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Under the Dome, Mckissick Museum Newsletter Mckissick Museum University of South Carolina Scholar Commons Under the Dome, McKissick Museum Newsletter McKissick Museum 4-1994 Under the Dome - April 1994 McKissick Museum--University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/dome Part of the Education Commons Recommended Citation University of South Carolina, "McKissick Museum - Under the Dome, April 1994". http://scholarcommons.sc.edu/dome/44/ This Newsletter is brought to you by the McKissick Museum at Scholar Commons. It has been accepted for inclusion in Under the Dome, McKissick Museum Newsletter by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA VOLUME 4 APRIL 1994 ISSUE 2 Earthenware vase by Vernon Owens and experimental Albany slip and Clair de Lune glaze by Pamela Owens in 1993 at Jugtown Pottery, Moore County, North Carolina. New Ways for Old Jugs June 26 through October 23,1994 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA Francis Coradal-Cugat Until recently very little was known United States where he was active as a de­ about the artist who designed the haunting signer and artist. Although he spent a num­ dust jacket for F. Scott Fitzgerald's The Great ber of years in New York, he worked for a Gatsby. In fact, this person, Francis Coradal­ long time in Hollywood as an art director Cugat, was better known as the brother of for films including Douglas Fairbanks' Don celebrated band leader Xavier Cugat. Quixote. Coradal-Cugat was born in Spain, raised in The recent discovery of over three hun­ Cuba, and at some point, immigrated to the dred watercolors, drawings and paintings prompted McKissick to organize an exhibi­ tion of his works. Guest researcher Erica Hennig has been working with art historian Dr. Charles Mack on providing some of the answers to the questions that surround this enigmatic artist. Some of Cugat's artistic estate has also recently entered the collec­ EXHIBITIONS tions of the University, long a center for F. Scott Fitzgerald studies. The famous dust jacket design was ar­ rived at by the artist after considerable thought and a number of sketches. Many of these preliminary pieces are exhibited with paintings borrowed from a number of pri­ .. ....... vate collections in the United States. To­ gether they reveal an artist who was always experimenting with then contemporary art styles and theories. His works provide the viewer with the sense of a man who was al­ ways viewing his surroundings with a new eye. At McKissick &om Mav 1 to June 26, this exhibition will be accompanied by a lec­ ture presentation. McKissick's Exhibitions Travel the States As many of you are well aware, a num­ Five Centuries of Drawings and Watercolors. ber of the exhibits you see at McKissick are You may recall this exhibit of 72 works developed into traveling exhibitions for which was on view at McKissick from June other museums throughout the country. 14 to November 15, 1992. This exhibition One recent exhibit has just begun touring, was the outcome of a three-year collabora­ while another has just ended. tive effort between the Museum and art his­ You surely remember last summer's torian/ guest curator Dr. Charles Randall showing of lowcountry paintings, From Deep Mack to locate, select, and research draw­ Roots to New Ground: The Gullah Landscapes ings and watercolors found within Univer­ of Jonathan Green. That exhibit opened in sity collections and those of university fac­ late November at the Afro-American Cul­ ulty and staff. After it closed at McKissick, tural Center in Charlotte, North Carolina, to Paper Pleasures was on view at the following a very appreciative audience and ran museums: the Fine Arts Museum of the Above: through February 28th. Its next stop is the South in Mobile, Alabama; the University of Francis Coradal-Cugal. Norton Gallery and School of Art in West Arkansas at Little Rock Art Gallery in Little Preliminary design for dust jacket of The Great Gatsby. Palm Beach, Florida, where it opens April Rock, Arkansas; the Asheville Art Museum Private Collection. 9th. The exhibit will then travel to the fol­ in Asheville, North Carolina; and the Mem­ lowing venues: the California Afro-Ameri­ phis State University Art Gallery in Mem­ can Museum in Los Angeles, California; phis, Tennessee. the Greenville County Museum of Art in It is always exciting to plan, prepare, Greenville, South Carolina; the Philharmonic and send an exhibition on to new places. Center for the Arts in Naples, Florida; the We send it off with hopes that we have Gibbes Museum of Art in Charleston, South thought of everything it needs for its safety. Carolina; and the Longwood Center for the We hope it is well received wherever it goes Visual Arts at Longwood College in and we look forward to seeing it again one Farmdale, Virginia. day. When we do, it is with great pride for Another exhibition which has just com­ its success. Then we begin organizing the pleted its travel schedule is Paper Pleasures: next one. 2 MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA O/Earth and Cotton set to open on August 14 EXHIBITIONS For the native southerner, cotton culti­ vation has been a way of life for generations. Now, in an exhibition organized by McKissick Museum, for the first time the public will be able to sense the relationship between man and his environment in this agricultural pursuit. It looks at cotton liter­ ally from the ground up. Of Earth and Cotton the portraits during the summer months. Clockwise from top: combines photographic images taken in the Brookner and guest curator Susan Edwards, Clar1<e County, Georgia 1930s by the Farm Security Administration curator at Hunter College Galleries in New 1940(?) Farmers hauling with a contemporary sculpture installation York, have worked to show the man/nature cotton to gin. by artist Jackie Brookner. Brookner's instal­ relationship in this exhibition. After its close Lehi (vicinity) Ar1<ansas, lation of a bed of earth contains feet por­ at McKissick in November, the exhibition ~ober1938. Feet &legs of cotton pickers showing traits which she has completed using former will follow migration routes westward to knee pads. cotton workers as models. These individu­ five other museums with Brookner creating als labored picking cotton by hand and rep­ new "feet portraits" of area cotton workers Cotton on the porch of Bud resent the anonymity of man harvesting the at each site. By the time the exhibition Fields' home in Alabama, gifts of nature. reaches its most western site in Los Angeles, 1935. Working with the Museum staff, the exhibition will be a visual metaphor for Brookner has traveled throughout parts of the lands worked and the diversity of the South to locate and interview these peoples who worked them. Please join us in former cotton workers and will be creating walking through this unique exhibition. MCKISSICK MUSEUM - THE UNIVERSITY OF SOUTH CAROLINA Jane's Journeys CRAFT REVIVAL PROJECT What's happening more and more, as I lisher responsible for commissioning and visit different archives, is that pieces of the publishing the first quilt history book. puzzle mapping out the contours of early Doubleday's Country Life Press first printed 20th century craft revivalist activity in the Quilts: Their Story and How to Make Them by Southeast are beginning to come together. Marie D. Webster in 1915, reprinted the book To give you an idea of what I mean, let me within the year, and reissued it again in 1926 share with you some of the pieces I found at and 1928. Hence, it seems the Doubledays Hampton University which have brought into exerted considerable influence on the revival focus the ways this institution served as a hub of basketmaking and quiltmaking in the early or clearing house of sorts for the networks decades of the 20th century. of individuals involved with promoting The second connection - one which craftmaking, particularly among racial and/ or needs to be further explored - is that be­ ethnic groups in the Southeast - African tween the revival of Chetimachan Americans, Native Americans, and Acadians. basketmaking and the revival of Acadian Somewhat by default, it turns out that weaving by two women, both of whom Hampton University is the home of one of lived on A very Island, Louisiana. A 1905 the largest and most complete collections of survey, '''The Revival of Handicrafts in early 20th century Chetimachan Indian bas­ America,." conducted by Dr. Max West for kets, all made by Clara Douden of southern the U.S. Department of Commerce and La­ Louisiana. It was a collection of baskets bor, credited Mrs. Sara A very Leeds of commissioned by Mary M. Bradford of A very Island, Louisiana, with the revival of A very Island, Louisiana, to be exhibited by weaving among the Acadian women of the State of Louisiana at the St. Louis Expo­ southern Louisiana. sition in 1904. Mrs. Leeds had helped the women to Above: When in 1905, for some reason, Ms. sell their woven products through the Chris­ 13th Annual Penn Center Bradford had to give up her Indian work to tian Women's Exchange in New Orleans. Heritage Days Celebration November 11-13,1993; her sister, she sought to place the collection She also took five Acadian women to the Parade was on Nov. 13. with either the Smithsonian or the American World's Columbia Exposition at Chicago Photographer: Jane Museum of Natural History. When this tact where "they reproduced an Acadian interior Przybysz failed, she contacted Mrs. Frank Nelson with their spinning wheels and looms and Doubleday of New York, and enlisted her showed the methods and products of their help in placing the baskets.
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