but are a metaphor for resiliency, fortitude, and healing."


KORI PRICE, ARTIST

ABOUT

The Artists

Kori Price is a multi-disciplinary artist and photographer based in Charlottesville, Virginia. Originally from Culpeper, Kori has been proud to call Central Virginia home for most of her life and is passionate about telling the stories of her community. Kori holds a B.S. in electrical engineering from Virginia Tech and seeks to maintain a balance between her technical and creative interests with her work. She is a founding member of the Charlottesville Black Arts Collective and currently serves as its president. Kori has been a resident artist at New City Arts Initiative as well as a writer-in-residence at McGuffey Arts Center. Her work has been exhibited at New City Arts Initiative, The Bridge Progressive Arts Initiative, Studio IX, McGuffey Arts Center, and Second Street Gallery.


Learn more about Kori

Tobiah Mundt is a self-taught fiber artist who was born and raised in Houston, Texas. She studied Architecture at Howard University in Washington, DC, and eventually left the field of Architecture for sculpture. She uses needle felting, wet felting, and rug tufting techniques to create colorful forms and figurative pieces that illustrate and invoke emotion. She is the Co-Owner and Creative Director of The Hive, an arts and crafts bar in Charlottesville, Virginia, where she teaches fiber arts, blurring the line between art and craft. Tobiah has exhibited her work in Texas, Washington DC, Maryland, and Virginia.


Learn more about Tobiah

Nick Brinen is a licensed and registered architect in Virginia, Texas, and New York. He is a Founding Partner of Studio Figure, where he oversees various project typologies across different scales. The scope of his work spans from private residential to restaurants, offices, and mixed-use buildings. In addition to co-directing projects at Studio Figure, Nick has taught architecture at the Rhode Island School of Design, University of Virginia, Pratt Institute, and Parsons School of Design. Currently, he is a Professor of Architecture at James Madison University where he was recently honored with the Beck Fellowship for his academic work focusing on creating circular economies of hyper-local materials to support community-based architecture projects. This research involves architecture students, local municipalities, and industry leaders in a collaborative effort to rethink what is considered waste material.


Learn more about Nick

ABOUT

The Third Street Box Office at The Paramount Project

1964 3rd St Box Office

The Paramount Theater in Charlottesville first opened in 1931, bringing a grand movie palace to a small college town of 15,000 residents during a rising time in the early history of motion pictures.


The Theater opened as a segregated building that required Black patrons to use a separate entrance on Third Street. Only balcony seating was available to Black patrons, and access to concessions and restrooms was separate from white patrons who entered the building with greater ease and comfort from Main Street. 

The Paramount Theater of Charlottesville acknowledges that this practice and the laws of segregation are a scar on its history and on the history of the United States. However painful, these memories cannot be erased, and today’s citizens must live with this shameful inheritance.

Follow us on social and check our website to stay up to date!

X Share
LinkedIn Share