Extensions of Remarks E498 HON. HAROLD
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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. -
With Every Fiber Feb 6 - April 3, 2021
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. -
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. -
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. -
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. -
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. -
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. -
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. -
CONGRESSIONAL RECORD— Extensions of Remarks E499 HON
April 18, 2013 CONGRESSIONAL RECORD — Extensions of Remarks E499 learned to quilt from her mother, Aolar Mosely, Economic and Energy Conversion Act of tion. The intent of the bill before the House, and she worked over the years in a variety of 2013, a version of which I have introduced H.R. 624, the Cyber Intelligence Sharing and textile-related jobs. Mary Lee gathers design since 1994, after working with the District of Protection Act (CISPA) is laudable in that it ideas for her quilt art by looking at the world Columbia residents who were responsible for eliminates some of those obstacles. Security around her. Anything—from people’s clothes the Nuclear Disarmament and Economic Con- and privacy, however, should not be mutually at church, to her barn, to quilts hanging on version ballot initiative passed by DC voters in exclusive and CISPA does not go far enough clotheslines in front yards, to how the land 1993. This version of the bill now requires the to protect privacy. This is the bottom line for looks when she’s high above it in an air- United States to negotiate an international me, my constituents, and I hope the Obama plane—can inspire her. agreement to disable and dismantle its nuclear Administration, and why I oppose this legisla- Mary Lee Bendolph has worked to promote weapons by 2020 and provides for strict con- tion. greater understanding of her community and trol of fissile material and radioactive waste f its unique art form. She has appeared on nu- and for use of nuclear-free energy. -
The Database: an Aesthetics of Dignity Sharon Daniel
The Database: An Aesthetics of Dignity Sharon Daniel Something Given The term 'data' originated as the plural of the Latin word datum, meaning "something given."1 In the world of experience, our datum is a culturally constructed, social context. This context, and the socio-ideological experience of individuals in the context of contemporary western societies, is defined by what Katherine Hayles has called the “materiality of informatics”: "the material, technological, economic, and social structures that make the information age possible."2 Hayles' “Informatics” includes "the late capitalist mode of flexible accumulation; the hardware and software that have merged telecommunications with computer technology; and the patterns of living that emerge from and depend upon instant transmission of information and access to large data banks."3 Data on its own has no meaning; data must be interpreted in order to take on meaning and become information. Data is a mark or trace that represents of a portion of the real world; it is a representation that can be processed and transcribed into a readable language on a sustainable medium--a completed questionnaire, a taped interview, the recorded results of an experiment. Events or experiences that leave physical, virtual, or perceivable marks can be traced through data. Marks lose the status of data when they can no longer be interpreted because the code linking them to particular observations is unavailable.4 People, and computers, find or impose patterns on data-- patterns that are seen as information, used to enhance knowledge, authorized as aesthetic or ethical criteria, and accepted as truth. Patterns mined from data may be structures observable through the senses (and therefore subject to aesthetic evaluation), or normative examples for behavior (subject to questions of ethics). -
ALISON JACQUES GALLERY 16 - 18 Berners Street London W1T 3LN United Kingdom +44 (0)20 7631 4720
ALISON JACQUES GALLERY 16 - 18 Berners Street London W1T 3LN United Kingdom +44 (0)20 7631 4720 www.alisonjacquesgallery.com PRESS RELEASE THE GEE’S BEND QUILTMAKERS 2 DECEMBER 2020 - 25 APRIL 2021 ESSIE BENDOLPH PETTWAY, DELIA BENNETT, AMERICA IRBY, ANNIE E. PETTWAY, CANDIS MOSELY PETTWAY, LORETTA PETTWAY, QUNNIE PETTWAY, RITA MAE PETTWAY, STELLA MAE PETTWAY, LORETTA PETTWAY BENNETT, ETHEL YOUNG I came to realize that my mother, her mother, my aunts, and all the others from Gee’s Bend had sewn the foundation, and all I had to do now was thread my own needle and a piece of quilt. Loretta Pettway Bennett (b. 1960), daughter of Qunnie Pettway (1943–2010), granddaughter of Candis Mosely Pettway (1924–1997) Alison Jacques Gallery presents the first solo exhibition in Europe devoted to three generations of women artists living in Gee’s Bend, officially known as Boykin, a remote black community situated on a U-turn in the Alabama River. The show is organised in partnership with the Souls Grown Deep Foundation, a non-profit organisation dedicated to the preservation and promotion of the contributions of African American artists from the Southern states, and provides a survey of quilts spanning nearly 100 years, with a number of the artists still living and working in Boykin to this day. The geographic isolation of Boykin has fostered a unique environment for both the women’s art community and their chosen method of quilting. The experimental processes and compositional language of the quilts have been passed down through generations of Gee’s Bend residents, from grandmothers to mothers to daughters. -
ART REVIEW; Jazzy Geometry, Cool Quilters - New York Times 06/19/2008 01:34 PM
ART REVIEW; Jazzy Geometry, Cool Quilters - New York Times 06/19/2008 01:34 PM November 29, 2002 ART REVIEW; Jazzy Geometry, Cool Quilters By MICHAEL KIMMELMAN THE most ebullient exhibition of the New York art season has arrived at the Whitney Museum in the unlikely guise of a show of hand-stitched quilts from Gee's Bend, Ala. Gee's Bend is a remote, historically black community occupying a bulb of bottom land, a U-shaped peninsula five miles across and seven miles long, hemmed in on three sides by the Alabama River. The single road in and out of town was paved only in 1967. That was roughly the time ferry service, the most direct route outside, stopped when whites in Camden, the county seat and nearest city as the crow flies, decided they didn't appreciate Benders crossing the river to register to vote. Isolation has always been the place's curse but also, because it has protected the community and been a means of incubating art, a blessing. For generations, women of the Bend have passed down an indigenous style of quilting geometric patterns out of old britches, cornmeal sacks, Sears corduroy swatches and hand-me-down leisure suits -- whatever happened to be around, which was never much. Quilts made of worn dungarees sometimes became the only mementos of a dead husband who had nothing else to leave behind. They provided comfort and warmth, piled on top of cornshuck mattresses or layered six or seven deep for the cold nights. But they also became declarations of style, flags of independence hung to dry on wire lines for the neighbors or anyone else to see.