With Every Fiber Feb 6 - April 3, 2021

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With Every Fiber Feb 6 - April 3, 2021 Exhibition Checklist Counterclockwise from entrance: Mary Ann LOMONACO Mop with Checkerboard, 2010 Cotton kitchen mop, glass beads 25 x 12 in $4200 Mary Ann LOMONACO Mop with Fancy Plumage, 2020 Cotton kitchen mop, Delica glass beads, rayon yarn 28 x 9 x 6 in $4500 Liz Whitney QUISGARD Hundreds of Circles, 2012 - ongoing Yarn with bling 75 sq. ft. $75,000 Victoria UDDONDIAN Onile--Gogoro, 2015 Repurposed clothes, fabric, wire, metal, rod, Resin, bicycle tubes Variable dimension Not for Sale Main Gallery Ruby CHISHTI An Essence of Time I, II, III, 2020 Recycled fabric, thread, wire mesh, embellishment Variable dimensions $3,000 each Ruby CHISHTI Mother Wake Me Up At 7:00, 2020 Recycled fabric, thread, wire mesh 40 x 25 x 7 in $8,500 Joy CURTIS Plants and Animals, 2020 Indigo, Osage orange, cochineal, walnut, madder and procion dyes on cotton, metal, spandex, sea sponges and raffia 72 × 66 × 16 in $20,000 Joy CURTIS Ghost Dance, 2020 Indigo and procion dyes on cotton, burlap, and rope; steel, rust, and wax 11 x 12 x 15 in $10,000 Mary Ann LOMONACO Mop with Royal Flycatcher, 2019 Cotton kitchen mop, glass beads, feathers 29 x 10 x 5 in $4500 Mary Ann LOMONACO Mop with Elegant Feathers, 2020 Cotton kitchen mop, Delica glass beads, feathers 28 x 9 x 6 in $4500 Mary Ann LOMONACO Mop with Soda Can Tabs, 2009 Cotton kitchen mop, wooden rods, grommets, soda can tabs 24 x 12 x 8 in $4200 Mary Tooley PARKER Annie Mae Young, Gee’s Bend Quilter, in Klimt 2020 Hooked Tapestry 40 x 33 in $3000 Mary Tooley PARKER Nettie Young, Gee’s Bend Quilter, in Klimt 2017 Hooked Tapestry 40 x 33 in $3000 Mary Tooley PARKER Loretta Pettway, Children 2017 Hooked Tapestry 40 x 33 in $3000 Mary Tooley PARKER Jessie T. Pettway, Gee’s Bend Quilter 2014 Hooked Tapestry 10 x 13.5 in $800 Mary Tooley PARKER Arlonzia Pettway, Gee’s Bend Quilter, # 2 2018 Hooked Tapestry 14 x 12 in $800 Mary Tooley PARKER Deborah Pettway Young, Gee’s Bend Quilter 2020 Hooked Tapestry 15 x 15 in $800 Mary Tooley PARKER Katie Mae Pettway, Gee’s Bend Quilter 2020 Hooked Tapestry 15 x 15 in $800 Jessica LAGUNAS Pin Loom Hair Weave #1, 2012 Artist’s gray and dark hair, silk thread, and brass rods 3.75 x 5 in Not for Sale Jessica LAGUNAS Pin Loom Hair Weave #2, 2012 Shifu, artist’s dark hair, silk thread, and brass rods 3.75 x 3 in Price upon Request Jessica LAGUNAS Pin Loom Hair Weave #3, 2016 Artist’s gray hair, silk thread, and brass rods 4 x 3.5 in Price upon Request Jessica LAGUNAS Pin Loom Hair Weave #5 (in honor of Agnes Martin), 2017-2019 Artist’s gray and dark hair, silk thread, and brass rods 4 x 3.5 in Price upon Request Jessica LAGUNAS Pin Loom Hair Weave #6, 2019-2020 Artist’s gray and dark hair, silk thread, and brass rods 4 x 6 in Price upon Request Jessica LAGUNAS Pin Loom Hair Weave #7 (in honor of Agnes Martin), 2020 Artist’s gray and dark hair, silk thread, and brass rods 4.5 x 3.75 in Price upon Request .

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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.
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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.
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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.
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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.
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Quiltmaking Gee’S Bend
Jaimeo Brown SPOTLIGHT Quiltmaking Gee’s Bend. William Arnett. Underground Railroad. Spirituals. Words Andy Thomas Portrait Janette Beckman Photographs courtesy of Souls Grown Deep Foundation soulsgrowndeep.org In the spring of 2013 drummer Jaimeo so many other functions,” says Brown. about art – but in the mid-19th century, Brown took a journey from his home in “Going back to the roots down at Gee’s quilting became creative. A variety of New York to a small corner of the deep Bend and seeing how these spiritual techniques and styles were developed: south. There in Gee’s Bend, where the songs were interwoven into their daily the medallion quilt consists of a central Alabama River curls through Wilcox activities and the craft of quilting that motif with multiple borders; the log County, a rural collective of women have really inspired me.” In Mario Tahi cabin is made of arrangements of a been creating brilliantly improvisational Lathan’s documentary that follows repeated single block pattern. Quilting quilts for, perhaps, 200 years. They follow Jaimeo Brown to Gee’s Bend, we meet also became a communal activity: women in a tradition of African-American some of those women whose craft has came together in what became known quilting that reaches back to slavery. only recently gained recognition. as quilting bees. Artistically and socially The quilts of Gee’s Bend transcend The term quilt comes from the Latin important, it spread quickly. As early as folk art. Following an exhibition at the for a stuffed sack, an incongruous name the 1850s, in Amish society remarkable Museum of Fine Arts in Houston, New when you consider the beautiful art to quilts were created using modernist style York magazine art critic Mark Stevens emerge from Gee’s Bend.
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Black Stitches: African American Women's Quilting and Story Telling
Luisa Cazorla Torrado DOCTORAL DISSERTATION Black Stitches: African American Women‘s Quilting and Story Telling Supervised by Dr. Belén Martín Lucas 2020 International Doctoral School Belén Martín Lucas DECLARES that the present work, entitled ―Black Stitches: African American Women‘s Quilting and Story Telling‖, submitted by Luisa Cazorla Torrado to obtain the title of Doctor, was carried out under her supervision in the PhD programme ―Interuniversity Doctoral Programme in Advanced English Studies.‖ This is a joint PhD programme integrating the Universities of Santiago de Compostela (USC), A Coruña (UDC), and Vigo (UVigo). Vigo, September 1, 2020. The supervisor, Dr. Belén Martín Lucas Acknowledgements I would like to say thanks: To my mother, M. Carmen, for encouraging me to keep sewing every day, no matter what; to my sister, María, for always bringing new light whenever my eyes were getting weary; to my friend, Belén, for showing me how to adjust the quilt frame; to my supervisor, Belén, for helping me find a better thread and for teaching me how to improve my stitches; and to my sons, Alejandro and Daniel, for reminding me of the ―big pattern‖ whenever I would forget the reasons why I was sewing this quilt. I couldn‘t have done this without your sustained encouragement and support during all these years. Table of contents Acknowledgements ......................................................................... 4 Table of contents ............................................................................. 5 Resumo ...........................................................................................
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The Gee's Bend Quilt Makers
By ANTHEA GERRIE Photography courtesy of SOULS GROWN DEEP FOUNDATION AND ALISON JACQUES GALLERY, LONDON THE GEE’S BEND QUILT MAKERS They pieced together their“ quilts from scraps to keep their families warm and sold a few to put food on the table when cotton prices tumbled and left them destitute. Although they held “airing out” days when they hung up and admired each other’s work, they never thought of themselves as artists. evertheless, the stitchers of Gee’s Bend, Alabama, were rediscovered by a canny collector, praised to the skies by Jane Fonda, embraced by museum curators, and described in the New York Times as “the equals of Klee and Matisse.” “Their creative urge to dream up designs while working in the fields and then go home and make something beautiful to take their minds off their hardship was amazing,” says writer Susan Goldman Rubin, who felt “haunted” by the quilts after seeing them at the Whitney Museum of American Art in a show that drew shining accolades from across the nation. “Their unusual and innovative colors and patterns were thrilling, full of freedom,” says the writer, whose book The Quilts of Gee’s Bend vividly tells the story of these women and their art. Now the work that has put the remote hamlet also known as Boykin on the map Mary Lee Bendolph and secured a place in America’s most prestigious museums has reached London, where their first show in Europe was a near sell-out. Most of the thirteen quilts Photo © Stephen Pitkin/Pitkin Studio on display were acquired by European institutions keen to emulate MoMA, the Met, and other prestigious museums throughout the US that already have Gee’s Bend hangings in their collections.
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Volume XXII, Number 1 State Arts Awards Issue 2007
179365cover 5/9/07 11:29 AM Page 3 ALABAMA Volume XXII, Number 1ARTS State Arts Awards Issue 2007 179365cover 5/9/07 11:29 AM Page 4 Members Alabama State Council on the Arts REBECCA T. B. QUINN CHAIRMAN Huntsville RALPH FROHSIN, JR VICE CHAIRMAN Alexander City JUDGE VANZETTA PENN MCPHERSON SECRETARY Montgomery EVELYN ALLEN Birmingham JULIE HALL FRIEDMAN Fairhope JIM HARRISON, III Tuscaloosa FRANK HELDERMAN Florence JULIAN W. JENKINS Anniston ELAINE JOHNSON Dothan DORA H. JAMES Opelika VAUGHAN I. MORRISSETTE Mobile DYANN ROBINSON Tuskegee LEE SENTELL Montgomery CEIL JENKINS SNOW Birmingham CAROL PREJEAN ZIPPERT Eutaw Opinions expressed in AlabamaArts do not necessarily reflect those of the Alabama State Council on the Arts or the State of Alabama. 179365Insides 5/9/07 11:17 AM Page 1 ALABAMAARTS In this Issue 2007 State Arts Awards Volume XXII Number 1 Greetings from the First Lady STATE ARTS AWARDS 2007 2 Patsy Riley, First Lady of Alabama Celebrating Forty “Years of Alabama Arts” 3 Al Head, Executive Director, ASCA Roberta Gamble 5 Arts Icon Brings Broadway to a Small Town Angie Long Nall 9 An Artist’s Pilgrimage Jeanie Thompson Kathy Chan 15 A Lifetime of Artistic and Philanthropic Achievements Dr. Wilson Luquire Thomas Hinds 19 A Commitment to Community Music Making Dr. Mark Benson Paul Looney 23 Thriving on the Creation of Dreams Mark Hughes Cobb Jerry McCain 27 Bluesman Anne Kimzey The Quilters of Gee’s Bend 31 Superstars of American Folk Art Joey Brackner 36 Year of Alabama Arts Exhibitions 2007 On the Cover: A red camellia provides the focal point for Alabama Arts by Nall, recipient of the 2007 Alabama Distinguished Artist Award.
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Gee's Bend: “The Most Famous Quilts in America?”
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 5 Gee's Bend: “The Most Famous Quilts in America?” Pettway family group, Gee's Bend, Alabama April 1937 Photo by Arthur Rothstein Library of Congress Prints & Photographs Division Farm Security Administration Office of War Information Photograph Collection Washington, D.C. Item number LC-USF34- 025385-D www.loc.gov/pictures Map of Gee's Bend From Gee's Bend: The Architecture of the Quilt Paul Arnett, Tinwood Books, 2006 Courtesy of Matt Arnett Photo by Pitkin Studio © 2011 The Kentucky Quilt Project, Inc. All rights reserved. www.whyquiltsmatter.org Page 1 of 21 Old man Mosely sits by his house, Gee's Bend, Alabama May 1939 Photo by Marion Post Wolcott Library of Congress Prints & Photographs Division Farm Security Administration Office of War Information Photograph Collection Washington, D.C. Item number LC-USF33-030362-M1 www.loc.gov/pictures Cable ferry from Camden to Gee's Bend, Alabama May 1939 Photo by Marion Post Wolcott Library of Congress Prints & Photographs Division Farm Security Administration Office of War Information Photograph Collection Washington, D.C. Item number LC-USF33- 030356-M4 www.loc.gov/pictures Sandy Hill, the old Pettway plantation house, Gee's Bend, Alabama April 1937 Photo by Arthur Rothstein Library of Congress Prints & Photographs Division Farm Security Administration Office of War Information Photograph Collection Washington, D.C.
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The Life and Art of Mary Lee Bendolph
The Life and Art of Mary Lee Bendolph joanne cubbs Published in Mary Lee Bendolph, Gee’s Bend Quilts, and Beyond Atlanta: Tinwood Books, 2006 [text-only version] There is only one road leading into Gee’s Bend, a small, historically black community in the lush green backcountry of southwest Alabama. Surrounded on three sides by a sharp, capricious curve in the Alabama River, it is a place that has always remained tucked away from much of the outside world. No one really knows the precise popula- tion of the Bend, but some say it is seven hundred or so. Appearing amidst a landscape of overgrown fields and patches of scrub forest, the town itself is a scattering of one- story houses connected by red dirt trails and joined by a tiny post office, two conve- nience stores, and four churches. Like many old agricultural communities where farming has become practically ob- solete, Gee’s Bend seems to belong to another time. In fact, there is a highly palpable sense of the past that hangs in the air like the thick humid atmosphere of an Alabama summer day. Everywhere are markers of eras gone by: rusted cars, decaying barns, and the metal corpses of defunct farm machinery. On a late afternoon, an elderly man sits quietly on the front porch of his weathered home and gazes past the muddy clay road into a cornfield that has long ago turned into an empty vista. It is an everyday scene from the Bend that also serves as its elegy, a melancholy ode to the inevitable passing of an age and a place.
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List of Women on Stamps 1958-2008.Indd
List of Women and Women-Related Topics on U.S. Stamps, 1958–2008 REGULAR ISSUES Scott 1253 — Homemakers, 5-cent multi (11/05/70): “The Nativity” by Lorenzo Lotto 1958 (10/26/64): “Honors American women as (1480–1556), oil on panel 1522, National Scott 1100 — Gardening Horticulture, homemakers”; farm scene cross-stitch Gallery of Art, Washington. 3-cent green (03/15/58): honors garden sampler. Scott 1420 — Landing of the Pilgrims, 6-cent clubs of American and the centenary of 1965 black, orange, yellow, brown, magenta horticulturalist Liberty Hyde Bailey (1858– Scott 1273 — John Copley, 5-cent black, brown & blue (11/21/70): 350th anniversary 1954); female “Bountiful Earth.” & olive (09/17/65): John Singleton Copley Mayfl ower landing; men & women dressed Scott 1112 — Atlantic Cable Centennial, 4-cent (1738–1815), painter; portrait of his six-year- in their Sunday best, gathered on shore of reddish purple (08/15/58): “Centenary of old daughter, Elizabeth Clarke Copley, from Plymouth Bay, MA. Atlantic Cable, linking the Eastern and “The Copley Family,” oil painting 1776-77, 1971 Western hemispheres”; Neptune, globe & National Gallery of Art, Washington. Scott 1426 — Missouri Sesquicentennial, 8-cent mermaid. 1966 multi (05/08/71): detail of “Independence 1959 Scott 1316 — General Federation of Women’s and the Opening of the West,” painting by Scott 1135 — Dental Health, 4-cent green Clubs, 5-cent black, pink & blue (09/12/66): Thomas Hart Bent; woman sits by campfi re (09/14/59): little girl’s smiling face & two 75 years of service by General Federation of with two children.
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The Quilts of Gee's Bend, Atlanta: Tinwood Books in Association with Paul Arnett, Jane Livingston, Alvia the Museum of Fine Arts, Houston, 2002
The Quilts of Gee’s Bend November 21, 2002 – March 2, 2003 Pre- and Post-visit Materials for Junior High and High School Students 2002 WHITNEY MUSEUM OF AMERICAN ART The Quilts of Gee’s Bend November 21, 2002 – March 2, 2003 These pre- and post-visit materials were prepared by the Education Department of the Whitney Museum of American Art in collaboration with William Klann, Educator, Vanguard High School, Manhattan; Greer Kudon, 3rd grade Lead Educator, John A. Reisenbach Charter School, Manhattan; and Ellen Wong, Educator, The Lab School, Manhattan. Special thanks to Emily Bronson, intern, and Lisa Libicki, Education Department, Whitney Museum of American Art, for their contribution to these materials. For further information, please contact the Education Department: Whitney Museum of American Art 945 Madison Avenue New York, New York 10021 (212) 570-7710 We welcome your feedback! Please let us know what you think of these materials. How did you use the materials? What worked or didn’t work? Email us at [email protected] Bring examples of your students’ pre-visit work when you visit the Whitney! The exhibition catalogue The Quilts of Gee’s Bend: Masterpieces from a Lost Place features images of the exhibited works and photographs of the Gee’s Bend community, with essays by the curators and and specialists in quilts and African-American culture and history: William Arnett, John Beardsley, Jane Livingston, and Alvia Wardlaw. The quilts are from the collection of Tinwood Alliance, a non-profit foundation organized for the support of African American vernacular art. The Quilts of Gee’s Bend was organized by The Museum of Fine Arts, Houston, and Tinwood Alliance, Atlanta.
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