At the Met, a Riveting Testament to Those Once Neglected
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Biography [PDF]
NICELLE BEAUCHENE GALLERY THE GEE’S BEND QUILTMAKERS Live and work in Boykin, AL EXHIBITION HISTORY 2020-21 In the Presence of Our Ancestors: Southern Perspectives in African American Art, Minneapolis Institute of Art, Minneapolis, MN (forthcoming) 2020 The Gee’s Bend Quiltmakers, Alison Jacques Gallery, London, UK (forthcoming) Power in My Hand: Celebrating Women’s Suffrage, Palmer Museum of Art at Penn State University, University Park, PA My Way: The Gee’s Bend Quiltmakers and Contemporary Abstraction, Parts & Labor Beacon, Beacon, NY Out of Place: A Feminist Look at the Collection, Brooklyn Museum, Brooklyn, NY Trip to the Mountaintop: Recent Acquisitions from the Souls Grown Deep Foundation, Toledo Museum of Art, Toledo, OH We Will Walk: Art and Resistance in the American South, Turner Contemporary, Margate, UK Souls Grown Deep: Artists of the African American South, Philadelphia Museum of Art, Philadelphia, PA The Power of She: A Permanent Collection Exhibition, Myrtle Beach Art Museum, Myrtle Beach, SC 2019-20 The Quilt’s of Gee’s Bend, New Orleans Museum of Art, New Orleans, LA A Different Mountain: Selected Works from The Arnett Collection, Marlborough Gallery, New York, NY 2019 Women of Gee’s Bend, Cincinnati Art Museum, Cincinnati, OH Cosmologies from the Tree of Life: Art from the African American South, Virginia Museum of Fine Arts, Richmond, VA 2018-19 Outliers and American Vanguard Art, National Gallery of Art, Washington, D.C. (Jan-May 2018); High Museum of Art, Atlanta, GA (Jun-Sept 2018); Los Angeles County Museum of -
Participation in Creation and Redemption Through Placemaking and the Arts
MAKING A PLACE ON EARTH: PARTICIPATION IN CREATION AND REDEMPTION THROUGH PLACEMAKING AND THE ARTS Jennifer Allen Craft A Thesis Submitted for the Degree of PhD at the University of St Andrews 2013 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3732 This item is protected by original copyright This item is licensed under a Creative Commons Licence UNIVERSITY OF ST ANDREWS ST MARY’S COLLEGE INSTITUTE FOR THEOLOGY, IMAGINATION AND THE ARTS MAKING A PLACE ON EARTH: PARTICIPATION IN CREATION AND REDEMPTION THROUGH PLACEMAKING AND THE ARTS A THESIS SUBMITTED BY: JENNIFER ALLEN CRAFT UNDER THE SUPERVISION OF TREVOR HART TO THE FACULTY OF DIVINITY IN PARTIAL FULFILLMENT FOR THE DEGREE OF DOCTOR OF PHILOSOPHY ST ANDREWS, SCOTLAND MARCH 2013 2 TABLE OF CONTENTS Declarations 3 Acknowledgements and Dedication 5 Abstract 7 General Introduction 8 1 The Wide Horizons of Place: An Introduction to Place and Placemaking 16 §1: A Theological Engagement with Place and Placemaking 45 2 Placemaking in the Community of Creation: The Theological Significance of Place in Genesis 1-3 47 3 Divine and Human Placemaking in the Tabernacle and Temple: Place, Human Artistry, and Divine Presence 70 4 Making a Place on Earth: Divine Presence, Particularity, and Place in the Incarnation and its Implications for Human Participation in Creation and Redemption through Placemaking 93 Summary of Section One 125 §2: -
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. -
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. -
Exhibiting Blackness: African Americans and the American Art
C In 1927, the Chicago Art Institute presented the first major museum exhibition of OOKS art by African Americans. Designed to demonstrate the artists’ abilities and to promote racial equality, the exhibition also revealed the art world’s anxieties about the participa- EXHIBITING tion of African Americans in the exclusive venue of art museums—places where blacks had historically been barred from visiting let alone exhibiting. Since then, America’s major art museums have served as crucial locations for African Americans to protest against their exclusion and attest to their contributions in the visual arts. BLACKNESS In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strate- AFRICAN AMERICANS AND THE AMERICAN ART MUSEUM gies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans—an ethnographic approach that focuses more on artists than their art, and a EXHIBITING recovery narrative aimed at correcting past omissions—Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often con- tested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent. “An important and original contribution to the study of the history -
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 ........................................................................................... -
Apprenticeship Program
Celebrating Twenty Years of the Alabama Folk Arts Apprenticeship Program Alabama State Council on the Arts Photography by Mark Gooch 20 Alabama Center for Traditional Culture Carry On Celebrating Twenty Years of the Alabama Folk Arts Apprenticeship Program Alabama State Council on the Arts 20Alabama Center for Traditional Culture Photography by Mark Gooch S © 2008 Alabama State Council on the Arts The Mission of the Alabama State Council on the Arts is to enhance quality of life in Alabama culturally, economically, and educationally by supporting the state’s diverse and rich artistic resources. The Alabama Center for Traditional Culture, a division of the Alabama State Council on the Arts, strives to document, preserve and present Alabama’s folk culture and traditional arts and to further the understanding of our cultural heritage. Alabama State Council on the Arts 201 Monroe Street, Suite 110 Montgomery, AL 36130 334-242-4076 www.arts.alabama.gov Front cover photo: Matt Downer and his grandfather, Wayne Heard of Ider. Back cover photo: Sylvia Stephens, Ashlee Harris, and Mozell Benson; three generations of quilters at Mrs. Benson’s studio in Waverly. Introduction Carry On: Celebrating Twenty Years of Alabama’s Folk Arts Apprenticeship Program By Joey Brackner and Anne Kimzey ince 1984, the Alabama State Council on the Arts (ASCA) has awarded Folk Arts S Apprenticeship grants to more than 100 master folk artists for teaching their art forms. The master-apprentice system is a time-honored method for teaching complex skills from one generation to the Prospective students who have entered into next. This process allows for the most advantageous an agreement with a master folk artist have teacher-student ratio and fosters serious instruction. -
The Gee's Bend Quilt Mural Trail
A History of Gee’s Bend GEE’S BEND is surrounded on three sides by water. This The Gee’s Bend water is a large bend in the Quilt Mural Alabama River. The community Trail is collectively known as Gee’s Bend but has been renamed Top Row Top Row Top Row Top Row Top Row Boykin. This area Mary Lee Bendolph Minnie Sue Ruthy Mosely Lottie Mooney Loretta Pettway was founded by Born 1935 Coleman Born 1926 1908-1992 Born 1942 the Gee family in “Housetop” Born 1926 “Nine Patch” “Housetop– Four- “Roman Stripes” variation “Pig in a Pen” Blocks. Half-Log variation or Crazy the early 1800’s. medallion Cabin” variation Quilt The Gee family sold the land to Bottom Row Bottom Row Bottom Row Bottom Row Bottom Row Alonzia Pettway Annie Mae Young Loretta Pettway Jessie T. Pettway Patty Ann Williams Mark Pettway in Born 1923 Born 1928 Born 1942 Born 1929 1898-1972 1845. “Chinese Coins” “Blocks And “Medallion” “Bars and String- “Medallion with variation Stripes” Pieced Columns” checker board center” ALA-TOM RC&D Selma Post Office Box 355 • 16 West Front Street South WILCOX Alabama’s Front Porches: Thomasville Thomasville, Alabama 36784 Phone (334) 636-0120 Fax (334) 636-0122 famous for great Southern food, Established in November 2008. hospitality and architecture, Gee’s Bend Quilt Collective beautiful pastoral landscapes, Directions: From Location: N32°10’26.5”W087°21’42.2” a rich cultural and agricultural Ms. Mary Ann Pettway (334) 682-2535 Montgomery, go west on US heritage, outdoor recreation 80 to Selma. -
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. -
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. -
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. -
Gee's Bend Modern
Gee's Bend Modern The isolated Alabama community of Gee 's Bend has long nurtured a quilting tradition that resonates deeply with aspects ofmod ernist abstmction. Now the quilts are the subject of an exhibition that is Gloria lIoppilltl: medalflOIl dellign, roo 1975, touring musemns. rorr/llrQlI, 9/ 111188 illthn . u.s. AfI880,trl Pell.roll: Hlotu and ,trip, work·dothe, quilt, f9U', rottOIl, BY RICHARD KALINA rordUrrJII, rolloll llad;/lIg material, 90 b:., .:.",---;... t is a given that most museum shows of recent an serve to ra ti- I fy accepted tastes and standards. A Johns or Flavin retrospec- ti ve, or a survey of Fluxus art, while certainly deepening our kn owledge of the subject, is not about to change perceptions sig- nificantly. f)'en a large·scale re\icw of a first-rate but underap- preciated artist-the still traveling Joan Mitchell retrospecth'e, for example--essentially rearranges lhe pieces on the board. It is rare to find an exhibition that throws something totally unex- pected our way, that forces us to can'e out. a meaningl'ul chunk of histori cal space to make room for a new body of wo rk. "The QUillS of Gee's Bend," organized by the Museum of Pine Arts, Houston, and shown last winter at the Wh itney Museum, does just that. The 60 quilts in the exhibition were made by a group of women in a small, isolated fa rming com munity in central Alabama, southwest of Selma. Gee's Bend was and is an almost exclusively Mrica n-American hamlet.