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Art from the African American South
REVELATIONS ART FROM THE AFRICAN AMERICAN SOUTH “Art is like a bright star up ahead This exhibition celebrates the Fine Arts Museums of San Francisco’s in the darkness of the world. It acquisition of sixty-two artworks created by twenty-two African can lead peoples through the darkness and help them from Americans born in the South during the late-nineteenth and being afraid of the darkness. Art twentieth centuries. Collectively their lives and works were shaped is a guide for every person who is by four major historical events: the African Diaspora in which looking for something.” approximately four-hundred thousand Africans were forcibly —Artist Thornton Dial abducted from their homes and sold into bondage in the United States beginning in 1619; the American slavery system that brutalized and divided their families and descendants until the end “Like anybody, I would like to live a long life. Longevity has its place. of the Civil War in 1865; the institutionalized segregation of the But I’m not concerned about that Jim Crow laws that followed the Reconstruction Era (1865–1877); now. I just want to do God’s will. and the rise of the modern Civil Rights movement in the 1950s. And He’s allowed me to go up to the mountain. And I've looked Out of this shared history, these artists forged compelling new over. And I’ve seen the promised land. I may not get there with you. aesthetic languages that confronted their unique experiences as But I want you to know tonight, African Americans while also addressing universal aspects of the that we, as a people, will get to the human condition. -
ART HISTORY INSIGHTS OCTOBER 2020 the Monthly Newsletter That Brings You Selected Articles of Interest and Opinion from the World of Art History and Visual Culture
ART HISTORY INSIGHTS OCTOBER 2020 The monthly newsletter that brings you selected articles of interest and opinion from the world of art history and visual culture. This issue focuses on Art, Craft and Industry, which links with the theme of our forthcoming Global New Voices virtual postgraduate research conference. HOW THE PATTERN & DECORATION MOVEMENT THE GEE’S BEND QUILTERS CHALLENGED MACHISMO MODERNISM Quilts from the Alabama hamlet of Gee’s Bend have been Artists Valerie Jaudon and Joyce Kozloff were central sought after and prized by museums. For the past century, figures in the 1970s Pattern and Decoration movement. women such as Annie Mae Young, Loretta Pettway and They set out to challenge modernism’s white male- Mary Lee Bendolph have stitched together fabric in centric concept of what constituted ‘good art’, and the different shapes, sizes and colours to create quilts like no notion that decorative and applied arts were not of ‘a other. Whilst rooted in folk tradition the practice gathered lesser order’. Today, the movement resonates with our momentum during the Civil Rights movement with the current moment, looking ahead as it did to the plurality Freedom Quilting Bee, a co-operative set up in 1966 of traditions and cultures celebrated in today’s art world, across Alabama’s Black Belt to enable women to sell their to its rejection of sexist and ethnocentric biases and its work at auction and through department stores, including aspirations of inclusivity. As one writer puts it, “What was Bloomingdales and Sears. See more. on the table—the chopping block, as it turned out - were https://www.royalacademy.org.uk/article/ra-magazine- the very systems of valuation that had dominated Western gees-bend-quilters art history for centuries, and the primary focus was the hierarchy of fine arts above decorative arts”. -
This Selection of Artist Statements Is Taken from Gee's Bend
This selection of artist statements is taken from Gee’s Bend: The Women and Their Quilts, published by Tinwood Books of Atlanta, GA in 2002. Artists included in this unpaginated selection: Allie Pettway (b. 1917) Annie E. Pettway (1904-1971) Arlonzia Pettway (b. 1923) Creola Pettway (b. 1927) Essie Bendolph Pettway (b. 1956) Lucy Mingo (b. 1931) Lucy T. Pettway (1921-2004) Mary Lee Bendolph (b. 1935) Mary L. Bennett (b. 1942) Qunnie Pettway (b. 1943) Rita Mae Pettway (b. 1941) Ruth P. Mosely (b. 1928) (Please note: The actual quilts are not as bright as they appear in this document. The colors in Gee’s Bend: The Women and Their Quilts are accurate.) allie pettway The middle of three quiltmaking sisters in Gee’s Bend (the others being Sweet T. and Lutisha), Allie Pettway (b. 1917) talks about the difficult days of growing up as a subsistence farmer and the consolation that comes from making quilts with friends and relatives. I was born in 1917. My mother was named Patty Pettway, my daddy was named Warren Pettway. They farmed. I was a little girl when my mother passed. My daddy remarried after my mother passed, and I had one of the hardest times you going to have. I started raising the little children, my brothers and sisters, and I had to go to the fields and work in the mud and water. And my stepmother was kind of really mean. I do the best I could. I came up hard. In the fields I was hoeing corn, picking cotton, pulling fodder. -
AIZURI QUARTET Winner, 2018 M-Prize Competition
AIZURI QUARTET Winner, 2018 M-Prize Competition 1) DRAWN FROM THE EARTH Following its 2019 GRAMMY-nominated debut album Blueprinting (New Amsterdam, 2018), the Aizuri Quartet will release and tour its highly anticipated second album during the 2021-22 season. The new album explores deep connections between humankind and nature through the distinct lenses of three composers: Armenian priest and composer Komitas Vartabed (1869-1935), contemporary Japanese composer Misato Mochizuki (b. 1969), and Finnish composer Jean Sibelius (1865-1957). The Armenian Folk Songs of Komitas are a window into the powerful connection between Armenians and their land, both the soil that peasants till and the homeland of which the diaspora dreams. In her vivid and intense 2006 string quartet Terres Rouges (meaning “red earth,” i.e. iron-rich soil), Misato Mochizuki’s music suggests the vibrant energy of natural processes that have been ongoing for millennia. Mochizuki’s compositional process often draws from her deep curiosity for nature, but starts from scientific and philosophical investigations more than personal communion with the natural world. Paul Griffiths writes, “the creative starting point for her is more likely to be a book on genetics than a walk in the forest.” Sibelius’s Voces Intimae was written during a period of psychological crisis and self-imposed exile in his rural home “Ainola” (named after his wife Aino) as he tried to escape the alcoholism that plagued him in Helsinki. Working in isolation and absorbed in nature, his music during this period began to shift from the grand optimistic expression of Finnish nationalism that dominated his youth to something more dark and personal. -
Episode 4 What Is Art?
Every effort has been made to provide correct and accurate information. The institutions and artists have generously granted permission to use their images. They hold the copyrights to their images. For personal use only. For permission to reproduce multiple copies, please contact us at [email protected]. Episode 4 What is Art? Floral Still Life Jacob van Walscapelle 1682 Oil on canvas 40 ¼" x 35 ³⁄₁₆" Gift of Eleanor Bingham Miller and Barry Bingham, Sr. in honor of Mary Caperton Bingham Item number 1987.1 The Speed Art Museum Louisville, Kentucky www.speedmuseum.org Venus de' Medici Joel Tanner Hart 1873 Marble 61 ⅞" x 18 ⅜" x 20 ¼" Gift of the Louisville Free Public Library Conservation funded by The Alliance of The Speed Art Museum Item number 1996.9.1 The Speed Art Museum Louisville, Kentucky www.speedmuseum.org © 2011 The Kentucky Quilt Project, Inc. All rights reserved. www.whyquiltsmatter.org Page 1 of 19 July at Noon in Umbria Billy Hertz 2004 Oil on paper on panel 29" x 20" www.billyhertzgallery.com Dish Workshop of the Fontana family After designs by Battista Franco c. 1560 Maiolica 2 ⅜" x 17 ⁷⁄₁₆" Bequest from the Preston Pope Satterwhite Collection; conservation funded by Mr. & Mrs. William O. Alden, Jr., 2002 Item number 1949.30.244 The Speed Art Museum Louisville, Kentucky www.speedmuseum.org Blighted Kay Polson Grubola 2010 Hawthorn leaves, silk chiffon, thread 22 ¾" x 15 ¾" www.grubola.com Subduction Caldron Walter Hyleck 2007 Ceramic, black earthenware, deflocculated slip, ash glaze, slate, oak 14" x 14" x 12" Courtesy of the Kentucky Museum of Art & Craft Louisville, Kentucky www.kentuckyarts.org © 2011 The Kentucky Quilt Project, Inc. -
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NICELLE BEAUCHENE GALLERY NOW REPRESENTING GEE’S BEND QUILTMAKERS & MARY LEE BENDOLPH OCTOBER 25, 2020 Aolar Carson Mosely, Pump Handle Spin Top (Log Cabin Variation), 1954, Cotton, 89 x 75 inches; Mary Lee Bendolph, Ghost Pockets, 2003, Mixed fabrics including denim, cotton, polyester, and synthetic wool, 85 x 72 inches. Nicelle Beauchene Gallery is thrilled to announce New York representation of the Gee’s Bend Quiltmakers, as well as direct representation of Mary Lee Bendolph, one of the Bend’s foremost and nationally recognized quilters. The gallery will host Bendolph's first New York solo exhibition in Fall 2021, with a larger group exhibition featuring the Quiltmakers to follow in 2022. In Wilcox County, Alabama, descendants of enslaved laborers, sharecroppers, and tenant farmers have communed in Gee’s Bend—a geographically isolated, rural Black community on the Alabama River (formally known as Boykin)—since the mid-19th century. Generation after generation, the women of Gee’s Bend have made asymmetrical, provocative quilts noted for their stylistic ingenuity, bold materiality, and improvisational use of geometry; an endeavor passed down for both its utility and its rich visual culture. This textile tradition, taught by mothers to their daughters and families to their friends, is a well-practiced vernacular art form within Black communities across the American South. Quilting became a social pillar within towns and counties as woman gathered together to stitch, share stories, sing songs, and discuss politics. Repurposing remnants of old work clothes, discarded choir robes, feed sacks, faded denim and found materials, the Quiltmakers stitch storied compositions, flaws and all, into handmade quilts with lively, syncopated patterning employed by the women with improvisation and individuality. -
Curators' Choice on Art and Politics
Curators’ Choice on Art and Politics Experts from the Metropolitan Museum of Art and the Museum of Fine Arts, Boston, choose their favorite works with a political message. By Ted Loos March 9, 2020 “Vote Quilt” (1975) by Irene Williams Pamela Parmal, chair of textile and fashion arts Quilts such as this example by Irene Williams of Gee’s Bend, Ala., are a reminder of how women, primarily restricted to the domestic sphere, have often turned to needlework to express themselves. We can only speculate that in using the VOTE fabric, Irene Williams might be recalling her community’s struggle over voting rights during the tumultuous civil rights movement of the 1960s. But as Williams understood, it is only by making our voices heard that we can move toward greater understanding and create change. Hanging trees and hollering ghosts: the unsettling art of the American deep south The porch of artist Emmer Sewell. Photograph: © Hannah Collins From lynching and slavery to the civil rights movement, Alabama’s artists expressed the momentous events they lived through – as a landmark new exhibition reveals Lanre Bakare Wed 5 Feb 2020 The quilters of Gee’s Bend make art out of recycled cloth. Lonnie Holley crafts sculptures out of car tyres and other human detritus. Self-taught luthier Freeman Vines carves guitars out of wood that came from a “hanging tree” once used to lynch black men. The “yard shows” of Dinah Young and Joe Minter are permanent exhibitions of their art – a cacophony of “scrap-iron elegies”. Almost all of this art comes from Alabama, and it all features in We Will Walk, Turner Contemporary’s groundbreaking new exhibition of African-American art from the southern state and its surroundings. -
Inside the Guild Website
Prairie Piecemakers Quilters' Guild Inside the Guild Website: www.prairiepiecemaker.com Issue 2020-12 Captain & the Crew Guild Officers and Directors President: Vice President: Secretary: Treasurer: Sharon G Tannis F Shelley K Marlene SC Guild Committees with Directors* Guild Committees Library Committee: Bonnie R* Linda W; 2 pending 50/50 Draw Committee: Sheree S; Betty U Newsletter/Advertising: [email protected] Retreats: Deena A* Shannon B* Frances L Jacquie B. Proofreading: Frances L & Mary F UFO’s: Program Committee: Renee B Shelby L* Connecting Threads: Website/Promotions Committee: Marlene SC Jymmi Kaye D [email protected] Facebook Page: Jymmi Kaye D Workshop Committee: Heather I* Meeting Dates Membership Committee: 2020-2021 January 5, 2021 Cheryl A* February 2, 2021 Aline M September 1, 2020 March 2, 2021 October 6, 2020 April 6, 2021 November 3, 2020 May 4, 2021 December 1, 2020 June 1, 2021 Want to join the Guild? Information on last page. Currently meeting online only. Monthly Meetings Website: www.prairiepiecemaker.com First Tuesday of month: Facebook: Prairie Piecemaker Quilters' Guild September to June, 7 to 9 pm Newsletter: [email protected] Email: [email protected] Good Shepherd Lutheran Church 3825 Hillsdale Street Copyright: Prairie Piecemakers Quilters' Guild Inc. Regina SK S4S 3Y5 Prairie Piecemakers Quilters' Guild, Box 33043, Cathedral P.O. Regina, SK S4T 7X2 2 Issue 2017-11 Copyright: Prairie Piecemakers Quilters' Guild Inc. President's Message December 2020 Sharon G The holiday season is upon us. Admittedly I’ve been anxiously anticipating 2021, if for no other reason than to put 2020 behind us. I even based my president’s challenge on it, which I hope you were able to participate in. -
Section 1 Introduction
Crossroads Script FINAL July 10, 2018 Description of Type Text/Content Notes/Thumbnail of Panel, Text Element or Component Section 1 Introduction Side 1 (front) Title Welcome to Crossroads / Bienvenido a Encrucijada Subtitle Change in Rural America / Cambio en la América rural Graphic David G. Miller Subtitle Where people meet, ideas intersect, and change is constant Donde las personas se encuentran, las ideas se entrecruzan y el cambio es constante. Main Text Welcome to rural America, a crossroads of change in a vast land. American Indians who were already here, those who came in search of a better life, and people who were forced to move all contributed to the development of rural America. Bienvenido a la América rural, una encrucijada de cambio en una vasta tierra. Los indios americanos que ya estaban aquí, los que vinieron en busca de una vida mejor y las personas que se vieron obligadas a mudarse contribuyeron al desarrollo de la América rural. 1 Throughout the 19th century, the majority of Americans lived in rural areas. They built their lives around the work of harvesting what the land could produce—the food, fuel, fiber, ores, and minerals crucial to a growing nation. They built communities at rural crossroads—small towns that became centers of commerce, politics, and culture. A lo largo del siglo XIX, la mayoría de los estadounidenses vivían en áreas rurales. Construyeron sus vidas en torno al trabajo de recolección de lo que la tierra podría producir: alimentos, combustible, fibra, minerales y minerales cruciales para una nación en crecimiento. Construyeron comunidades en una encrucijada rural, pequeñas ciudades que se convirtieron en centros de comercio, política y cultura. -
At the Met, a Riveting Testament to Those Once Neglected
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] ART REVIEW At the Met, a Riveting Testament to Those Once Neglected History Refused to Die NYT Critic's Pick By Roberta Smith May 24, 2018 Thornton Dial’s two-sided relief-painting-assemblage, “History Refused to Die” (2004), also gives this Metropolitan Museum of Art exhibition its title. His work is in conversation with quilts by, from left, Linda Pettway (“Housetop,” circa 1975); Lucy T. Pettway (“Housetop” and “Bricklayer” blocks with bars, circa 1955); and Annie Mae Young (“Work-clothes quilt with center medallion of strips,” from 1976).Credit2018 Estate of Thornton Dial/Artists Rights Society (ARS), New York; Agaton Strom for The New York Times JAMES FUENTES American art from the 20th and 21st centuries is broader, and better than previously acknowledged, especially by museums. As these institutions struggle to become more inclusive than before, and give new prominence to neglected works, they rarely act alone. Essential help has come from people like William Arnett and his exemplary Souls Grown Deep Foundation. Their focus is the important achievement of black self-taught artists of the American South, born of extreme deprivation and social cruelty, raw talent and fragments of lost African cultures. The foundation is in the process of dispersing the entirety of its considerable holdings — some 1,200 works by more than 160 artists — to museums across the country. When it is finished, it may well have an impact not unlike that of the Kress Foundation, which from 1927 to 1961 gave more than 3,000 artworks to 90 museums and study collections. -
National Heritage Fellowships
2020 NATIONAL HERITAGE FELLOWSHIPS NATIONAL ENDOWMENT FOR THE ARTS I 2020 NATIONAL HERITAGE FELLOWSHIPS Birchbark Canoe by Wayne Valliere Photo by Tim Frandy COVER: “One Pot Many Spoons” beadwork by Karen Ann Hoffman Photo by James Gill Photography CONTENTS MESSAGE FROM THE ACTING CHAIRMAN ...........................................................................................................................................................................................4 MESSAGE FROM THE DIRECTOR .............................................................................................................................................................................................................5 A BRIEF HISTORY OF THE NEA NATIONAL HERITAGE FELLOWSHIPS .........................................................................................................................................6 2020 NATIONAL HERITAGE FELLOWS William Bell .................................................................................................................................................................................8 Soul Singer and Songwriter > ATLANTA, GA Onnik Dinkjian ....................................................................................................................................................................... 10 Armenian Folk and Liturgical Singer > FORT LEE, NJ Zakarya and Naomi Diouf ............................................................................................................................................ -
Magazin Jazzfest Berlin 2013
h aus der berliner fesTsPiele aKademie der KünsTe hanseaTenweG a-Trane Quasimodo Inhalt Vorwort 2 ar f Ika-akzent W orld MusWorld2.0 Ic 5 von Veit erlmann „IMproVIsatIon hat mich immer InteressIert“ 12 christoph hübner im Gespräch e drnst-lu WIG petroWsky JubIlee Von synopsIs zuM zentralquartett – zur GeschIchte eIner kult-band 17 im „freIen Jazz“ der DDR und darüber hInaus von bert noglik eIn zusandsack VIel… 22 von ernst-ludwig petrowsky Jazz & poetry Jazzz eVo Iert das Wort – Von sInGenden barkeepern und polItIschen posaunen 25 von hans-Jürgen schaal erotIc poeMs / erotIsche GedIchte 27 von e. e. cummings p orträt I p haroah sanders – Ein eInzIGer Grosser sonG 31 von christian broecking s chlaGzeuG ls und Iund p uls Mpulse 35 von ralf dombrowski p orträt II Di e kapelle der VerklärunG 37 von Monika roscher p orträt III a ncestral reVolutIons – on shabaka hutchInGs and hIs band sons of keMet 38 by kevin le Gendre programm Jazzfest berlin 2013 42 radio live-übertragungen / Bild- und textnachweise 44 Impressum 52 WIllkoMMen zuM Jazzfest berlIn 2013 Eine der schönsten Umschreibungen von Jazz Bestandteil des Jazzfest Berlin. Sie entfaltet lautet „the sound of surprise“. Neues blitzt auf, sich an einem autonomen Ort mit besonderer und Bekanntes bekommt durch Improvisation Aura: der Akademie der Künste am Hanseaten- einen Moment des Unberechenbaren. Die viel- weg. Kein zweiter Musiker steht in solchem fältig verzweigten Strömungen der improvisier- Maße für die freie jazzmusikalische Entwicklung ten Musik streben in Bezirke des Überrasch-en- im Osten Deutschlands wie der Saxofonist und den oder setzen auf erneuerbare Energien.