Hnin Nie’s response to Picasso’s Landscape of Juan-les-Pins (1920), 2023.

Playing Pablo

10 Local artists create murals in response to works in Picasso Landscapes: Out of Bounds 

By Jen Sudul Edwards, PhD 

Picasso Landscapes: Out of Bounds, organized by the American Federation of the Arts, is a major initiative for The Mint Museum. It not only brings major Picasso paintings to Charlotte from all around the world, but also offers an opportunity for the museum to bring together multiple cultural entities in collaborations and partnerships. One of these projects is a mural series enlisting 10 artists and collectives (some of whom will be familiar to the Mint audience from past projects) to create murals around the city. 

The initiative is a partnership with Carla Aaron-Lopez, curator of the Local/Street exhibition series that was on view at The Mint Museum in 2021 and 2022; and Talking Walls, the organization that has been supporting mural installations across the city for the last five years.  

Together with Aaron-Lopez and the Mint’s Curatorial Assistant Jamila Brown, a group of local artists were invited to paint a mural in response to Guernica — Picasso’s powerful, mural-size antiwar painting — or any of the landscapes included in the Picasso Landscapes: Out of Bounds. The result is a diverse range of styles and images that will dot Charlotte’s urban landscape and the two Mint museum locations beginning mid-February 2023.

Involving Charlotte contemporary artists was always central to the Picasso Landscapes: Out of Bounds. As Aaron-Lopez and local artist ARKO have pointed out, Picasso continues to be a major influence on contemporary artists both as an inspiration and as a foil. The exhibition allows local artists to study the works up close and in person, to break down the structure, and analyze the compositions and brushstrokes to further their own education and experimentation. This partnership reminds us that one of the museum’s primary goals is to preserve and present art’s history so that the next generation can push it forward.  

The Picasso Mural project is generously supported by a grant through the North Carolina Arts Council and Infusion Fund. 

Mural artists and locations 

ARKO and Dammit Wesley
Mint Museum Uptown 

Brand the Moth
Mint Museum Randolph

CHD:WCK!
Mint Museum Uptown 

HNin Nie
Optimist Hall

Emily Núñez
Queens University 

Kalin Reece
Elder Gallery 

Mike Wirth
Camp NorthEnd 

Frankie Zombie and 2Gzandcountin
Optimist Hall

Jen Sudul-Edwards, PhD, is chief curator and curator of contemporary art at The Mint Museum.

Romanticizing the American Landscape

A conversation with artist Stacy Lynn Waddell about her work Landscape with Rainbow as the Sun Blasts the Sky (for R.S.D.) 1859/2022, part of the Mint’s collection.

In 2021, Art Papers published an article about a new series of works by Durham-based artist Stacy Lynn Waddell in which she examines the history of landscape through the work of 19th-century English American painter Thomas Cole and self-taught Black Pittsburgh-based sculptor Thaddeus Mosley. The Mint’s Chief Curator and Curator of Contemporary Art Jen Sudul Edwards, PhD, took notice. As an extension of the series influenced by Cole and Mosley, Waddell created Landscape with Rainbow as the Sun Blasts the Sky (for R.S.D.) 1859/2022: an homage to American artist Robert S. Duncanson’s 1859 painting Landscape with Rainbow, which is in the collection of the Smithsonian American Art Museum and was displayed in the United States Capitol Rotunda in 2021 in honor of the inauguration of President Joseph R. Biden.

Duncanson was one of the most important Black artists of the 19th century. This event brought significant national attention to Duncanson, who remains little known beyond art history circles. The Mint Museum is pleased to have acquired Waddell’s tribute to Duncanson: Landscape with Rainbow as the Sun Blasts the Sky (for R.S.D.) 1859/2022, which will be a part of an upcoming reinstallation of the American galleries at Mint Museum Uptown in 2023. Mint curators Jonathan Stuhlman, PhD, and Jennifer Sudul Edwards, PhD, caught up with Waddell to discuss her inspiration behind the work. Lightly edited for brevity and clarity by Michele Huggins.

Jonathan Stuhlman, PhD: We are doing a rotation in the Mint’s permanent collection galleries next summer, shifting focus from different approaches to portraiture to different approaches in landscape. I am really looking forward to including Landscape with Rainbow as Sun Blasts the Sky (for R.S.D.) 1859/2022 in that. There are earlier works in this series dedicated to Thomas Cole and Thaddeus Mosley. What made you decide to extend it beyond them to Duncanson and to this painting in particular?

Stacy Lynn Waddell: I was given an opportunity to show work in a four-page spread in the publication Art Papers. I thought it was a perfect opportunity to examine the core of the romantic idea of how we have come to be as a country. We know there are holes in all of that — it is moth-eaten— but thinking about Thomas Cole and Thaddeus Mosley was really about access. How do I reconfigure or have people take another look at some of Cole’s most important paintings by inserting Mosley and his works into the scene and drawing parallels between the lives of the two men as naturalists.

The other thing was to bring forward an interest in landscape. One of the things that I have thought a lot about, especially during 2020, was access. You couldn’t go places. Once we realized that outside was a safe space to convene, then I feel like the doors were blown off in terms of how people thought about being outside.

JS: Suddenly, everyone is an outdoorsman.

SLW: Everybody! So, I was thinking about that, too: how we do not necessarily consider the space
that we have. We do not consider our dependency upon nature and how we have disrespected that
relationship.

JS: Then you shift from the Cole/Mosley series to Duncanson. Was it because of his importance as the first and best-known Black American landscape painter?

SLW: Yes. When the painting was rededicated, I thought, “yeah, this is the moment.” Think of the biblical significance around a rainbow and the promise just this idea of a promise. Another thing that the pandemic did was push us to keenly focus on political discourse. To have this painting emerge during the inauguration as a kind of promise, it just struck me as something that seemed important.

Also, the fact that here is a Black man (Duncanson) at a time when Black people had no access. This painting was made in 1859, American slavery was still the order of the day, yet Duncanson was able to access and occupy spaces in America and abroad. I found that to be fascinating. It stood as an emblem of possibility for the onlooker and me as a Black woman from the South functioning as an artist.

JS: Duncanson’s painting, and the rainbow’s landing on the cabin in the wilderness, has been interpreted as symbolizing divine blessing on westward expansion, yet we were doing so at the expense of all the people who originally lived on the land. There is an irony there as he was a Black artist painting on the eve of the Civil War. Duncanson soon thereafter just got the heck out and went to England by way of Canada and left the country for several years. So, to me, it is a painting that is loaded with so many tensions and ironies. What led you to pick the tondo (circular) format for these works and the details in the way that you have done — piecing in the panels in the sky with the rounded swirl. To me, it calls to mind the arc of the rainbow, but I’d love to know more about how you landed on the bit of the picture you chose and the way that you put it together.

SLW: I started thinking about how I would intervene upon the original painting. What would make the most sense for me, someone who loves to appropriate. I do a lot of that in my art. I find photographs and other images that I take and insert a different meaning or myself into the work. Tondos are typically formats of paintings that we ascribe to religious works. The circle points to an internal way of connecting to something. My pieces are works on handmade paper made in India that is very irregular with deckled edges, but still round. So, you still fall into that place.

My drawings are created by burning paper. I am burning paper and then I am adding gilded (gold) material. I love surface texture. I thought, “why don’t you just reinterpret paintings in your materials that are all about surface interest?”

The paintings I am referencing in this also call attention to the environment. Gold leaf is tough on the environment. It is metal. It is gold pounded into sheets with a decorative pattern inlaid. All the alchemy and all the gathering of metals happen before I get the material to use it. So, when I’m using this material, I’m thinking about science, the environment, and the optical illusion of seeing a rainbow.

It is interesting to me to overlay a lot of our contemporary concerns onto a painting that was about an ironic look at a promise. What is it that we really stand for as a country? What is it? What direction are we really going in? It is natural for me to take what I do and lay it on top of something else and then hope that someone gathers something from it.

Hopefully, what the viewer can extract from looking at this series is going well beyond looking at a landscape and even beyond the Duncanson references. The materials may lead them back to some of the concerns: the environment, the landscape, their relationship to it, and what, if anything, are they doing to protect these spaces.

Jen Sudul Edwards, PhD: One of the things that I find so interesting about Duncanson is that with romanticism over the last 100 years, we have been much more critical about it as a practice, of it being nostalgic to avoid reality, whitewashing history to erase crimes against humanity that were going on at the time. You mention the irony that is embedded in Duncanson’s treatment of it, but I also find a kernel of a reminder in Duncanson, and in your series, that romanticism was also created because of a need for hope. Was that a consideration of your series, which was started during the pandemic and has the need for a rainbow at the end.

SLW: Artists are romantics, especially the idea of romanticism as a longing or looking at something lovingly or looking back at something and thinking that there is always hope. It is what we do every day in the making of the work. To be an artist, you are pulling things out of thin air with the hope that someone will come along and find interest in it — just to create a relationship with it through the eye and through the gut. But then also, to maybe buy it and show it and talk about it and write about it. I think that at the heart of all of us, we are all romantics.

I mean, for me, I grew up in the rural South. I ran through fields and grew up on a farm and have a clear relationship to the out of doors, to the land, to owning land. It is not a foreign idea for me to know that people can own land and own large parts of it. My great grandfather, Zollie Coffey Massenburg, owned hundreds of acres at a time when a Black man in rural North Carolina, did not. When he passed, his 14 children all got large plots of land, one of them being my maternal grandmother. When I pass an open field, immediately, there is something that is pricked in me about remembering, longing, and wanting that to be kept whole. No one’s going to buy this and build on it. If we could just have green spaces. The idea of romanticism is deeply embedded in me.

I think when people stand in front of work, there is a romantic gesture that is happening internally with whatever work they are looking at. You bond with it. You are creating a relationship. Whether you realize it or not, you are siphoning through your personal and psychic experiences. It is a romantic way of engaging with something.

So yes, I come to everything as a romantic, as someone who has a longing. I think my interest in appropriation is a romantic gesture to see something and want to make it not better, but to make conditions better and add my voice to that, to envision a better world. The only way that I know how to do that is just with the materials and things that I love working with.

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Rebecca Elliot, assistant curator of craft, design, and fashion.

‘Art can be a source of joy for people, and I like to make those experiences happen’

Rebecca Elliot is one of the creative minds behind the new exhibition Craft in the Laboratory: The Science of Making Things and lead author of the catalogue by the same name.

Rebecca Elliot is the assistant curator of Craft, Design, and Fashion at The Mint Museum. Her journey with art has taken her around the globe, from her student days studying abroad in London and frequenting the British Museum, to her jobs at the Cranbrook Art Museum and the Museum of Fine Arts, Houston, and finally to the Mint in 2012, where she’s currently the assistant curator of craft, design and fashion. Here, Elliot shares a glimpse into her life inside the museum, from the glamorous (handling 18th-century men’s suits and thrifting with iconic fashion designer Anna Sui) to the decidedly unglamorous (copy editing and emails). — As told to Caroline Portillo. Lightly edited for brevity and clarity.

I grew up in central Ohio in a town called Delaware, Ohio, about 30 or 40 miles north of Columbus. I loved to read fiction and liked writing. I loved art, especially drawing. My sister and I — she’s three years older than me — would have coloring contests. I even tried to design clothes. I would play with my Barbies and have them do fashion shows. For me, it was more about Barbie having a job, a career, and wearing stylish outfits.

For undergrad, I went to Smith College, a women’s college in western Massachusetts. I took art history during my sophomore year, and then I spent my junior year studying abroad at University College London, where I took a lot of art history classes. UCL was close to the British Museum and I would often go after school. In London, I also visited the National Gallery, the National Portrait Gallery, the Victoria & Albert Museum, and the Tate Gallery. It was really cool actually seeing the scale of the paintings and what the texture looked like, knowing what it felt like to stand in front of it, and noticing what other people did when they were there. That’s when I first started thinking about working with museums. The interface between the art and the public was interesting to me.

Here’s a snapshot of a recent day in my life. First, I helped Annie [Carlano, the Mint’s senior curator for craft, design, and fashion] lay out the jackets from two 18th-century gentlemen’s suits for a Zoom call with a curator from the V&A in London. Because I’m the copyeditor for all the Mint’s exhibition texts, my afternoon was spent answering emails and reviewing exhibition label proofs. I spent the evening on one of my hobbies: ushering for a show at Actor’s Theater. I enjoy theater, and ushering is a great way to help out and see a show for free.

I love thrifting and actually got to join fashion icon Anna Sui on a thrifting expedition. Anna was in Charlotte in November last year for the opening of The World of Anna Sui at Mint Museum Randolph. After lunch, we ventured to Sleepy Poet Antique Mall. I have admired Anna Sui’s style ever since her clothes started appearing in my favorite ’90s teen magazine, Sassy. I was thrilled when I got to join her entourage and go thrifting in Charlotte. I walked around with Anna and Vogue’s Senior Fashion News Editor Steff Yotka, observing which items they gravitated to and occasionally commenting about things that reminded me of Anna’s style. I was with them as Anna found and inspected a tablecloth — the three of us unfolded it together — and decided it was worth the $20 price. It’s fun to know that I was there when she found a small souvenir to take back and enjoy in her home.

Speaking of Sleepy Poet, I made a point to go there just before they moved out of their old location, knowing there would be bargains. Sure enough, I found a Heywood-Wakefield wood headboard and footboard, possibly mid-century modern, for $25. Whenever I’m thrifting or antiquing, I look for interesting mid-century modern items. I like old stuff, decorative stuff, fashion, and art.

When I’m visiting a museum, I nerd out. I look at the objects and the labels — how are they written? Would I do it the same way? I look at what objects are next to each other, how they play off each other. I look at what’s in the room, how the wall colors are, the pathway.

I love working at a museum because museums give people so many different kinds of experiences. Art can be a source of joy for people, and I like to make those experiences happen. Art can also be something that makes people uncomfortable, that makes them question and think about things they may not have before. We are facing many difficult issues, everything from the environment to social justice to politics. The work I do matters in those areas. We’re not trying to be political, but we are trying to make society better.[/vc_column_text][/vc_column][/vc_row]

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Jonathan Stuhlman, PhD, senior curator of American Art at The Mint Museum, discusses Farol, Elaine de Kooning’s 1958 painting inspired by bullfights she attended Sunday afternoons in Juarez, Mexico. “Farol” refers to the movement made by bullfighters, sweeping their capes out of the way as the bull charged by. The piece captures the motion, energy, and action of the fight itself. Although long overlooked, the work of de Kooning and her other female Abstract Expressionist colleagues has recently received greater attention thanks in part to exhibitions like Women of Abstract Expressionism hosted at The Mint Museum hosted in 2016. [/vc_column_text][/vc_column][/vc_row]

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Senior Curator of Craft, Design, and Fashion, Annie Carlano, discusses Spectral Boundary by artist Tom Patti. In combining more than 30 laminated and fused layers of glass, interlayer and woven fiber materials, Spectral Boundary exemplifies Tom Patti’s pioneering artistic effort to interpret the relationship between an advancing industrial culture and North Carolina’s textile heritage. The 40-foot monumental glass wall was made with the same compression machinery that manufactured the skin on the Stealth bomber, thus the wall is bulletproof and bombproof. Spectral Boundary is an outstanding example of how artists and scientists think alike.[/vc_column_text][/vc_column][/vc_row]

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Jen Sudul Edwards, PhD, chief curator and curator of contemporary art at The Mint Museum, explains the significance of works by mid-century modernist Doris Leeper. Leeper, who worked in painting and sculpture, hints at her interest in the three-dimensional in the painting Figures Eight. Leeper was born in Charlotte in 1929 but moved out of state. She maintained a presence in North Carolina, however, participating in the Mint’s juried competition series Piedmont Exhibition. [/vc_column_text][/vc_column][/vc_row]

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An intriguing installation created by the design group Formafantasma in its studio in the Netherlands, Autarchy explores the idea of how we might make functional vessels for the home from locally sourced, natural materials, while paying homage to the craft of baking and cooking. Autarchy is an outstanding example of the way in which designers and makers think and work like scientists, researching and experimenting with materials and formulas to create, solve problems, and achieve amazing results. This piece was made especially for The Mint Museum with the assistance of Mint staff and is on view in the Craft + Design permanent collection galleries at Mint Museum Uptown in the installation Craft in the Laboratory: The Science of Making Things.[/vc_column_text][/vc_column][/vc_row]

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Marcus Amerman, a multimedia artist who is best known for his pictorial beadwork that combines Native American tradition with imagery from contemporary popular culture, designed and created these two cuff bracelets depicting the Dalai Lama and agents Mulder and Scully from the television hit series X Files. Amerman grew up in a family of artists and learned beading at age 10 from his Choctaw aunt who had married into the Hopi tribe. In 1982, he drew upon the multitude of cultural influences he had experienced to create his own style of beadwork.

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The Mint Museum from Home is Presented By Chase.

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Assistant Curator of Craft, Design, and Fashion, Rebecca Elliot offers insight on the sculpture Weathervane by artist-blacksmith Brent Kington, part of a series of sculptures inspired by the weathervanes of Kington’s youth in Kansas. With nothing but gravity holding the two parts together, Weathervane is able to spin, but also to pitch and roll slightly in a breeze or if touched. While the sculpture is meant to be enjoyed indoors rather than to gauge the wind’s direction on a farm, it alludes to nature with the two differently sized disks representing the sun and moon. 

Weathervane is on view in the Craft + Design permanent collection galleries as part of Craft in the Lab: The Science of Making Things.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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In My Loan Dinh’s series “(Re)constructing the space in-between,” objects, covered in eggshells, appear fragile; but they are strong — strong enough to break glass. “I reach for these tools not only to break barriers, but also to build, forge, and construct new paths towards freedom and equality. Many things, like stones and bullets, can shatter glass. I am here to build,” Dinh says.

‘Broken, but in one piece’

Charlotte artist MyLoan Dinh explores the human condition – and the search for home

By Page Leggett

MyLoan (pronounced “mee-LAHN”) Dinh has been working with an unusually delicate medium: eggshells.

The Vietnamese-American artist, who splits her time between Charlotte and Berlin, uses them to encase objects — passports, hammers, boxing gloves. “With boxing gloves, you think of fighting,” she says. “I love the idea of pairing things that are complete opposites. There’s a tension there — a deeper meaning that starts a conversation.”

People might see the eggshell mosaics and think of the destructiveness of violence or the fragility of life. But for life to begin, the egg has to be open, to be broken, Dinh says. And brokenness is part of being human.

“I like creating something whole out of fragments,” she continues. “I like this idea that even though we might be broken, we’re in one piece. We’re going to be OK.”

MyLoan Dinh, United States (born in Vietnam), 1972– . “Off White,” 2019. Boxing gloves, eggshells, acrylic. Museum purchase made possible by the Charles W. Beam Endowment Fund.

From coop to kitchen to studio

Working with eggshells is tedious and time-consuming. Dinh starts by procuring eggs. She has to boil the eggs, crack and peel them. Then, she methodically places each tiny piece onto the object with an adhesive. She uses a stick pin or a needle; her fingers are too big for the job. Once the entire object is covered, she fills in with even tinier shell shards. She doesn’t want too much of a gap between fragments.

Each object gets covered in five or six protective layers. Something fragile has been made durable.

Some of the “eggshell art” was featured in Dinh’s installation for Constellation CLT — an exhibition series that spotlights local artists — this spring and summer at Mint Museum Uptown.

“I think it’s wonderful that museums are starting to look for artists in their backyard,” Dinh says. “There’s a lot of talent here. And why not expose the community to those artists? It’s wonderful that part of the community can now see themselves in these spaces.”

The part of the community she’s referring to: Asian-Americans. “When I was growing up, I couldn’t see myself in a museum setting because I didn’t have any role models,” she says. “I couldn’t name a single Asian artist. I saw some Asian art, but it was more like artifacts. So, this Constellations program is really amazing.”

‘A place we can call home’

She and her family were on one of the last ships out of Saigon in 1975. Dinh was 4. She has no memory of her homeland but still feels connected to her culture.

Her story is deeply personal, but there’s a universality to it. “Everyone deserves safety,” she says. “We all deserve the same basic human rights, the opportunity to live in dignity and to somehow find a place we can call home.”

Finding her way to safety was harrowing. For six days, they were forbidden to dock because the ships belonged to the now-defunct South Vietnamese government. “We were stateless,” she says.

The U.S.S. Kirk was the first, and then dozens of former South Vietnamese Navy ships, cargo and fishing boats lowered the Vietnamese flag and raised the American one. That was just the beginning.

Dinh’s family went to three different U.S. refugee camps before a Lutheran church in Boone agreed to sponsor them. “We’re still in touch with the pastor and his wife,” Dinh says. “At the time, there was this — not really, anti-Asian hate — but fear. People were afraid for different reasons: Would we be able to adjust? Were we Communists? Half the congregation wasn’t sure should they take us in. The minister told them, ‘As people of God, we have to.’”

They came to Charlotte because there was a bigger Vietnamese population here and it’s a bigger city. Dinh’s parents wanted to find their community.

Dinh herself has found a large creative community here. She and her husband — Till Schmidt-Rempler, a former dancer and choreographer — frequently host musicians, poets, storytellers and dancers in the 1935 log cabin that’s home to the couple and their teenage daughter. (Their son is working toward a PhD in art history in London.)

Evolution of an artist

Dinh’s work has evolved a lot since she first picked up a paintbrush to create what she calls “representational, figurative work.” It didn’t take long for her to expand her subject matter and media; she experiments to stave off boredom. In recent years, she’s been diving into storytelling.

“I began revisiting stories about what my family faced when I was growing up,” she says. “Much of that stuff, you just push away. You focus on your survival. You don’t want to bring it up because you think: ‘I’m resilient, I need to move on.’ But I felt it was time to pull it out slowly because of this shift in America, this racial reckoning.”

She doesn’t consider herself a political artist, but rather an artist concerned with social justice.

She hopes viewers see that concern in her work. “I think it’s good to let viewers enjoy the pieces for what they are, but I also like the idea of them reading my artist’s statement to understand why I made the piece. My message is that we need to find a way to share space with each other.”

‘My daughter ate it’

Dinh doesn’t always use food in her art — although she has coated everyday objects in candy conversation hearts — but she was inspired to create an installation last year using a ubiquitous Asian dessert.

“I created a fortune cookie installation the day after six Asian women were murdered [in Atlanta],” she says. “I just made it, held it in my hand and photographed it for social media. And, when Jen [Sudul Edwards] said she wanted to show it, I had to tell her: It was a real fortune cookie, and my daughter ate it. But I can get more.”

There are six fortune cookies in that little installation, she says, one for each of the six women murdered. The fortunes have numbers on them, and they are real telephone numbers to an actual hotline, Dinh says.

With her eggshell art, Dinh is a purist. She leaves the shells the colors nature intended. But she wanted dark brown eggs for several pieces — and went searching.

“There’s a chocolate brown egg that comes from a fancy French chicken called the Marans chicken, she says. “I joined a Facebook group of people who raise chickens and asked if anybody had Marans chickens. They were so responsive; I’ve been getting eggshells in the mail. Chicken people are really good people.

“You never know where you’ll find your community. And community is really another word for ‘home’.” 

Page Leggett’s writing appears regularly in The Charlotte Observer, Business North Carolina and SouthPark magazine. Besides writing, her other great passions are travel and art collecting. The first art lessons she took were at Mint Museum Randolph.

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Remembering Dr. Martin Luther King, Jr.  

‘Life’s most persistent and urgent question is, ‘What are you doing for others?”

By Rubie Britt-Height, director of community relations at The Mint Museum

Dr. Martin Luther King, Jr. (1929-1963) was a major American icon whose life, though cut short far too soon, profoundly impacted the state of our country in the 1950s, 1960s, and today. He was an American clergyman, activist, and leader in the American Civil Rights Movement. Martin Luther King, Jr. Day is a federal holiday that marks the birth of this profoundly courageous leader who addressed the challenges existing in the United States relative to poverty, racism, and war.  

The Mint observes the official Martin Luther King Jr. holiday throughout the month of January with goals ongoing throughout the year to invoke dialogue and transformative programming, exhibitions, and equity for diverse artists, vendors, and staff. The museum is committed to its mission, vision, and strategic plan, of which diversity, equity, inclusion, and accessibility (DEIA) are a part.  

Throughout 2022, the Mint will provide members and guests opportunities to view and have dialogue about meaningful works of art, attend performing arts programming, read historical nuggets about artists of color, and recount through socially conscious works of art the ongoing challenges identified by Dr. King’s speeches, writings, and sermons that continue to illuminate “the dream still deferred” in many ways.  

Dr. King’s “I Have a Dream” speech spoke metaphorically and strategically to an environment that blighted African Americans, with the hope of a transformed country of equity, equality, justice, and fairness. 

The Jim Crow Museum notes that “the civil rights movement reached its peak when 250,000 blacks and whites gathered at the Lincoln Memorial for the March on Washington for Jobs and Freedom, which included the demand for passage of meaningful civil rights laws when Dr. King, Jr. delivered his famous speech.”  Among those words, throughout his ministry are many other notable quotes that raise our consciousness and speak to courage, community, and commitment to a better America for all. 

Here are just a few of his thought-provoking and enlightened perspectives as one influenced by his Christian faith, Ghandi’s non-violence philosophy, and his commitment to balance the scale of humanity in America: 

“The function of education is to teach one to think intensively and to think critically. Intelligence plus character – that is the goal of true education.” 

“A genuine leader is not a searcher for consensus but a molder of consensus.” 

“Rarely do we find men who willingly engage in hard, solid thinking. There is an almost universal quest for easy answers and half-baked solutions. Nothing pains some people more than having to think.” 

“Change does not roll in on the wheels of inevitability, but it comes through continuous struggle.” 

“The ultimate measure of a man is not where he stands in moments of comfort and convenience, but where he stands at times of challenge and controversy.” 

“The time is always right to do what is right.” 

“We may have all come on different ships, but we’re in the same boat now.” 

We invite you view this curator video featuring Senior Curator of American art Jonathan Stuhlman, PhD, about the painting Selma by artist Barbra Pennington that focuses on the events that unfolded 55 years ago in Selma, Alabama. 

Artist Lydia Thompson at work in her home studio.

On the daily: 24 hours in the life of artist Lydia Thompson

By Liz Rothaus Bertrand

For Lydia Thompson, a working artist and professor of ceramics at UNC Charlotte, the past is always present. She is fascinated by “our abodes,” and how we interact with them. Inside these spaces, we carry our own stories, as well as those of former inhabitants and vestiges from our lives elsewhere. Thompson’s recent work focuses on issues such as forced displacement, gentrification, and what gets left behind when a home is abandoned. 

“You can see the emotions of a structure when it starts to deteriorate, especially when it’s been abandoned,” Thompson says. “You can see layers and layers of cultures that lived in there.” 

As Thompson wraps up a three-year term as UNC Charlotte’s chairperson of the department of art and art history, she’s also looking toward the future. After spending much of her career in leadership positions at universities throughout the United States, she is eager to return to a schedule with more time for teaching, studio work, and leading community workshops. 

“I really love working with the community,” she says, “because the artwork just sits in the gallery and I want to bring it alive.”  

While her weekdays have been mostly filled with administrative duties she finds time for studio work on the weekend. Take a look at a typical Saturday for the renowned ceramic artist, filled with her sketchbook, the kiln, and some thought provoking documentaries. 

Lightly edited for brevity and clarity.

5 AM: I wake up and start my day with some personal reading. The books I’m reading are always centered around projects I’m working on. Books I’ve recently read include Feeding the Ghosts by Fred D’Aguiar, Root Shock by Mindy Thompson Fullilove, and The Warmth of Other Suns by Isabel Wilkerson.

6 AM: I check emails, maybe look at Instagram, and have two cups of coffee, followed by a full breakfast of pancakes or eggs. I reserve the yogurt and oatmeal for Monday through Friday. I keep a sketchbook nearby at all times. Because I don’t have a lot of time to work in the studio, I’m always making lists.

7:30 AM: I head down to my basement studio — I am happy to finally have a dedicated studio space — and open the kiln. Even though I know what the result is going to be, I love the anticipation. The excitement of seeing a fired piece never goes away. 

Because slabs are heavy, I work on them while I have the most energy of the day. I spend a couple of hours focused rolling out and flipping slabs. I use a template and make a cardboard model before I actually cut anything out to be sure it’s going to work when I put it together.  

While working, I usually put on the television show “Columbo” or listen to a podcast. I feel like detective Columbo is the underdog who is misunderstood. I think of myself and my career in terms of being misunderstood sometimes. People see me and never think I’m the director or the person in the leadership role at UNC Charlotte because I’m an African American woman. They’re always surprised when they find out who I am. 

I also enjoy listening to podcasts. I love Brené Brown’s “Unlocking Us,” and “Business of HYPE,” with host Jeff Staple. 

9:30 AM: If I have slabs set up, I start building the interior structure and putting the walls together. I start busting up things, making rubble so I can dip all of it in glaze and put it in the piece.  

11:30 AM: It’s time to glaze. I look at the wooden bases and check the inventory of what needs to be done before setting up. I usually glaze my pieces three or four times. 

Noon: I take a lunch break, which is usually leftovers — homemade pizza, maybe a salad or a tuna sandwich — and enjoy time in my backyard with a quick stretch and check on the garden my fiancé planted. We have green beans, tomatoes, cucumber, squash, lettuce, and green peppers.

1:30 PM: Back to the studio. I set up the piece a little more and then do some glazing. This takes time and can be tedious because I put masking tape where I want another color to appear. But it gives me the result I’m after. I glaze for an hour and a half and then let it dry.

2 PM: I get another cup of coffee that I don’t really need.

3 PM: I’m always working on two or three pieces at the same time, so it’s helpful to review where I am with projects. I go back to my sketchbook and then I repeat the cycle I began at the start of the day, except for the slab rolling. 

Studio time is so important. It’s dedicated time to work and to review work you’ve done, especially the work that wasn’t successful. Even though you want to throw it in the trash, you’ve got to look at it and say, “Why did this not work?”

6 PM: It’s time to get dinner ready. We try to eat healthy, and I walk every day after dinner and sometimes in the morning, too. I also stretch. It helps to keep your body in tune, especially if you’re doing ceramics.

7:30 PM: My fiancé and I unwind watching movies, but I’m sketching all the time — at night, when I’m in bed or while I’m looking at the TV. I look through the sketches and pull out the ones I think will work. 

We like to watch suspense, thriller, love stories, and futuristic movies. I love documentaries. With the Black Lives Matter movement in focus, I’ve been watching documentaries, such as Black Wall Street, Amend, Coded Bias, and I Am Not Your Negro about African American history. They’re tear jerkers for me because this is reality. I think we’ve come really far, but the only way we can change certain mentalities is to start when people are very young. It’s hard to understand unless you actually walk in someone else’s shoes. I just don’t want people’s eyes to roll when we continue to have these conversations because it really has impacted lives. The way you treat a certain group of people still has an impact on their life and where they are in this country. There’s just no way around it.

9:30 PM: I go to bed fairly early. By 9:30 or 10 o’clock, I’m out. I’m done. 

Liz Rothaus Bertrand is a writer and editor based in Charlotte who is passionate about the arts.  

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Beauford Delaney was one of the most highly regarded Black artists working with abstraction in the 1940s and ’50s. Senior Curator of American Art at The Mint Museum Jonathan Stuhlman, PhD, discusses Delaney’s captivating untitled painting from 1959. Its energy, life and gorgeous palette of dashingly applied yellows, pinks, blues, and greens, are among key factors that distinguished it from other works by Delaney. [/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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The Birth of Venus, after Botticelli (Pictures of Junk), from 2008 by the American artist Vik Muniz is a play on the 15th-century Renaissance masterpiece Birth of Venus by Botticelli. To create his image, Muniz and assistants assembled thousands of pieces of recyclables on a warehouse floor and photographed the assembly from a high platform. Muniz’s images are a critical reflection on the vast waste created throughout the world and its ability to be recycled into compelling, beautiful objects.

The Birth of Venus, after Botticelli (Pictures of Junk) is on view in the contemporary galleries on Level 4 at Mint Museum Uptown.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

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Jen Sudul Edwards, PhD, chief curator and curator of contemporary art shares insight on Transporter, a sculpture by the New York City artist E.V. Day. In this work, Day’s undergraduate studies of nudes and objects in still life collide with her study of architecture and the psychology of space. She explodes those artistic concerns with gender theory that relates both to women and queer culture which was coming into its own in the 1980s and ’90s when Day started her Exploded Couture series. [/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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Suzanne Hoschedé-Monet Sewing, was created in 1888 by American artist John Leslie Breck. Breck was born in 1860, grew up near Boston, and trained in Germany, Belgium, and France. In 1887, he and seven of his colleagues visited the village of Giverny which lies approximately 40 miles northwest of Paris where the French Impressionist painter Claude Monet had settled in 1883. 

Suzanne Hoschedé-Monet Sewing was painted in the summer of 1888, not long after Breck had converted to Impressionism. In the painting, Suzanne sits in dappled sunlight under a leafy tree and in front of a field of golden hay. Breck’s skill at capturing the play of light and shadow is on full display. A canvas by Monet, completed at the same time, features his stepdaughter Blanche at work at her easel and in the distance, Suzanne, who peers over Breck’s shoulder as he, too, works on a painting.   

See this painting and 70 others by John Leslie Breck in the exhibition John Leslie Breck: American Impressionist on view at Mint Museum Uptown through January 2, 2022.

Credit: John Leslie Breck (American, 1860-99). “Suzanne Hoschedé-Monet Sewing,” 1888, oil on canvas. Gift of the Mint Museum Auxiliary and courtesy Heather James Fine Art. 2016.25

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Virgil Ortiz was born there and lives in Cochiti. Coming from a place where clay and life are synonymous, Ortiz did not know that making things out of clay was art until he was a teenager. The earliest Cochiti hand-built clay figures may have been inspired by circus performers or other itinerant entertainers, since the characters are usually depicted in an active state with an open mouth, suggesting singing. Those early figures were much smaller in size than Ortiz’s sculpture, but the way he made and decorated this form is consistent with the way historic objects, including those made by his mother and grandmother, were made. This figure was made with clay that Virgil Ortiz collected on Cochiti Pueblo land, and it has a characteristic cream and black body.

Credit: Virgil Ortiz (American, 1969-). “Siamese Twins,” 1997, clay, stain, and slip. Gift of Gretchen and Nelson Grice. 2002.124.1. (c) Virgil Ortiz Creations 1997.

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Bertil Vallien is recognized as the pioneer of the sand-casting technique, in which molten glass is poured into a firm sand mold. Much like the cire perdue or lost wax technique, the delicate nature of the mold material prevents more than one sculpture from being produced. Thus, Vallien’s sand-cast sculptures are unique works of art.

One of the most prominent vessel themes in his stoneware sculptures of the late 1970’s, the boat became a hallmark of Vallien’s later sand-cast sculptures (1984-88). Vallien’s boats are containers for messages and metaphors for man’s existence. They explore universal themes, like the journey of life and the unknown destination.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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Show your pride with these rainbow-themed items from the Mint Museum Store

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Rainbow & raindrops Kit throw Blanket

Cozy up in any space with this machine washable 50″x60″ rainbow throw. $130.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43751″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/rainbow-catch-all-trays”][vc_column_text]

Rainbow Catch-all

Keep your small treasures safe at night with a cute catch all that shows off your pride 24/7. $8.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43757″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/unicorn-rainbow-pin”][vc_column_text]

Unicorn and Rainbow Magnetic Lapel Pin

These luxury-quality 22-karat gold gilt lapel pins are decked with vivid cloisonné colors and have a magnetic backing. They are Delicate enough for your favorite tops but with magnetic strength that allows them to be worn on even heavy-weight denim. $14.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43754″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/wide-calf-pride-knee-sock”][vc_column_text]

Wide Calf Pride Knee Sock

Pride only happens once per year, but your own personal pride is an everyday thing that you carry wherever you go. These STRETCH-IT Team Pride Wide Calf Socks are the perfect pair to wear to Pride this year. Tell people who you are, and show them that you support the ongoing fight for equality. $12.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43752″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/liberty-rainbow”][vc_column_text]

Liberty Rainbow Puzzle

Artist Naomi Devil combines whimsy and a masterful painting technique in this playful puzzle celebrating difference, beauty, and freedom. This 1,000-piece jigsaw puzzle is thoughtfully commissioned and beautifully designed to offer a screen-free, relaxing way to practice contemplative mindfulness or share a gentle cooperative activity with friends and family. $24.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43749″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/great-gays-mug”][vc_column_text]

Great Gays Heat Activated Mug

What do Walt Whitman, Oscar Wilde, and Andy Warhol have in common? If you’re thinking, “They were all gay,” you’re only half right. They’re also all included in this amazing Great Gays Out of the Closet Mug. When the mug is empty, it shows fourteen closet doors. But when you pour in a hot beverage, 14 of the world’s most famous gay men proudly emerge. $16.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43748″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/the-future-is-equal-mug”][vc_column_text]

The Future is Equal Mug

Show your optimism for the future with a mug that says it all. $16.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43756″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/you-are-magic-socks”][vc_column_text]

You are Magic Socks

These cotton crew socks are made from the softest cotton with long combed fibers for a luxurious hand feel. Most importantly, they are made following the highest ethical, labor, and environmental standards. $12.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43753″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/pride-mason-jar-candies”][vc_column_text]

Rainbow Pride Mason Jar Candies

Celebrate your pride all year round with handmade fruit punch flavored candy from Hammond’s! Hammond’s Candies are handmade with the finest locally sourced ingredients for superior quality flavor for over 100 years. $14.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43750″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/full-of-pride/products/rainbow-wooden-bead-necklace”][vc_column_text]

Wooden Bead Rainbow Necklace

Colorful wooden bead necklace that makes a perfect gift for that artsy person in your life. Wear it as a piece of jewelry or incorporate it into your home as a bright decoration. $22.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_column_text]

Want to see more?

Visit our online store to see the ever-growing collection of pride themed items.[/vc_column_text][cs_button shape=”rounded” size=”md” href=”url:https%3A%2F%2Fstore.mintmuseum.org%2Fcollections%2Ffull-of-pride|target:_blank” bgcolor=”#68c8c6″ bghovercolor=”#ea9823″ textcolor=”#ffffff” texthovercolor=”#ffffff”]Shop Pride Collection[/cs_button][vc_empty_space height=”16px”][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]

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Coming together for another discussion surrounding works of art in the Mint’s permanent collection is Jon Stulhman, PhD, senior curator of American art, and Rubie R. Britt-Height, director of community relations at the Mint.

This series is a part of video series that examines and compares works of art currently installed in the Mint’s Contemporary Gallery at Mint Museum Uptown.

Watch the first two videos in this series using the buttons below:[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][cs_button shape=”rounded” size=”md” align=”center” href=”url:https%3A%2F%2Fmintmuseum.org%2Fgallery-chat-with-curator-and-community-part-1%2F|target:_blank” bgcolor=”#68c8c6″ bghovercolor=”#ea9823″ textcolor=”#ffffff” texthovercolor=”#ffffff”]Part 1 [/cs_button][/vc_column_inner][vc_column_inner width=”1/2″][cs_button shape=”rounded” size=”md” align=”center” href=”url:https%3A%2F%2Fmintmuseum.org%2Fgallery-chat-with-curator-and-community-part-2%2F|target:_blank” bgcolor=”#68c8c6″ bghovercolor=”#ea9823″ textcolor=”#ffffff” texthovercolor=”#ffffff”]Part 2[/cs_button][/vc_column_inner][/vc_row_inner][vc_empty_space height=”16px”][vc_empty_space height=”16px”][/vc_column][/vc_row]

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Kay Sage was one of the few American artists to be closely involved with the French Surrealist movement. “Ring of Iron, Ring of Wool” was completed at the height of her career and incorporates all of the hallmarks of her signature style: a haunting, desolate landscape; beautifully-rendered yet enigmatic forms; and sophisticated variations in tone and color. The title is thought to be a reference to the traditional gifts for a couple’s sixth and seventh anniversaries. 1947 marked the sixth anniversary of Sage and Tanguy’s move to Woodbury, Connecticut and the seventh of their marriage.

Credit: Kay Sage (American, 1898-1963). “Ring of Iron, Ring of Wool,” 1947, oil on canvas. Museum purchase: The Katherine and Thomas Belk Acquisition Fund. 2016.8. © 2016 Estate of Kay Sage / Artist Rights Society (ARS), New York.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

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The sculpture “Beloved” is from a body of work by the artist Beth Cavener, that, somewhat autobiographical, captures intense psychological states of the human condition, in anthropomorphic forms, usually feral mammals. These life-size portrayals function as a sort of camouflage for her own feelings, or her observations of other people going through some sort of inner turmoil.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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Yann Gerstberger creates murals, sculptures, and textile tapestries from his home in Mexico City. In Flowerbed Gerstberger uses inspiration from his world travels, both in person and electronically, to create imagery of lush rainforest and desert flora and fauna.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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Local artists and artist collectives are expanding opportunities to create and experience art in Charlotte

By Liz Rothaus Bertrand 

The Mint Museum’s exhibition It Takes a Village: Charlotte Artist Collectives puts local artists and the organizations that nurture them in the spotlight. Opening June 12 at Mint Museum Randolph, the exhibition will feature individual and collaborative pieces by artists who are part of three of Charlotte’s innovative artist collectives: BlkMrktClt, Brand the Moth, and Goodyear Arts.

Curated by the Mint’s chief curator and curator of contemporary art, Jen Sudul Edwards, PhD, sees the exhibition as a wonderful way to showcase the collaboration of local artists who are producing intriguing and inspired works of art. “One of the things I’ve found really wonderful about this city is the number of collectives that were created for artists to support each other. I rarely have encountered that in the other places I’ve lived.”[/vc_column_text][vc_single_image image=”43401″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]

Building artist communities

Collectives build something special for artists, says Todd Stewart, a member of the artist-led residency program Goodyear Arts. “There’s a reciprocal relationship within an art community, creating and seeing things,” he says. “Personally, I feel like I get more than I give.”

For Stewart, a trained sculptor who also explores painting in his mixed-media creations, working as an artist can be lonely. He says collectives really help to push past the feeling of isolation, even if you’re not actively collaborating with the artists around you. “That to me is just a huge boost of energy … seeing what these folks are up to really propels me forward,” he says.

The wide spectrum of artists—visual, performing and literary—and creative work at Goodyear Arts helps draw diverse audiences to events, most of which are free and offered in an accessible location. This expands relationships and exposure for other artists, too.[/vc_column_text][vc_single_image image=”43687″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]Having the opportunity to show their work in a museum the caliber of the Mint is an exciting for collective members, Stewart says, with the potential to reach people who don’t yet know them and what they contribute to the community.

People often think of art coming from “meccas” like Los Angeles, New York, or London, Stewart says, “but Charlotte is building this creative capital, too. It’s rewarding putting your buckets down where you’re at and creating where you are,” he says.

Artists collectives depend on public and private support to continue their work. Goodyear Arts, for example, turns donated space into art galleries and studios. This kind of partnership is key to building opportunities for artists to create.

The fruits of such collaborations can already be seen around Charlotte through various public art initiatives.[/vc_column_text][vc_single_image image=”43589″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]

What public art brings to the city

Besides beautifying and enriching the city’s landscape, public art like murals serve important social functions. Art inspires conversation and brings different communities together, says painter Sam Guzzie, partner and director of programming for Brand the Moth.

Last summer, Brand the Moth and BlKMrktClt were two of the key groups leading local artists in creating the Black Lives Matter mural on Tryon Street. The iconic project involved 20 different artists, who were each able to put their own distinctive mark on this collaboration.

Bringing community members into the creative process is important, too. For example, Brand the Moth’s 16th Street Bridge Mural was directly inspired by conversations with homeless residents at the nearby Men’s Shelter of Charlotte, who then volunteered side-by-side with Charlotte Mecklenburg Police Department officers, and others to revitalize the area. Such efforts help create community dialogue over the paintbrush, says Hannah Fairweather, partner and director of curation at Brand the Moth.[/vc_column_text][vc_single_image image=”43554″ img_size=”large” alignment=”center”][vc_column_text]Another unique collaboration took place at the McGill Rose Garden, where the Brand the Moth created a mural with UMAR, a nonprofit that promotes community inclusion for adults with intellectual and developmental disabilities.

Efforts like these strengthen community bonds and allow people all over the city to experience the arts. For some people, seeing or participating in a public art initiative may be the only chance they have to experience art. “Often public art is the gateway into that world for them,” Fairweather says.

Visitors to The Mint Museum can gain an appreciation for the role artist collectives play in our community through this exhibition. “It’s really something to be proud of and to invest in,” Sudul Edwards says.[/vc_column_text][vc_empty_space height=”16px”][vc_separator color=”custom” accent_color=”#68c8c6″][vc_empty_space height=”16px”][vc_column_text]Liz Rothaus Bertrand is a Charlotte-based freelance writer who has a love of the arts in all its forms.

This story was originally published in the January, 2021 issue of Inspired, the Mint’s biannual member magazine.[/vc_column_text][/vc_column][/vc_row]

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The Mint’s community relations director recognized as an icon of the Latino community

By Rafael Prieto 

The Comité de Fiestas Patrias y Tradiciones de Charlotte (CFPTC) recognized Rubie R. Britt-Height, director of community relations at The Mint Museum, as an Icon of the Latino community, for her contribution to culture and the preservation of the Hispanic heritage.

“For years, we have wanted to cherish Rubie’s support to the local Hispanic artistic talent and the presence of the Afro Caribbean rhythms on the Charlotte Region,” says Rafael Prieto, co-founder of CFPTC.

The award was presented in person to Britt-Height by Charlotte’s Patriotic Celebrations and Traditions Committee on June 25 at CFPTC’s Third Encounter of Directors, Founders, and Volunteers on the Artesan Gelato Ice Cream place in Matthews. The award recognizes her initiative Mint to  Move, created in 2012, which represents the spirit of Afro-Latino culture through music and dance by Africans in the Caribbean and the rest of Hispanic America.

“We intended to honor Rubie in the Third Afrolatinos-Black History Month commemoration, held at Johnson C. Smith University on February 27, 2020, but imponderable circumstances prevented it,” Prieto says. The Third Encounter of Directors, Founders, and Volunteers was a perfect event to recognize Britt-Height. Representatives of many Hispanic nationalities affiliated with Fiestas Patrias applauded her work and accomplishments.

Thanks to the intervention of Britt-Height, the idea of preserving the beautiful and meaningful Colombian tradition of Candles’ Day became a reality. With the help of artist Edwin Gil, CFPTC proposed the commemoration be held at the Mint after the Colombian painter closed his gallery. Since 2016, Fiestas Patrias, Soy Latino Como Tu (SLT), Colombian American Foundation (COAMFO), Lideres Colombianos en Charlotte (LCC), and Manolo’s Bakery have been proactive partners of Candles’ Day.

Britt-Height created the event’s motto, “celebrate the LIGHT in CommUNITY, Family, Oneness, Sharing, Faith & Love for All of Humankind, based on a Colombian tradition.”

Manolo Betancur, from Manolo’s Bakery, and owner of Artesan Gelato, provided the appetizers and pastries for the CFPTC Third Encounter of Directors, Founders, and Volunteers.[/vc_column_text][/vc_column][/vc_row]

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Nacho Carbonell views his creations as living beings and in doing so, he captures the life-force and expressive qualities of the wood that was chosen to create this work of art.

Wood Branches, Diversity N. 17 is on view at Mint Museum Uptown.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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Coming together for another discussion surrounding works of art in the Mint’s permanent collection is Jon Stulhman, PhD, senior curator of American art, and Rubie R. Britt-Height, director of community relations at the Mint.

This series is a part of new video series that examines and compares works of art currently installed in the Mint’s Contemporary Gallery at Mint Museum Uptown.

Watch the first video in this series here: https://mintmuseumold.wpengine.com/gallery-chat-with-curator-and-community-part-1/[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][/vc_column][/vc_row]

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Brian Gallagher, curator of decorative arts, tells us about this peculiar object found at Mint Museum Randolph.

A monteith was used to cool wine glasses, which were suspended upside down into iced water. The glass stems rested in the monteith’s notches. This particular monteith and stand were made for Thomas Lamb (1753–1813), a Boston shipping merchant who was very active in the early years of the American China trade.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Celebrating Mexican artists for Cinco de Mayo

Get to know Zuleyma Castrejon Salinas

Haga clic aquí para leer la traducción al español.

Zuleyma Castrejon Salinas is a teaching artist living and practicing in the Queen City. She has experience teaching art at all life stages from child to senior adult. Her practice is very versatile and she likes to explore anything and everything from painting to jewelry making and everything in between.[/vc_column_text][vc_single_image image=”43371″ img_size=”large” alignment=”center”][vc_column_text]Tell us a bit about your background

I was born in Huitzuco, Guerrero, Mexico to a young mother and father. I spent my first couple of years living there with my mother. My father made his way to the U.S when I was 1 year old to help provide for us, since we were scarce on money and resources.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43372″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43357″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]My mom and I arrived in Monroe, North Carolina in August of 1996 shortly before my third birthday and my mom’s 18th birthday. We arrived to the United States at a time where resources for Spanish-speaking individuals were not as easily accessible as they are now. Mom and I did not speak any English and my dad was always working, so he did not teach us the little English that he already knew.[/vc_column_text][vc_single_image image=”43374″ img_size=”large” alignment=”center”][vc_column_text]Early artistic roots

Because mom and I didn’t speak English, and mom didn’t know how to drive, we passed our time walking to the nearby Family Dollar. From a young age, Mom and dad always bought me coloring books, puzzles, crayons, watercolor paints, and notebook paper.[/vc_column_text][vc_single_image image=”43357″ img_size=”large” alignment=”center”][vc_column_text]I eventually started kindergarten and the only things I knew how to say in English were, “Can I go to the bathroom?’ And “finger.” I learned English quickly after that and soon excelled in all of my studies. I was the first in my family to graduate both high school and college. I graduated summa cum laude from Johnson C. Smith University in May of 2016. At JCSU, I studied visual and performing arts with a concentration in studio art.[/vc_column_text][vc_single_image image=”43360″ img_size=”large” alignment=”center”][vc_column_text]Observe. Bridge. Respond. Art (OBRA)

Early in college, I joined a Latinx-led art collective called OBRA collective. We are an art collective made up of Latinx and ally artists that create art that celebrates our heritage and raises awareness about issues that the immigrant community faces.[/vc_column_text][vc_single_image image=”43363″ img_size=”large” alignment=”center”][vc_column_text]As an art collective, we:

• Lead community workshops
• Plan and execute art exhibitions
• Collaborate with different partners, including the city of Charlotte
• Listen and respond to the needs of our community[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43361″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43362″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]OBRA collective tapestry mural

This is one of our largest projects. We partnered with the city of Charlotte and the community of East charlotte to design and create a mural that was representative of the people of East charlotte. You can see the mural at the intersection of Monroe and Idlewild roads. The people of East Charlotte come from many parts of the world. These countries were represented through their fauna, flora, and traditional textile patterns.[/vc_column_text][vc_single_image image=”43358″ img_size=”large” alignment=”center”][vc_column_text]My art is very reflective of my Mexican culture and heritage through its imagery and bright, bold colors. Most of my art is highly influenced and inspired by my experience as a Mexican woman.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43369″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43365″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Photography

These two photographic series were both inspired by my parents. I am forever grateful for all of their sacrifices because I wouldn’t be where I am without them.[/vc_column_text][vc_empty_space][vc_zigzag color=”custom” custom_color=”#ea9823″][vc_column_text]

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Celebrando Artistas Mexicanos Por El 5 de Mayo

Llegar a saber Zuleyma Castrejon Salinas

Soy un artista docente que vive y ejerce en la Cuidad Reina. Tengo experiencia enseñando arte en todas las etapas de la vida, desde niño hasta adulto mayor. Mi práctica es muy versátil y me gusta explorar cualquier cosa, desde la pintura hasta la fabricación de joyas y todo lo demás.[/vc_column_text][vc_single_image image=”43371″ img_size=”large” alignment=”center”][vc_column_text]¿DE DONDE SOY?

Nací en Huitzuco, Guerrero, México a unos padres jóvenes. Pasé mis primeros años viviendo allí con mi madre. Mi padre se dirigió a los EE. UU. Cuando yo tenía 1 año para ayudar a mantenernos, ya que éramos escasos de dinero y recursos.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43372″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43357″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Mi mamá y yo llegamos a Monroe, Carolina del Norte en agosto de 1996, poco antes de mi tercer cumpleaños y poco antes de que mi mamá cumpliera 18. Llegamos a los EE. UU. en un momento en el que los recursos para las personas de habla hispana no eran tan accesibles como ahora. Mamá y yo no hablábamos nada de inglés y mi papá siempre estaba trabajando, así que no nos enseñó el poco inglés que el ya sabía.[/vc_column_text][vc_single_image image=”43374″ img_size=”large” alignment=”center”][vc_column_text]Primeras raíces artísticas

Debido a que mamá y yo no hablamos inglés y mamá no sabía conducir, pasamos nuestro tiempo caminando hacia el family dollar cercano. Desde temprana edad, mamá y papá siempre me compraron libros para colorear, rompecabezas, crayones, pinturas de acuarela y papel para cuadernos.[/vc_column_text][vc_single_image image=”43357″ img_size=”large” alignment=”center”][vc_column_text]Finalmente comencé el kinder y las únicas cosas que sabía decir en inglés eran: “¿Puedo ir al baño?” y “dedo”. Aprendí inglés rápidamente después de eso y pronto sobresalí en todos mis estudios. Fui la primera en mi familia en graduarme tanto de la escuela secundaria como de la universidad. Me gradué Summa Cum Laude de la Universidad Johnson C. Smith en Mayo de 2016. En JCSU estudié artes visuales y escénicas con una concentración en artes plásticas.[/vc_column_text][vc_single_image image=”43360″ img_size=”large” alignment=”center”][vc_column_text]Observe. Bridge. Respond. Art (OBRA)

Temprano en la universidad me uni a una colectiva de arte latinx llamada obra colectiva. Somos una colectiva de arte hecha de artistas latinx y aliados que crean arte que celebra nuestra herencia y que sensibiliza los temas que enfrenta la comunidad inmigrante.[/vc_column_text][vc_single_image image=”43363″ img_size=”large” alignment=”center”][vc_column_text]COMO COLECTIVA NOSOTROS:

• OFRECEMOS TALLERES COMUNITARIOS
• PLANIFICAMOS Y EJECUTAMOS EXPOSICIONES DE ARTE
• COLABORAMOS CON DIFERENTES SOCIOS, INCLUYENDO LA CIUDAD DE CHARLOTTE
• ESCUCHAMOS Y RESPONDEMOS A LAS NECESIDADES DE NUESTRA COMUNIDAD[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43361″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43362″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Tapestry mural

Este es uno de nuestros mayores proyectos. Nos asociamos con la ciudad de charlotte y la comunidad de east charlotte para diseñar y crear un mural representante de la comunidad de east Charlotte. Puedes ver el mural en la interseccion de Monroe Road Y Idlewild Road.

La gente de east charlotte proviene de muchas partes del mundo. Estos países estuvieron representados a través de su fauna, flora y patrones de textiles tradicionales.[/vc_column_text][vc_single_image image=”43358″ img_size=”large” alignment=”center”][vc_column_text]Arte Personal

Mi arte refleja mucho mi cultura y herencia mexicana a través de sus imágenes y colores brillantes y atrevidos. La mayor parte de mi arte está muy influenciado e inspirado por mi experiencia como mujer mexicana.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43369″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”43365″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Estas 2 series fotográficas fueron inspiradas por mis padres. Siempre estaré agradecida por todos sus sacrificios porque no estaría donde estoy sin ellos.[/vc_column_text][vc_empty_space][/vc_column][/vc_row]

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One year after Covid-19 shutdowns began, Silent Streets: Art in the Time of Pandemic reflects how it shaped a societal shift  

By Liz Rothaus Bertrand  

When the world came to a halt in early spring 2020, so did museums everywhere. Doors closed, shipments stopped, planned exhibitions were put on hold. Then cities across the nation erupted in protest, as communities faced a reckoning with long-term injustices and systemic racism. The concurrent events posed a challenge: How could the Mint best serve the community through the crisis and uprising, while also facing financial uncertainty and logistical challenges caused by the pandemic?  

“This gave us [an] opportunity,” says Jen Sudul Edwards, PhD, the Mint’s chief curator and curator of contemporary art. “Instead of showing an exhibition that seemed incongruous with the times, we were able to construct something that reflected the times.”  

Silent Streets: Art in the Time of Pandemic opened April 21 at Mint Museum Uptown. The Mint commissioned new works by three North Carolina artists—Amy Bagwell, Antoine Williams, and Stacy Lynn Waddell. Their task: create works of art that respond to something that has happened since the pandemic began and reflects some change in their practice.  [/vc_column_text][vc_single_image image=”43296″ img_size=”large” alignment=”center”][vc_column_text]

CAPTURING A MOMENT WE’RE STILL EXPERIENCING  

As poet and mixed-media artist Amy Bagwell reflects on the past year, she lands on one overriding sensation: dissonance. Bagwell, who also teaches English at Central Piedmont Community College, watched her students grapple with both the dire consequences of COVID-19 and racial injustice. And yet she also heard people deny the virus’s existence and claim the protests were unjustified.  

“That dissonance is terrifying,” Bagwell says. “Absurd in a painful way.”  

Poetry she wrote during the Covid-19 pandemic inspired the three large-scale collages she created for Silent Streets. “As artists we’re trying to document this moment of multiple vexations,” Bagwell says, “but it will be an interim document because we’ll be going through this during and after the show. We don’t yet have the benefit of distance.”  [/vc_column_text][vc_single_image image=”43299″ img_size=”large” alignment=”center”][vc_column_text]

CONFRONTING SYSTEMIC RACISM  

Greensboro-based artist Antoine Williams says 2020 was shaping up to be a great year—but ended up being one of the worst. The pandemic upended his personal and professional lives while exposing, once again, systemic racism across the nation.  

An assistant professor of art at Guilford College, Williams says his work is influenced by critical race theory. For Silent Streets, his mixed-media work looks at the uprisings and their meaning. He explores the objectification of Black labor and culture, and the absurdity of public shock when Black people speak up against injustice.  

Creating during this challenging time has been cathartic, Williams says. “It’s a way of me shouting at the universe … or to feel like I’m contributing to this conversation.”  [/vc_column_text][vc_single_image image=”43298″ img_size=”large” alignment=”center”][vc_column_text]

RECLAIMING SYMBOLS OF POWER  

Artist Stacy Lynn Waddell of Durham often takes tools and uses them in new ways, redefining how we communicate. She has used branding irons on paper and acid to paint, among other experimental techniques.  

For Silent Streets, Waddell explores themes like representation and inclusion in symbols of power. Working alongside a master quilter, she used homemade textiles to create flags. By using a technique from a domestic realm and bringing it to a public sphere, she envisioned a way to reclaim symbols such as flags that are often weaponized, and explored how they could be redesigned to be more inclusive.  

“I think we’ll look back on this years later [and say] ‘This was an opportunity, even in all the bleak, difficult, sad lolling out of all of it,” Waddell says. “It’s still been an opportunity.”  

OTHER PANDEMIC-BORN PERSPECTIVES  

These three commissions form the core of the exhibition, but Silent Streets also features a wide spectrum of artists’ works during the pandemic. The exhibition also includes photo highlights from Diary of a Pandemic, a collaboration between Magnum Photos and National Geographic that features images taken by stranded photojournalists around the world in 2020.  

In the Pandemic Comics part of the exhibition, the focus is on how syndicated comic strips such as “Pearls Before Swine,” “Liō,” and “Tank McNamara” changed course suddenly as COVID-19 upended our lives. Silent Streets will also features As the Boundary Pulls Us Apart, a video and soundscape projection created by Charlotte artists Matt Steele and Ben Geller. 

Liz Rothaus Bertrand is a Charlotte-based freelance writer who has a love of the arts in all its forms.

This story was originally published in the January, 2021 issue of Inspired, the Mint’s biannual member magazine.[/vc_column_text][/vc_column][/vc_row]

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Rebecca Elliot, assistant curator or craft, design, and fashion, shows us a necklace constructed of crab claws by Robert Ebendorf on view at Mint Museum Uptown.

Robert Ebendorf created his “Lost Souls Found Spirits” series of necklaces during a period of introspection and recovery while going through a divorce. He collected the crab claws during walks on the beach; on other pieces in the series, he incorporated found squirrel paws and bird heads. Ebendorf often uses found objects on his jewelry, an act he describes as making order out of chaos. However, the materials of “Lost Souls Found Spirits” are especially startling: claws, nails, and beaks, once lacerating, then dead, now live on as jewelry.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Embrace the blossoms of spring with new items from the Mint Museum Store

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Sarah Cavender Metalworks Jewelry

All of Sarah Cavender’s Jewelry is handcrafted by local artisans under her supervision. Each piece is unique, and every aspect of its creation is hand done. Her pieces are light and airy, beautiful, and extremely special.

Passion Flower Necklace: $180. Hummingbird Brooch: $130.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43009″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/white-dali-flower-chiffon-scarf”][vc_column_text]

White Dali Flower Chiffon Scarf

The sister scarf to our black Salvador Dali inspired scarf, this tone-on-tone scarf has charming wool flowers melting off white chiffon. This scarf is handmade and felted by artisans in Nepal and is a Fair Trade piece. $68.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”42997″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/gilded-frame-cuff?_pos=1&_sid=cc9c785c3&_ss=r”][vc_column_text]

Gilded Frame Cuff

Miss Ellie beautifully captures the elegance of a regal garden in this hammered cuff. It is cast in pewter and electroplated in 10 karat gold. An antique patina is hand-applied to bring out the unique features and contains small cream pearls. This is proudly handcrafted in New York City. $108.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”42999″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/bird-cage-necklace?_pos=1&_sid=747f28f2c&_ss=r”][vc_column_text]

Bird Cage Necklace

This incredibly special necklace from Miss Ellie features a bird cage with crystal rhinestones, an antique gold finish and a tiny white bird swinging on its perch – complete with a cage door that opens. This piece is proudly handcrafted in NYC. $88.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43008″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/van-gogh-starry-night-scarf”][vc_column_text]

Van Gogh Starry Night Scarf

Inspired by Van Gogh’s Starry Night painting, this scarf has a Merino wool night sky motif felted over silk chiffon. This scarf is handmade and felted by artisans in Nepal and is a Fair Trade piece. $68.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43000″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/double-dogwood-necklace?_pos=3&_sid=1037d9c33&_ss=r”][vc_column_text]

Double Dogwood Necklace

Turn heads with this stunning hand sculpted statement piece from the studio of Sarah Cavender Metalworks in Alabama. This showstopper features dogwood blooms (the North Carolina state flower), leaves, and twisted “branches” with a tubular mesh chain. There are oxidized brass meshes with hand painted mixed metal lacquered details. $240.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43006″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/collections/accessories/products/papaya-scarf”][vc_column_text]

Papaya Scarf

A bright and tropical display of papayas displayed across a felted white background. This scarf is handmade and felted by artisans in Nepal and is a Fair Trade piece. $60[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43001″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/passion-flower-on-wide-scalloped-chain?_pos=1&_sid=c56c41630&_ss=r”][vc_column_text]

Passion Flower on Wide Scalloped Chain Necklace

Embrace spring with this beautiful hand-crafted necklace from the studio of Sarah Cavender Metalworks in Alabama. This enchanting passion flower bloom necklace, with an equally special scalloped mesh chain, is sure to dazzle and impress anyone! This necklace is like a sculpture you can wear! It is made of oxidized brass meshes with hand painted mixed metal lacquered details. $180.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43005″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/monet-inspired-water-lily-scarf”][vc_column_text]

Monet Inspired Water Lily Scarf

Inspired by Monet’s Water Lilies painting, this Merino wool and silk chiffon scarf is full of color, art and texture. This scarf is handmade and felted by artisans in Nepal and is a Fair Trade piece. $68.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43002″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/pansy-petal-drop-earrings?_pos=1&_sid=8bf52ccdd&_ss=r”][vc_column_text]

Pansy Petal Drop Earrings

This delicate pair of drop earrings feature a beautifully handcrafted metal mesh pansy blossom and are proudly made by Sarah Cavender Metalworks in Alabama. They are made of oxidized brass meshes with hand painted mixed metal lacquered details with a small stone center accent and a hypoallergenic titanium post. $104.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_single_image image=”43007″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://store.mintmuseum.org/products/bright-felted-rings-scarf”][vc_column_text]

Bright Felted Rings Scarf

Beautiful colors interlocked together with a ring design. Bring some color to your world! This scarf is handmade and felted by artisans in Nepal and is a Fair Trade piece. $62.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][/vc_column_inner][/vc_row_inner][/vc_column][/vc_row]

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“The Poetry of Science” by Carlos Estévez – Curators’ Pick

Cuban artist Carlos Estévez uses his art to explore the relationship between the natural world and the one made by human ingenuity. Jen Sudul Edwards, PhD, chief curator and curator of contemporary art at the Mint, gives a close look at this newly accuisitioned work of art in the Mint’s permanent collection. On view at Mint Museum Uptown.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Gallery Chat with Curator and Community, Part 1

Jon Stulhman,PhD, senior curator for american, modern, and contemporary art, and Rubie R. Britt-Height, director of community relations at the Mint, look at two pieces of contemporary art in the museum’s collection. This video is a part of new video series that examines and compares works of art currently installed in the Mint’s Contemporary Gallery at Mint Museum Uptown.[/vc_column_text][vc_empty_space height=”16px”][/vc_column][/vc_row]

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Black Stacked Circles by Ibrahim Said – Curators’ Pick

Annie Carlano, Curator of Craft, Design, & Fashion, shares one of her favorite works in The Mint Museum’s Collection. Black Stacked Circles by Ibrahim Said is an intricately carved ceramic sculpture on view at Mint Museum Uptown.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Looking Back on 10 Years of Mint Museum Uptown

From famous fashion soirees to NBA takeovers, some of the Queen City’s biggest events have been held at Mint Museum Uptown.

By Ellen Show, Archivist[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42306″ img_size=”large” alignment=”center”][vc_column_text]

September 25, 2010

The Metamorphosis Gala celebrated the opening of Mint Museum Uptown. Partygoers were serenaded by an opera diva from the grand staircase.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42311″ img_size=”large” alignment=”center”][vc_column_text]

April 29, 2011

The Mint Museum Auxiliary’s Room to Bloom celebration kicked off with the Art of Style gala at Mint Museum Uptown with guest of honor, Oscar de la Renta. The event included a runway show of the designer’s fall 2011 fashion line, and a display of more than 30 de la Renta pieces owned by Charlotteans, as well as items from the Mint’s Fashion Collection.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42294″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42308″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

July 13 & 14, 2012

Former Secretary of State Madeleine Albright visited The Mint Museum in conjunction with the Read My Pins: The Madeleine Albright Collection exhibition.  The weekend included an exhibition walk-thru, VIP reception, an education program for college students, “A Conversation With Madeleine Albright” program that packed Mint Museum Uptown ’s James B. Duke auditorium, plus a book-signing by Albright.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42297″ img_size=”large” alignment=”center”][vc_column_text]

September 3–6, 2012

Mint Museum Uptown hosted events related to the Democratic National Convention and launched its “Vote for Art” campaign that allowed guests to vote for their favorite work of art from six candidates on display. Even Queen Charlotte cast her ballot! Voting continued through November and the top three pieces were purchased by the museum.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42303″ img_size=”large” alignment=”center”][vc_column_text]

February 18, 2013

Motoi Yamamoto created Floating Garden, a saltwork on the floor of the Robert Haywood Morrison Atrium. During a community dismantling ceremony on March 3, 2013, the piece was removed from the floor by participants who were invited to return the salt to the sea.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42313″ img_size=”large” alignment=”center”][vc_column_text]

May 6–20, 2013

Charlotte-based artist John W. Love, Jr., performed his interdisciplinary work FECUND, which combined a residency, interactive installation, and one-man performance.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42307″ img_size=”large” alignment=”center”][vc_column_text]

June 19, 2014

Redesigned Charlotte Hornets basketball uniforms were unveiled in Mint Museum Uptown’s Robert Haywood Morrison Atrium.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42301″ img_size=”large” alignment=”center”][vc_column_text]

October 22, 2016

The Year of the Woman kicked off with the opening of two exhibitions at Mint Museum Uptown: Fired Up: Women in Glass and Women of Abstract Expressionism on the 80th anniversary of the opening of The Mint Museum.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”16px”][vc_single_image image=”42299″ img_size=”large” alignment=”center”][vc_column_text]

October 28, 2017

Devolar y Detonar (Reveal and Detonate) made its debut in the United States at The Mint Museum, featuring the work of over 40 contemporary Mexican photographers, and was the central exhibition in a community-wide initiative celebrating Mexican photography titled In Focus/Enfoque. Other participating organizations include the McColl Center for Art + Innovation, the Light Factory, the Bechtler Museum of Modern Art, and LaCa Projects.[/vc_column_text][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42310″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42304″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

February 2019

When Charlotte hosted the NBA All-Star Weekend, Mint Museum Uptown became the home for Nike and Jordan Brand events. A fully enclosed basketball court was built in the Robert Haywood Morrison Atrium, and a temporary gallery of Nike shoes was also on display.[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]This story was originally published in the January, 2021 issue of Inspired, the Mint’s biannual member magazine.[/vc_column_text][/vc_column][/vc_row]

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Mint Música & Poesía Café

This event will premiere at 7 PM on March 31.

Mint Música & Poesía Café features talented poets, dancers, and musicians from the Charlotte area. Special guests: Singer Joseph Gallo, and poets Irania Patterson and Kurma Murrain.

This biannual event conveys renowned artists and rising stars. Listen to the voice of the classics through our guest artists or be inspired by new lyrics and verses. Mint Música & Poesía Café celebrates Women’s History Month, and it is also tied with the current Latin American exhibitions at the Mint.[/vc_column_text][vc_empty_space height=”16px”][/vc_column][/vc_row]

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A curated selection of items from the Mint Museum Store that celebrate women’s stories, art, and artists

Women in Art: 50 Fearless Creatives Who Inspired the World

A charmingly illustrated and inspiring book, Women in Art by Rachel Ignotofskyt highlights the achievements and stories of 50 notable women in the arts, from well-known figures like painters Frida Kahlo and Georgia O’Keefe to lesser-known names like 19th-century African American quilter Harriet Powers and Hopi-Tewa ceramic artist Nampeyo. $16.99

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Mamas knit throw blanket

This cozy cotton and acrylic throw blanket, made in the USA, celebrates females, chicas, women, ladies, girls and mamas. $130.

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Votes for Women Suffrage felt doll

These dolls are handcrafted using natural fibers and eco-friendly resources by talented artisans in Kyrgyzstan, and make a great bookend while reminding us all who blazed a path before us. All details are hand stitched and embroidered. $36.

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You Go Girl mug

This mug commemorates some of the most influential women artists who have made their stamp. If there’s one thing to say about the accomplishments of women, it’s this: Girlfriends, we’ve come far! $26.

Ruth Supreme zipper pouch

Perfect for storing pencils, cosmetics, art and school supplies, or organizing the resistance. 100% Made in the USA, including the fabric. $18.

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Greta Thunberg felted 0rnament

These dolls are handcrafted using natural fibers and eco-friendly resources by talented artisans in Kyrgyzstan. All details are hand stitched and embroidered. $24.

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Poet’s Garden 1000 Piece Puzzle

This puzzle features seven beloved women poets and lyricists spanning centuries and continents whose wisdom and words continue to influence the world, including Sappho, Maya Angelou, Mary Oliver, Miriam Makeba, Kamala Das, Li Qingzhao, and Sor Juana Inés de la Cruz in a lush, heavenly floral garden.  Illustrated by Jennifer Orkin Lewis. $24[/vc_column_text][/vc_column][/vc_row]

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Through the Lens

New photography installations tell the stories of people and places, past and present

By Jen Sudul Edwards, PhD, Chief Curator & Curator of Contemporary Art[/vc_column_text][vc_separator color=”custom” accent_color=”#68c8c6″][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]Over the last year, the Mint has been exposing its members to more photography, both in the galleries and online. On March 22, 2020—as it happened, one day before the museum closed to the public due to Covid-19—the Mint installed a mid-career survey of Charlotte photographer Linda Foard Roberts only a few weeks before she was awarded a Guggenheim Fellowship. Extended through December 2021, the exhibition Responsibilities in Representing explores eight series from Foard Roberts’s career, each showcasing a different relationship between an image maker and her subject. Some are loved ones—friends after cancer diagnoses, her children as they grew into their own—captured at pivotal moments when they found steel in their fragile mortality. Some are invisible traces, as in her most recent series Lament, a song of sorrow for those not heard, which explores Southern spaces that both marked racial divisions and allowed for liberation of the enslaved. When she photographs the natural world—mist on a lake, an aged oak—the results embody the human history of those spaces, allowing viewers to transcend the limitations of the physical world.[/vc_column_text][vc_single_image image=”42904″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]Although her images have an ethereal quality, due in part to the large-format camera and cracked 19th-century lenses that Foard Roberts often uses, they are also sober reminders of the cycle of life and continuous history in which we all live. These dynamics are so vivid in the work because Foard Roberts feels them herself. In her book Passages, Foard Roberts writes, “Southern landscapes are inherently scarred and stained by an oppressive past. It is difficult to reflect on Southern land without the shadow of sadness from our history; and I can’t escape that my roots are dusted with these injustices. This work is driven by a longing to connect with this land and for a miraculous healing from its past.”[/vc_column_text][vc_single_image image=”35194″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]Work from Foard Roberts Lament series is also included in the W|ALLS: Defend, Divide, and the Divine exhibition that is on view at Mint Museum Uptown. W|ALLS was originally scheduled to open in May 2020 but was postponed due to the pandemic. Shipping crates containing much of the show were delayed, and the Annenberg Space for Photography— the originator of the show—was forced to permanently close its doors after 10 years of visionary shows, and gifted the exhibition prints to the Mint. Through more than 130 photos by 67 photographers across the globe, W|ALLS explores various aspects of barriers whether they are made of stone, steel, sand, or wire. The exhibition will be divided into six sections—Delineation, Defense, Deterrent, The Divine, Decoration, and The Invisible—with each section anchored by a central photo essay.[/vc_column_text][vc_single_image image=”41685″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]In addition to these two photography shows on view in the galleries, the Mint’s first online exhibition: Expanding the Pantheon: Women R Beautiful launched on the Mint’s website in November 2020. It presents 26 portraits by Ruben Natal-San Miguel, whose Mama became an audience favorite when it joined the collection in 2018. Natal-San Miguel photographs subjects not historically seen on museum walls, and his new series continues that project, presenting feminine beauty in a myriad of shades—literally and symbolically. In addition to Mama, two other online images—Mary C. Curtis (Journalist) and Three Muslim Women—can be seen in the Contemporary Galleries. They were donated to the museum last year thanks to the generosity of Dana Martin Davis (who also donated Mama) and Natal-San Miguel.

As art historian Coco Fusco observes in the book Only Skin Deep: Changing Visions of the American Self, “The photographic image plays a central role in American culture.” We have seen this most prominently in the press, advertising, and social media, and we will continue to examine its effects through our photography exhibitions at the Mint. Look for an increased presence of photography online and in the galleries in the coming years.[/vc_column_text][vc_empty_space][vc_separator color=”custom” accent_color=”#68c8c6″][vc_empty_space][vc_column_text]This story was originally published in the January, 2021 issue of Inspired, the Mint’s biannual member magazine.[/vc_column_text][vc_empty_space][/vc_column][/vc_row]

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Stephen Compton: From Jugtown Pottery to hyalyn Porcelain: A Collector’s Journey

Delhom Service League Studio Visit

Steve Compton discusses his history as a collector of NC pottery, and how his interest led him to become a noted researcher and author. Steve shares details about his collection of pottery, now including over 2,000 pieces, and some of the many books he has authored.[/vc_column_text][/vc_column][/vc_row]

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Just part of the story: A chat with Constellation CLT artist de’Angelo Dia

By Rubie R. Britt-Height, Director of Community Relations at The Mint Museum

In September 2008, after 20 years away from Charlotte, I was drawn back to the Queen City and its art scene by what felt like a magnetic force and wide-open door. I was coming from the prestigious Virginia Museum of Fine Arts as its community affairs director. I had worked with numerous amazing statewide artists, yet the springing up of talented Charlotte artists was nothing I had experienced. Charlotte and the Carolinas were rich with young, creative, thoughtful minds, and The Mint Museum was where I saw myself. At that time, it was showcasing a Charlotte-born, renowned artist whose work I loved—Romare Bearden. At the same time, the Mint was presenting an exhibition called A Contemporary Look at the Black Male Image. Two wows! I was impressed.

As I settled in the City once again, in summer of 2009, I was invited by God City artist-educator John R. Hairston, Jr. to the opening night of a NoDa art show that he and artist de’Angelo Dia had put together to debut their latest works. The atmosphere, the creative works, and the vibe of North Davidson were soulful, and light. I knew Hairston as this hip surrealist artist, and he introduced me to Dia. We chatted, he showed me his work, and we discussed his artistic views, society, and what he envisioned. It was a great show.

After that, I engaged the God City art collective members, including Dia, to engage with the Mint’s Grier Heights Community Youth Arts Program as enlightened artist-educators that our students could engage with, and who were young, cool, and looked like them. God City connected with the students like a magnet, and Dia’s sessions brought out the best in the students’ abilities to be critical thinkers. They talked about current events, what they would do if they were the mayor, and how they could change their community by changing how they viewed themselves and “Griertown.” He was a newer member of the God City, and art, education, and social activism seemed his platform too, especially with young minds.

As an instructor at Trinity Episcopal School and through the Mint’s Grier Heights art program, Dia challenged his students and they enjoyed his teaching style and socially-conscious poetry. I also invited Dia to the Mint to present on his service projects, where youth were introduced to the concept of being more spiritual, with introspection, and of giving back to the community, and learning to delve deeper within to discover their own style and individuality.

Over a short time, Dia branched into several modes of art exploration, including photography, poetry, creative writing, oral presentations, and painting. Interestingly, he also was drawn into religious studies and received a Master of Divinity degree. He intertwined his growth as a young radical artist and theologian with his desire to be a social activist through his works of art and his engagement with youth in the Black church. He currently serves as the minister of social justice at St. Paul Baptist Church in Charlotte where he is known as Reverend de’Angelo Dia.

Dia’s Constellation CLT installation is on view at Mint Museum Uptown through March 7. I had a chance to recently chat with Dia and see where he was with creating this body of work on exhibition at Mint Museum Uptown, his art projects, his religion, his thinking, and his latest vibe.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_separator][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]RBH: What was your inspiration in creating these works featured in Constellation CLT?

Dia: Works featured in Constellation CLT are part of an on-going passion project. At this point, I have created 70 large-scale pastel drawings exploring representation and the celebration of creating cultures within a culture. The works of Maurice Sendak and Shel Silverstein inspired this collection. The book Where the Wild Things Are was the Holy Grail for me as a kid, however, I couldn’t identify with the main character Max, so I decided to place my cultural embodiment into Max and the Wild Things and create a pantheon of original characters. Each drawing was created at Goodyear Arts while listening to the works of assorted jazz artists (Thelonious Monk, John Coltrane, Ghost Tree). Each drawing has a poem reflective of what I was theologically and culturally processing at the time.

RBH: In relation to your installation and viewing today’s America amid a divide, at what phase do you see African American art and culture as social commentary/activism?

Dia: African American art and culture has always been a mirror to America, exposing its hypocrisy and systemic oppression. The work of AfriCOBRA, Emory Douglas, Elizabeth Catlett, Gordon Parks and so many others exemplify this. However, I want to be clear, African American art and culture are not a monolith. Through this body of work, I am attempting to balance the tension of processing our daily reality of being Black in America, to highlight our resilience and tenacity, and to celebrate our inherent ability to thrive amidst a divisive social and political climate. The childlike elements of these drawings are my attempt to reclaim my own sense of Black Boy Joy with the understanding that joy is an act of resistance. These drawings are reminiscent of my drawing style in the second and third grade before any teacher attempted to socialize a “standard of quality art,” which often hinders the creative spirit.

RBH: Art is a catalyst for change. How do you view that perspective, and how can artists and art today bring about positive change in America?

Dia: Again, this goes back to representation for me. Representation in creatives, and creations and experiences inspire and ignite social movements that supersede any of my academic training.

RBH: Does poetry and theology impact your approach to your visual works of art? If so, in what way?

Dia: Absolutely. Poetry and visual art coexist as theological outlets for me. Every drawing is preceded with a writing prompt intended to help me gain a better understanding of self, others, the communities I navigate and negotiate with. Writing is my primary outlet and my area of academic training, and yet I cannot separate the literary from the visual. This body of work was always intended for me. They are my mind maps, holistic outlet, visual journals. For example, Epiphany, which is on display in this collection, was my template for a poem titled shallow words. With deep investigation, the viewer can find the words “what if I was your child” throughout the drawing. This is in reference to the biblical children of Israel, Isaac, one of the three patriarchs of the Israelites, and in a contemporary context every Black and Brown child of God killed as a result of power and authority. “What if” is also a reference to a Marvel comics anthology series of alternate reality stories titled What If?

RBH: You noted being a comic book scholar? What does that entail and how did you arrive there?

Dia: I earned a master’s in literature from UNC Charlotte. My thesis project was “Black Images in Comics: An examination of what does 200 years of cartoon images depicting Black people tell us about ourselves.” The images displayed for Constellation CLT are a continuation of this study. While the comics scholar in me values and appreciates the impressive archeology of images that present Black history, this work is a visceral reminder of the barrage of racist depictions intentionally created to oppress us. Currently, I am working on my doctorate with a proposed dissertation topic of theopoetics, an interdisciplinary field of study that combines elements of poetics, narrative theology, and postmodern philosophy. My comic passion was sparked by Milestone Media, a comic company created by three Black men with the intent to provide a diverse spectrum of representation in comics. Comics have always been one of the mediums intended for theological analysis (i.e. God is Disappointed in You, 2013, Mark Russell and Shannon Wheeler).

RBH: With thoughts of the fantastical and your love for comic books, who are your most celebrated superheroes/sheroes? If you could create one, what attributes would he/she possess?

Dia: I love this question and it is a tough question because there are so many amazing characters to select from. Shaft (Richard Roundtree) was my gateway to superheroes. His Blackness was and is his superpower. I recommend Shaft written by David F. Walker (Dynamite Entertainment). Luke Cage (written and drawn by Genndy Tartakovsky) and Misty Knight (Marvel Knights), who deserves her own comic series, are two street-level characters presenting a slice of Black life that is relatable. Two series I recommend are Excellence and Bitter Root both produced by Image Comics, written and drawn by creatives of color. If there was a comic character I would love to write about, it would be Doctor Voodoo (Marvel Comics with art created by artist Wolly McNair and Marcus Kiser, inked by Reco Renzi. This would be a dream project. If I could create a character, the attributes would be resilience, tenacity, creativity, and the superpower would be superspeed. Often, there is never enough time in a day to accomplish all I desire to do.

RBH: Which world or American leaders and artists have most impacted your life and works of art?

Dia:

• Poet, professor, Jericho Brown (The Tradition) for his narrative transparency.

• Poet, professor, Gary Jackson (Missing You, Metropolis) for his beautiful work that is a hybrid of introspection and comic mythology.

• Poet, educator, and should be the Poet Laureate of Wakanda, Nikki Giovanni for the diversity and scope of her work.

• Artist Brain Stelfreeze for his incredible art and more than that, his compassion and willingness to take time to talk with emerging artists.

• TJ Reddy (August 1945-March 2019) for constantly reminding me that creativity and sleep are acts of defiance.

• My parents, Betty and Charlie Jessup, for providing me with creative outlets for artistic expression, introducing me to the music of Parliament Funkadelic, and affirming Black Boy Joy.

• Growing up I thought Shel Silverstein was Black, so I am going to give him honorable mention.

RBH: What is your preferred art medium and why?

Dia: I love drawing, it is a basic instinct. I have a passion for photography, and it is perhaps the best medium to consistently document our collective narratives. However, writing is in my primal nature. I will always find comfort with writing. It was the first artistic outlet that made me feel at home.

RBH: How do you hope your works of art will impact the viewer?

Dia: I hope viewers see them as a reflection of childhood, joy, and solidarity.

RBH: What’s next for you with respect to art projects, works, inspirations?

Dia: I had work recently published in the anthology 2020: The Year that Changed America edited by Kevin Powell. I am currently working on a chapbook that will be part of my doctoral dissertation, which will include poetry and drawings. I am contributing to a performance titled Codex with performance arts members of the Goodyear Arts Collective. I am also working on a performance inspired by the life and music of Marvin Gaye. This is a collaboration with sound artist Dylan Gilbert.[/vc_column_text][/vc_column][/vc_row]

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Get to know artist Gisela Colón

Artist Gisela Colón joins Jen Sudul Edwards, PhD, Chief Curator and Curator of Contemporary Art at the Mint, for a discussion on her evolution as an artist, her transition from her home island of Puerto Rico to her adopted home of Los Angeles, and her mesmerizing techniques and unique art projects. Colón’s work was on view in the Mint’s recent exhibition In Vivid Color.

The discussion concludes with a Q&A segment where Colón answers questions previously submitted by the Mint audience.[/vc_column_text][/vc_column][/vc_row]

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Studio Visit with Amy Sanders and Ron Philbeck

Delhom Service League

Amy and Ron discuss their individual work, and then discuss their collaboration on a series of work created during the pandemic. While their individual work is very different, their collaborative work has been very popular and a great learning process for them both. If you would like to see more of their work, you can visit their individual websites, amysanderspottery.com and ronphilbeckpottery.com. Both potters are scheduled to be exhibitors at the Delhom’s Potters Market at the Mint on Sept. 25, 2021.[/vc_column_text][/vc_column][/vc_row]

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Jamil Dyair Steele’s “Black Lives Matter” mural – Curators’ Pick

Local artist and educator Jamil Dyair Steele painted this powerful mural after the death of George Floyd and amid the protests that took place around the United States during the summer of 2020. Decorating the chipboard that was used to cover business windows in preparation of the protests, artists around the city of Charlotte subverted the implicit gesture of racism that assumed criminal violence would inevitably be present at a Black Lives Matter march.

Steele’s mural is on view at Mint Museum Uptown in the Carroll Gallery. It is free for the public to view.[/vc_column_text][/vc_column][/vc_row]

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Movable Magnet Art inspired by artist Susan Point

You can use recycled bottle caps and a lid to create movable magnetic art, inspired by this carved and painted red cedar sculpture Salmon Spawning Run by artist Susan Point. The magnets can be arranged in different ways to form new works of art.[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”42601″ img_size=”600×500″ add_caption=”yes” alignment=”center”][vc_empty_space height=”16px”][cs_divider color=”#b7b7b7″][vc_empty_space height=”16px”][vc_column_text]

SUPPLIES:

• Bottle caps
• Mason jar or plastic recycled lid
• Colored paper
• 1” and 1/2” paper punch
• Small magnets
• Glue
• Scissors
• Pencil
• Newspaper or washable table covering

OPTIONAL SUPPLIES:

•Epoxy Resin (We used Art ‘N Glow Clear Casting Resin for the demo. It is BPA & VOC free, non-flammable, low odor, and non-toxic when used as directed.

Tip: A solid one-piece lid works best[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][cs_divider color=”#6e6e6e”][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

Instructions:

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1. Decorate the bottle caps

Start by punching out both 1” and ½” paper circles from your colored paper. Use a dot of glue to attach the larger circle to the inside of the bottle cap. Put a dot of glue on the back of the smaller circle and place over top of the larger circle in the bottle cap. Don’t worry; it does not have to be perfectly centered![/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”42594″ img_size=”600×500″ alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

2. Design your centerpiece

Draw and cut out the shape of a fish. Use it to as a stencil to trace a second one on a different color paper. Cut out the second one. You can add eyes or gills if you want.[/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”42595″ img_size=”500×600″ alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

3. Make your piece pop with a splash of color

If you would like to include a background color, use the lid to trace a circle. You will need to cut inside of your traced line to make the circle a little smaller than the lid itself so that it fits inside the rim. Glue the background circle to the lid. Arrange and glue the fish on top of the background.[/vc_column_text][vc_empty_space height=”12px”][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42596″ img_size=”500×600″ alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42597″ img_size=”500×600″ alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

4. Fill the bottle caps with epoxy resin (optional)

Pour just enough epoxy liquid into the bottle cap and lid to completely cover the paper shapes being careful not to overfill. Let dry overnight. The epoxy will form a hard, glass-like coating.

Mix epoxy according to manufacturer’s directions. Be sure to work in a well-ventilated area with a table covering.[/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”42598″ img_size=”500×600″ alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

5. Add the magnets

Once everything is dry, turn the bottle caps and lid over. Glue one magnet to the back of each and let dry.[/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”42599″ img_size=”500×600″ alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

6. Assemble your work of art

Arrange the magnets on your refrigerator or other magnetic surface.[/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”42600″ img_size=”500×600″ alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

7. Experiment by arranging magnets in different ways to create new designs

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About the Artist:

Native to British Columbia, Washington and Oregon, the Coast Salish First Peoples consist of several groups with distinct languages but similar customs. Each group has a strong spiritual connection to the land and water of the Pacific Northwest, which has provided their livelihood for thousands of years. Artist Susan Point’s knowledge of the style and meaning behind the imagery allows her to honor the traditions of her ancestors while expanding on the designs in a contemporary way. The red cedar roundel Salmon Spawning Run features carved and painted salmon and clusters of eggs. The vibrant eggs complete the fish’s lifecycle, as the renewal of wild salmon (still caught using traditional methods) is critical to keeping Mother Earth in balance.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”16px”][vc_column_text]Learn More:

Susan Point’s website: https://susanpoint.com/

Share a picture of your creation and tag us @themintmuseum on Instagram, Facebook, and Twitter.

This idea brought to you by Maggie Burgan[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Shop artful while supporting Black artists at the Mint Museum Store

For Black History Month, Mint Museum Store staff curated a selection of items that celebrate Black stories, art, and artists.

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Find Your Voice jigsaw puzzle

This 1,000-piece puzzle, is both a social statement and a striking graphic. Brightly dressed figures, silhouetted on a colorful, 60’s-inspired psychedelic backdrop, are posed so as to engage us in conversation about love, empathy, compassion, inclusion, and justice. Illustrated by artist Aurelia Durand, and made by “a woman-owned, mother-run, sustainably sourced” company, the puzzle also includes a full-color image reference print. Find Your Voice jigsaw puzzle, $24.[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”42332″ img_size=”full” alignment=”center” onclick=”custom_link” link=”https://store.mintmuseum.org/collections/featured/products/black-art-matters-face-mask?variant=37609699705015″][vc_column_text]

Black Art Matters face mask

This face covering features artist Willie Cole’s Black Art Matters logo and the artist’s iconic scorch mark. Through the use of simple objects like an iron, Cole creates symbolic designs that have profound meanings. Each reusable mask is made with three layers of fabric and is machine washable. Black Art Matters face mask, $18.[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”42540″ img_size=”full” alignment=”center” onclick=”custom_link” link=”https://store.mintmuseum.org/collections/featured/products/brave-black-first”][vc_column_text]

Brave. Black. First. postcard set

These 100 stunning postcards celebrate 50 groundbreaking African American women, from Harriet Tubman and Rosa Parks to Angela Davis and Beyoncé—published in collaboration with the Smithsonian’s National Museum of African American History and Culture. Each card features the portrait on the front and, on the back, an inspiring quote, short biographical information, and space for writing a message. Brave. Black. First. postcard set, $20.

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Young, Gifted and Black: A New Generation of Artists

This book surveys the work of a new generation of Black artists, features the voices of a diverse group of curators who are on the cutting edge of contemporary art, and showcases the art collection of Bernard I. Lumpkin and Carmine D. Boccuzzi. As mission-driven collectors, Lumpkin and Boccuzzi have championed emerging artists of African descent through museum loans and institutional support, but until now, there has never been an opportunity to consider their acclaimed collection as a whole. Young, Gifted and Black: A New Generation of Artists, $49.95.[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”42337″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://store.mintmuseum.org/collections/featured/products/the-incredible-joy-of-collecting-african-american-art”][vc_column_text]

The Incredible Joy of Collecting African American Art: My Journey from Frogtown, S.C. to the National Gallery

Written by Patrick Diamond, The Incredible Joy of Collecting African American Art: My Journey from Frogtown, S.C. to the National Gallery chronicles the author’s journey from growing up in poverty to avidly collecting African American art. Growing up during Jim Crow restrictions, Diamond describes a childhood with limited opportunities and reinforced social, political, and cultural inequities layered with personal stories of how his love of art began with his grandmother, and how he and his wife joined forces to support and celebrate African American artists. The Incredible Joy of Collecting African American Art: My Journey from Frogtown, S.C. to the National Gallery, $30.[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”42345″ img_size=”medium” alignment=”center” onclick=”custom_link” link=”https://store.mintmuseum.org/collections/featured/products/the-beauty-in-everyday-thangs”][vc_column_text]

The Beauty of Everyday Thangs

After 13 years in the making, award-winning documentary photographer Ken West releases a book of photographs entitled The Beauty of Everyday Thangs, a first-of-its-kind photo collection inspired by the art of mindfulness as a testament to black humanity. While the majority of the images are of folks in the midst of what West terms “revolutionary normalcy,” the book also features candid moments with cultural icons like legendary lyricists and activists Clifford “T.I.” Harris, stic of dead prez, British actor and musician Tricky, and groundbreaking filmmaker Melvin Van Peebles. Photographs taken in Havana, New York, Atlanta, Philadelphia, and Detroit using West’s collection of film cameras (some as many as 60+ years old) are included in the nearly 250-page book. The Beauty of Everyday Thangs, $29.95.[/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42334″ img_size=”medium” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”42335″ img_size=”medium” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

Black Lives Matter T-shirts

Stop by either the Mint Museum Store Uptown or at Mint Museum Randolph to purchase an official Charlotte Black Lives Matter Mural T-shirt. Available in sizes XS-XXL. $36 each with $5 from the sale of each shirt going to a charitable organization. [/vc_column_text][/vc_column][/vc_row]

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Leah Leitson Ceramics: Then and Now

Delhom Service League Studio Visit

Join the Delhom Service League as they Leah Leitson, ceramic artist and educator based in Asheville NC. She discusses her career in ceramics from her first interest as a studio potter to her current role as Professor of Ceramics at Warren Wilson College. For more information about Leah, you can visit her website at www.leahleitson.com.[/vc_column_text][/vc_column][/vc_row]

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Untitled (Shield) by Elizabeth Talford Scott – Curators’ Pick

[/vc_column_text][vc_empty_space height=”16px”][vc_column_text]In celebration of Black History Month, Annie Carlano, Senior Director of Craft, Design & Fashion, shares details about Untitled (Shield) by nationally renowned fiber artist Elizabeth Talford Scott. Untitled (Shield) is on view in the fiber art gallery of the craft and design gallery at Mint Museum Uptown.

Film produced by SmARTlab[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum from Home is presented by Chase.

[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”40658″ img_size=”medium” alignment=”center”][/vc_column][/vc_row]

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The queen in Netflix’s hit series “Bridgerton” is none other than Charlotte’s Charlotte

[/vc_column_text][vc_separator color=”custom” css_animation=”slideInLeft” accent_color=”#68c8c6″][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_empty_space height=”16px”][vc_column_text]Charlotte’s Charlotte is part of The Mint Museum’s permanent collection and is currently in the traveling exhibition Under Construction: Collage from The Mint Museum, which is about to open at the Hunter Museum of American Art in Chattanooga, TN. It will then travel to the Knoxville Museum of Art later in the year before returning to Charlotte.[/vc_column_text][vc_single_image image=”38147″ img_size=”large” alignment=”center”][vc_row_inner][vc_column_inner width=”1/2″][vc_empty_space height=”16px”][vc_column_text]“Using the history of art as my playground, I toy with paintings from the past, and I connect them to the present,” says Ken Aptekar. His Charlotte’s Charlotte references Mint Museum Randolph’s 1772 coronation portrait of Queen Charlotte by Allan Ramsay. By appropriating Ramsay’s imagery and adding his own original text on sandblasted panels that hover above the surface of repainted details excerpted from the original painting, Aptekar initiates a dialogue between his work, Ramsay’s painting, and the viewer.[/vc_column_text][vc_column_text]Prior to creating Charlotte’s Charlotte, Aptekar met with diverse groups within the community to gain a better understanding of what Queen Charlotte means to Charlotteans. Words and phrases such as BLACK WHITE OTHER and IMMIGRANT reflect the distinct voices of the Charlotte community and function as a means of eliciting a variety of interpretations. With these texts overlaying the paintings, Aptekar intentionally addresses the issue of Queen Charlotte’s race (she was of North African, Portuguese, and German descent) and invites us to compare the implications of ethnic identity at the time of Ramsay’s portrait, and the multiplicity of meanings that this may hold for contemporary viewers. [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_empty_space height=”16px”][vc_single_image image=”42483″ img_size=”large” add_caption=”yes” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

Above: Ken Aptekar (American, born in 1950). “Charlotte’s Charlotte,” 2009, oil on canvas on panel with glass. Museum Purchase: Funds provided by the Charles W. Beam Endowment Fund and James G. and Mary Lou Babb, Gray Ellison and Selena Beaudry, David and Jane Conlan, Bill and Sally Cooper, Fairfax and Hillary Cooper, Walter and Meredith Dolhare, Mike and Libba Gaither, Mike F. and Laura Babb Grace, Beverly and Jim Hance, Mary Ann Grace and Mary Beth Grace Hollett, John and Stacy Sumner Jesso, Thomas E. Kanes and Susan Valentine Kanes, Stephen and Laura Philipson, Bill and Pat Williamson, Ginger Kemp, Bob and Peggy Culbertson, Norris W. and Kathryn Preyer, Claudia W. Belk, Janet and Lowell Nelson and exchange funds from the gifts of various donors. 2010.24a-f. © Ken Aptekar, All Rights Reserved, 2009

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Kuba textile project shines a spotlight on the ‘kings and queens’ of Grier Heights Community Youth Arts Program

When the Covid-19 pandemic pushed The Mint Museum to temporarily close its doors in spring of 2020, the Mint’s Learning & Engagement team turned hands-on art classes into virtual Create-at-Home art kits that included art supplies and instructions, as well as information that ties the art project back to works of art in The Mint Museum’s collection. One of the first kits created was how to make a Kuba-style T-shirt based on Kuba textiles in the Mint’s collection.

Children in the Grier Heights Community Youth Arts Program used the Kuba-style T-shirt kits to create T-shirts that showcase their individual styles and artistic talents. Alexandra Brown, a 10th-grade honor student at Myers Park High School, and teen leader at the Mint, created the video above that captures what the Grier Heights students created using the Kuba-style T-shirt kits.

Kuba Textiles

The Kuba people are part of approximately 16 Bantu speaking groups living in the southeastern Congo in central Africa. Kuba textiles are handwoven using strands from raffia palm trees with earth-tone designs created using vegetable dyes. Kuba cloth is known for its complex, bold geometric designs that have been carried through generations for ceremonial purposes.

Want to make your own Kuba-style T-shirt? Download the instructions here. 

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Many Voices Echo in the Mint’s American Galleries 

Revamped American installation offers new works and new perspectives for museum visitors. 

By Jonathan Stuhlman, PhD, Senior Curator of American Art [/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]When Mint Museum Uptown opened its doors in October 2010, one of the most exciting opportunities was the expanded space that became available for the display of its American art collection, roughly tripling what had been available at Mint Museum Randolph. While a number of new objects have entered the collection, and special loans from private collectors have come and gone, the American galleries have remained relatively static over the past 10 years.

The summer of 2020 marked the first major changes in the American galleries since Mint Museum Uptown opened a decade ago. The incorporation of 18th- and 19th-century paintings from the Adams collection bequest, special loans of a monumental canvas by Julius Leblanc Stewart, a curvaceous Gorham art nouveau punch bowl, a sumptuous floral still life by Severin Roesen, and a new pocket gallery installation featuring a diverse array of images of America at mid-century, are just a few of the visitors can experience.

The most significant change, however, occurs in the first gallery of the Level 4 wing that provides access to both the American, and Modern and Contemporary collections. Rather than starting a chronological journey through American art history, this gallery puts the focus on the theme of portraiture, probing this enduring topic across time and different artistic mediums. The 13 works of art featured in this installation reflect the museum’s ongoing commitment to diversity and inclusion with works of art by women, as well as African-American, Latino, and European artists.[/vc_column_text][vc_single_image image=”42355″ img_size=”large” alignment=”center”][vc_column_text]Instead of being greeted by an 18th-century image of children hung over a Chippendale fall-front desk, visitors now encounter Kehinde Wiley’s iconic Philip the Fair juxtaposed with John Singleton Copley’s St. Cecilia: Portrait (Mrs. Richard Crowninshield Derby) created more than 200 years earlier. Visitors are encouraged to compare and contrast these two full-length portraits, taking time to consider how the artist engaged with and depicted the person portrayed, as well as the reasons behind the creation of each portrait.

These kinds of pairings are echoed throughout the rest of the gallery in works executed in media ranging from oil on canvas to photography to hand-painted porcelain. One example of these juxtapositions is Robert Henri’s early 20th-century painting Dorita, which features a young Spanish dancer gazing boldly out at the viewer. To its right contemporary photographer Ruben Natal-San Miguel’s vibrant photograph Mama, in which a young woman with vitiligo poses with a similar intense gaze in front of a brilliant red background. These two portraits of women with intense expressions provide a striking contrast to photograph Ai, in which the artist, dressed in black, lies prone in front of a black background, twisted away from the viewer. The ways in which artists depict family and loved ones is also explored in paintings by Kay Sage and Paul Cadmus, and photographs by Linda Foard Roberts and Oliver Wasow. In the center of the space is Cindy Sherman’s Madame Pompadour (née Poisson) Soup Tureen, which probes questions of identity, history, gender, power, and self-portraiture.

Throughout the level 4 galleries, the commitment to diversity and inclusion continues, as visitors encounter 20th- and 21st-century works by artists, including Blanche Lazzell, Augusta Savage, Helen Lundeberg, John Biggers, Hale Woodruff, Romare Bearden, Barbara Pennington, Haywood “Bill” Rivers, Grace Hartigan, Elaine de Kooning, Juan Logan, Leo Twiggs, E.V. Day, Iruka Maria Toro, and Vik Muniz, and a special-focus exhibition on photographer Linda Foard Roberts.

Although the cross-disciplinary thematic approach is highlighted in a permanent collection gallery, visitors are encouraged to think about how artists have engaged with other themes across time—landscape, still life, history, abstraction—as they explore the rest of the collection and other parts of the museum.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]This story was originally published in the January, 2021 issue of Inspired, the Mint’s biannual member magazine.[/vc_column_text][/vc_column][/vc_row]

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Delhom Service League Studio Visit with Julie Wiggins

Join the Delhom Service League as they visit potter Julie Wiggins in her studio to hear about her current work, learn about her creative techniques, and hear about some of the challenges facing potters during the pandemic.[/vc_column_text][/vc_column][/vc_row]

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Stencil Making with Owl: Mini Art Workshop

[/vc_column_text][vc_empty_space height=”22px”][vc_column_text]Owl, local artist and creative behind the murals of Classic Black, shows us how she creates custom stencils that show her unique style.[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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In Vivid Color Scratch Art Project

[/vc_column_text][vc_empty_space height=”22px”][vc_column_text]Create beautiful DIY scratch-off work of art with this video tutorial from our Learning and Engagement team. This project is inspired by our exhibition In Vivid Color: Pushing the Boundaries of Perception in Contemporary Art, on view at Mint Museum Uptown through February.

Supplies Needed:

• white copier or drawing paper
• crayons
• black tempera/poster paint
• liquid dish soap
• paintbrush
• toothpick
• wooden skewer[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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A look at the upcoming exhibition W|ALLS: Defend, Divide, and the Divine, opening at Mint Museum Uptown 

By Jen Sudul Edwards, PhD, Chief Curator & Curator of Contemporary Art [/vc_column_text][vc_empty_space][vc_column_text]On November 9, 2019, the world celebrated the 30th anniversary of the Berlin Wall coming down. Most can easily call up images from that exhilarating evening in 1989: young Germans in T-shirts and jeans destroying the concrete dividers with sledgehammers, armed soldiers looking on with stoic reserve, people rushing through holes and rubble to embrace their counterparts on the other side. The world saw the joy of people uniting, and as the end of the 20th century approached, the toppled wall felt like the dawn of a new age of reason. As the violence of World War II receded into history, it appeared that so, too, was the ancient, simple brutality of dividing people with walls.

And yet, the numbers offer a different narrative. When the Berlin Wall came down, there were 15 border walls around the world. As of May 2018, there were more than 77, according to Elisabeth Vallet, a geography professor at University of Quebec-Montreal. Over one-third of the world’s nation states now define their borders with a barrier. And new walls keep going up.

This central issue is at the heart of an exhibition coming to Mint Museum Uptown: W|ALLS: Defend, Divide, and the Divine. I began working on this show three years ago, when Katie Hollander, the director of the Annenberg Space for Photography in Los Angeles, asked me to tell the story of the role of walls in human history through a photography exhibition. The result went on view in October 2019 at the Annenberg Space for Photography in Los Angeles, a free exhibition space devoted to photography founded by Wallis Annenberg and the Trustees of the Annenberg Foundation in 2009. I am delighted that the exhibition will open in February at The Mint Museum.

The show, which will run from February 24 to July 25 in the Level 4 Brand Gallery at Mint Museum Uptown, explores various aspects of “walls,” whether they are made of stone, steel, sand, or wire. The space is divided into six sections—Delineation, Defense, Deterrent, The Divine, Decoration, and The Invisible—with each section anchored by a central photo essay. Two of those essays were commissioned for the exhibition by the Annenberg Space for Photography. Magnum photographer Moises Saman documented the Peace Walls in Northern Ireland, while SHAN Wallace photographed Detroit’s Eight-Mile Wall, a painted-over wall that was originally built to segregate a black community from an adjacent white community.

Walls aren’t limited to a particular culture, region, or era. The exhibition features 130 images spanning six continents and 67 photographers of all stripes: commercial photographers, documentarians, photojournalists, artists, protestors, explorers, and in one case, a Tibetan Buddhist monk.

Some walls featured occur naturally, like the glacier in the Jango Thang plain. Others are constructed with intention, such as Linda Foard Roberts’ aptly titled Divided in Death photograph that captures a low stone graveyard wall, delineating the buried bodies of the enslaved from the whites.[/vc_column_text][vc_single_image image=”35190″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]While many of the images in the exhibition connote division, some show unity. Consider the way neighbors converge before the stepwell wall in Jaipur, India, captured in Ami Vitale’s Ripple Effect. Artist Swoon converted a wall into a canvas for a monumental art project that celebrates community at the site of Prevention Point, the groundbreaking addiction treatment center in Philadelphia. And during her work in Detroit, SHAN Wallace found families who chose to embrace the Eight-Mile Wall, rather than be hindered by the history embedded in the bricks and mortar.

Photographers have been shooting walls from the earliest days of photography. In fact, one of the first known photographs is Joseph Nicéphore Niépce’s 1827 heliograph showing the monumental walls outside his window in Le Gras, France. And while walls may be built for one reason, they often stay up for another. The Moroccan city of Essaouira and the Croatian city of Dubrovnik once fortified their ports for protection; today, tourists visit them for their picturesque quaintness. The Western Wall in Jerusalem started as a retaining wall for King Solomon’s Second Temple, but it has become one of the most holy sites for the Jewish people and is considered hallowed by many other religions.

What’s the attraction of walls for photographers? Perhaps it’s that, like photographs, walls are human constructs that describe and circumscribe space. And, like walls, photographs can represent hope or conquest. Both can be admired for their beauty and power, and both can make us feel protected or intimidated.

We constantly contend with walls, whether they are solid, porous, real, or imaginary. This photography exhibition invites you to reflect on the omnipresence of walls and to consider your own. Where do the barriers start in your life? And do you need them to live the life you want?[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]W|ALLS: Defend, Divide, and the Divine is generously presented by PNC Financial Services with additional support from The Mint Museum Auxiliary[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”19237″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”https://www.pnc.com/en/personal-banking.html”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”19244″ img_size=”large” alignment=”center” onclick=”custom_link” img_link_target=”_blank” link=”http://www.mintmuseumauxiliary.org/”][/vc_column_inner][/vc_row_inner][vc_column_text]Individual support from Laura and Mike Grace, Deidre and Clay Grubb, Leigh-Ann and Martin Sprock, and Betsy Rosen and Liam Stokes.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

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Revive Your Routine 

Home sweet home can feel like an overstatement these days. Whether you’ve cooked the family staples one too many times or are sick of seeing that same pair of pajamas staring back at you in the mirror, the Mint Museum Store is a treasure trove of items waiting to refresh and restore. So put on some real pants, grab your mask, and stop in at either location for something new to refresh your kitchen, office, wardrobe, or game cabinet, or check out our new online store for shopping from the comfort of home. (And don’t forget: Mint members always get 10% off every purchase, and Crown Society members get 20% off!) [/vc_column_text][vc_empty_space height=”16px”][vc_separator color=”custom” accent_color=”#68c8c6″][vc_empty_space height=”16px”][vc_single_image image=”42211″ img_size=”large” alignment=”center”][vc_column_text]

Desk Jockey 

Work-from-home tally? Too many days to count. If your makeshift workstation needs a makeover, grab a bright notebook or inspirational shelf piece—some welcome respite for your Zoom-fatigued eyes. [/vc_column_text][vc_column_text]• Black and White Playable Art Cube, $35
• Make Mistakes Small Notebook, $12
• Color Wheel Notecards, $16
• Stonewear Trivet, $8
• Modern Graphite Pencils, $8
• Desk Signs, $8
• Great Things Sticker Book, $16
• Ben Owen Egg Vase, $68[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_single_image image=”42212″ img_size=”large” alignment=”center”][vc_column_text]

S’il Vous Play 

Suffering from puzzle fatigue? Here are a few indoor alternatives to keep you entertained, from new reading material and creative card games to a brush with the supernatural. [/vc_column_text][vc_column_text]• All Good Things Book, $24.95
• Make Art Where You Are Guide and Sketchbook, $19.99
• Dino Car Trio, $7
• Young Gifted and Black: A New Generation of Artists, $49.95
• Show Me The Monet Card Game, $18.99
• Gin Rummy: A Gin Lovers Card Game, $14.99[/vc_column_text][vc_separator][vc_empty_space height=”16px”][vc_single_image image=”42214″ img_size=”large” alignment=”center”][vc_empty_space height=”16px”][vc_column_text]

Food for Thought 

Weekly pasta bake got you down? Stock up on the new and the bold, from patterned dishware and playful towels to new cookbooks and funky serving spoons. Your kitchen can spark joy again, we promise. [/vc_column_text][vc_column_text]• Cotton Square Crochet Trivet, $9
• Lisa Oakley Glass Lemon, $65
• Brass Bee Spoon, $6
• Moustache and Stripes Spoon, $6 ea.
• Les Diner De Gala Book, (The Surrealist Cookbook) $60
• Black and White Plates, $14
• Walnut Eating Spoon, $20[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_single_image image=”42213″ img_size=”large” alignment=”center”][vc_column_text]

Word on the Chic 

Nine months of that pajama life has been nice, yes. But as we (hopefully) head toward normalcy, nothing says “let’s leave 2020 behind” like a new pair of earrings or fancy tie. Stop by the Mint Museum Store and find your sartorial stride once again. [/vc_column_text][vc_column_text]• Rollneck Pullover Peruvian Wool Sweater, $118
• Black Box Bag with Leather Handles, $169
• Recycled Skateboard Legend Earrings, $42
• Artist Ties,, $58
• Michaelangelo Socks, $12
• Black and Cream Bracelet, $28
• Sarah Cavender Knot Pendant, $102[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][/vc_column][/vc_row]

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On the Daily

24 Hours in the life of Ruben Natal-San Miguel

[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_row_inner][vc_column_inner][vc_column_text]Ruben Natal-San Miguel was in the North Tower when American Airlines Flight 11 came careening into the side of the World Trade Center on September 11, 2001.[/vc_column_text][vc_column_text]Natal-San Miguel survived—but his former lifestyle didn’t. He left his finance job and summers-in-the-Hamptons routine. He ditched the high-rise and moved to Harlem. Then the former photography collector picked up the camera himself, drawn to the people he saw as the city morphed in the wake of the tragedy.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”41688″ img_size=”large” add_caption=”yes” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]“I’ve walked every street in all five boroughs,” Natal-San Miguel says.

A native of Puerto Rico, Natal-San Miguel came to the U.S. to study architecture in college and graduate school—studies that inform his eye for photography. Now 51, Natal-San Miguel is the artist behind the Mint’s first online exhibition, Expanding the Pantheon: Women R Beautiful. His portrait Mama (Beautiful Skin) in the contemporary galleries of Mint Museum Uptown shows a confident woman in front of a red van. She wears a white T-shirt, with cornrows and skin marked by vitiligo. The image—one of 26 included in Women R Beautiful—speaks to the photographer’s overarching goal: introducing a new range of beauty for our consideration. Here, Natal-San Miguel walked us through his typical day.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space height=”16px”][vc_separator color=”custom” accent_color=”#68c8c6″][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

7 AM

I’m diabetic, so the first thing I do is test my blood and feed my cat, Dante. I check my email. If it’s press, I need to respond. If something got published, I immediately go on social media. The base of my collectors is older and on Facebook. So I go do a more personal approach there before reposting on Instagram. Then I go and eat and take my meds.

8 AM

For breakfast, the first thing is coffee. It’s part of my family and culture. I was born in Puerto Rico, where my grandfather had a coffee and tobacco plantation. I recently made whole wheat cinnamon pancakes with sliced mandarin oranges cooked in slow fire. I’m daydreaming about it.

9 AM

I’m not exactly a morning person. I hate midday shadows and I love people in natural light. I photograph people exactly how I find them: the hair, the necklace, the shoes. I’m a storyteller. I have a simple, strong connection between me and the subject.

NOON

I make a sandwich or buy it at a corner bodega. My go-to sandwich—well, I’m not supposed to have it all the time—it’s chicken parmesan. In New York, I love it.[/vc_column_text][vc_row_inner][vc_column_inner width=”2/3″][vc_column_text]

1 PM

I take a nap. My cat is next to me. He’s black with green eyes, and sweet. I found him in Harlem on a cold December day and he followed me home. I take time to think. It’s part of my process. Right now, my head is all about a book for Women R Beautiful.

With my photographs, I celebrate a life—a lot of these women may not have a voice. My grandfather wouldn’t allow my mother to look at him when she was talking to him. She had to talk to him with her head down. Even though she was highly educated, she was in the shadow of machismo culture. I was a little kid when I saw that, and I had a visceral, strong reaction. I couldn’t believe a father could treat a daughter like that. It’s what motivated me to do a show like what’s at the Mint.[/vc_column_text][vc_empty_space height=”16px”][/vc_column_inner][vc_column_inner width=”1/3″][vc_single_image image=”42184″ img_size=”medium” add_caption=”yes” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

2:30 PM

I live in a brownstone, have a yard. But I’m a creature of the street. It’s good to travel around this time because kids aren’t coming out of school and the subways aren’t crowded. I want to be in place by 3 or 3:30 PM. My encounters with subjects are no longer than five minutes, usually just a few seconds.

Sometimes I have three cameras on me. The lens caps are off. If I have to wait to take a cap off, my subject may be gone. My work is like a subway ride—very strong, very fast.

You’re passing thousands of people and that person catches your eye and you go after them.  Most New Yorkers are always in a hurry and they don’t want to talk. I feel like I’m selling Tupperware when I’m trying to get their photo. But I’m lucky. I’ll get nine out of 10. These people in the most marginalized areas of the city—they have such wisdom and can tell if you’re a bullshitter. I love and respect that. They can tell I’m not a bullshitter.

I get their email address, get their Instagram feed, and I send the file later. Sometimes I give them a signed print. I stay in touch and invite them to my shows. I want them to see themselves in museums, in galleries.

6 PM

By this time, I have my second cup of coffee. Coffee twice a day, that’s part of my culture. Then that moment before it goes dark—I call it the magic moment. It’s only a few seconds, so you better be somewhere that’s important.

6:30 PM

In the winter, I’m home by this time. In summer, I’ll be out until 8:30 or 9 PM. Dinner is usually salad and soup. Sometimes I’ll buy a rotisserie chicken and share it with my cat. He’s a Harlem cat and loves his fried chicken and rotisserie chicken. After dinner, I look at pictures I’ve taken.[/vc_column_text][vc_single_image image=”41700″ img_size=”full” add_caption=”yes” alignment=”center”][vc_column_text]

1 AM

I do what I call my “YouTube videos and Google research.” I Google neighborhoods and notice the demographics, crime statistics, landmarks. I look at an area’s retail. It’s important for me to understand the culture of an area to reflect it in the photos. I took the photo of the three Muslim girls in Women R Beautiful because I’d seen the subway coming through in a commercial for a local newscaster. I saw it, googled the gym name on the side of a building, and went there. I sat like a fool for 90 minutes on those steps, waiting. I said, “I’m going to sit here until someone comes down who’s amazing.” And the three little Muslim girls came down. That was it.

1:30 AM

I do The New York Times crossword. It takes me only a few minutes because I’ve been doing it for years. I like to motivate my brain to think. Then I give myself time to think.

3 AM

Sleep.[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]—As told to Caroline Portillo, Senior Director of Marketing & Communications at The Mint Museum[/vc_column_text][vc_column_text]This story was originally published in the January, 2021 issue of Inspired, the Mint’s biannual member magazine.[/vc_column_text][/vc_column][/vc_row]

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A Conversation About Classic Black: Basalt Sculpture, Design, and a Palette of Pastels

Join this virtual gallery tour and chat about the exhibition Classic Black: The Basalt Sculpture of Wedgwood and His Contemporaries with Brian Gallagher, Senior Curator of Decorative Art; HannaH Crowell, Exhibition Designer, and Owl, exhibition Artist. Hosted by the Mint’s Director of Community Relations Rubie Britt-Height, the program highlights the three galleries featured in the exhibition, several specific works of art, and how classic and contemporary reimagined creates a marriage between the works of art and the design palette.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is presented by Chase.

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Virtually tour the Mint’s art storage area with a museum professional

Julia Kraft, the Mint’s Assistant Registrar, walks you through the Mint’s art storage areas to show you a behind-the-scenes look at here we keep our objects when they are not on display.

This program was originally a live event, and has a Q+A segment at the end where she answers participants questions.

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The Mint Museum From Home is Presented By Chase.

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Three works of art that remind us to revere Native American culture and craft

By Annie Carlano, Senior Curator of Craft, Design & Fashion, and Rebecca Elliot, Assistant Curator of Craft, Design & Fashion

Native American Heritage Day is celebrated the last Friday of November. Designated by President George W. Bush in 2008, it celebrates and recognizes the importance of Native Americans and their cultural heritage to our past, present, and future. Works of art by Native American artists encapsulate tradition, rich artistry, and stories that are passed down through generations. The Mint Museum’s Native Americas collection showcases works from Canada, the United States, Mexico, and Guatemala, from the nineteenth century to today. Objects from the Native Americas collection are on view at Mint Museum Randolph, as well as the Craft+Design galleries at Mint Museum Uptown. Following are three works of art by Native American artists that chronicle their roots, relationships, and environments.

Diego Romero 

Diego Romero (Cochiti, 1964–). Bowl, late 20th century, earthenware with slip paint. Gift of Gretchen and Nelson Grice. 2017.43.34

This bowl is part of an ongoing series of ceramics and prints by Diego Romero that chronicles the adventures of the Chongo Brothers, named for a characteristic hairstyle of Navajo and Pueblo people, a bun gathered at the nape of the neck, the chongo. Romero’s ceramics are impeccably hand built with local clays from the hills of Northern New Mexico.

The strong graphic design is a combination of geometric motifs related to ancient Mimbres pottery, pop art and comic-strip aesthetics. Chronicling the societal injustice rampant on and off the reservation, Diego Romero sometimes softens these difficult narratives with his cartoonish style.

Trained at UCLA, his work is included in museums and private collections in the US and Europe. In 2019 Diego Romero received the Native Treasures Living Treasures Award, given to artists who have made outstanding contributions to indigenous arts and culture. 

Diego Romero ceramics are hand built with clay from the hills of Northern New Mexico. Courtesy of Museum of Indian Arts and Culture

Diego Romero’s bowl is on view at Mint Museum Randolph, in an installation featuring Pueblo ceramics from the Grice Collection. Experience more of Romero’s work through a virtual tour of his current solo exhibition at the Museum of Indian Arts and Culture, New Mexico, Diego Romero vs. The End of Art

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Susan Point 

Susan Point (Canadian, Coast Salish [Musqueam First Nation], 1952–), Salmon Spawning Run, 2012, carved and painted Western red cedar. Project Ten Ten Ten commission. Museum Purchase: Funds provided by Fleur Bresler, Libba and Mike Gaither, Laura and Mike Grace, Betsy and Brian Wilder, Amy and Alfred Dawson, Aida and Greg Saul, Missy Luczak Smith and Doug Smith, Beth and Drew Quartapella, and Kim Blanding. 2012.107. Art © Susan Point 2012. Image © Mint Museum of Art, Inc. © Susan Point, 2012.

The round shape of Salmon Spawning Run is based on Susan Point’s well-established spindle whorl motif, which represents the Coast Salish, a First Nations tribe. For thousands of years salmon have sustained the Coast Salish people as the primary food source. As such, salmon are highly honored and respected. Symbolizing abundance, prosperity, renewal, and fertility, the fish and their eggs are depicted here in a composition that reminds us of the importance of clean water other sustainable resources to protect our natural environment. cedar from a tree trunk found on communal land, and painted the carved wood with natural pigments.  

Susan Point’s artwork symbolizes the natural resources that are central to life of the Coast Salish, a First Nations tribe. Image courtesy of the artist

One of a group of artists responsible for the resurgence of Coast Salish art and culture, her public art projects include works at Vancouver International Airport and the Museum of the American Indian, in Washington, D.C. She has received numerous awards including the Order of Canada, Queen Elizabeth II Diamond Jubilee Medal, and a British Columbia Lifetime Achievement Award. 

Salmon Spawning Run is a part of Project Ten Ten Ten and is a site-specific work on view in the Craft & Design galleries at Mint Museum Uptown. 

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Tara Locklear 

Tara Locklear (United States), Bobble for Bob Necklace, circa 2017, walnut, laser cut plexiglass, recycled skateboards, costume jewelry, oxidized sterling silver, and other mixed media. Gift of Porter • Price Collection. 2019.93.117

Tara Locklear’s one-of a kind jewelery is inspired by her environments and includes repurposed elements, such as wooden skateboards. Image courtesy of the artist

Tara Locklear’s jewelry is inspired by urban environments and includes repurposed elements such as pieces of wooden skateboards. She made this necklace as a tribute to her jewelry professor and mentor, Robert Ebendorf, after his retirement from East Carolina University (ECU). Its materials range from ones she explored as a student there to ones she focuses on in her current practice. Locklear earned a BFA in Small Metals and Jewelry Design from ECU in 2012. She lives and works in Raleigh, North Carolina and is a member of the Lumbee Tribe. 

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A Conversation with Summer Wheat

[/vc_column_text][vc_empty_space height=”22px”][vc_column_text]Summer Wheat, the artist behind Foragers, a monumental tribute to women workers of North Carolina installed at Mint Museum Uptown, sits down with Jen Sudul Edwards, PHD, the Mint’s Chief Curator, to discuss the inspiration and evolution of the piece. Foragers spans four stories and 3,720 square feet in Mint Museum Uptown’s Robert Haywood Morrison Atrium. A myriad of vibrant panels that give the illusion of stained glass fill the atrium’s 96 windows and weave a story of women who labor to build the communities that form the spine of modern society.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Add more merry at home with artful holiday decor

Whether it’s glamor and dazzle, or comfort and cozy you seek, bring holiday cheer home with these locally-sourced and inspired items available at the Mint Museum Store. From art-inspired decor to gifts for all ages and styles, there’s something for everyone on your gift list.

This year, Museum Store Sunday is extended to a full week. Save 29% on all regular-priced items in the store November 29-December 6. Just mention Museum Store Sunday at check out.

Flocked Green Stags Head, $100; and Frontier Platter, $64.

Limited Mint Edition Starworks (NC) Handblown Glass Ornaments, $28

Colorful Slim Champagne Glasses, $14 each

Multicolored Sequin LED Light Up Trees, $14-$22

Flocked Red HoHoHo’s (Set of 3), $28; and Flocked Green Trees, $10-$64

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Sew a Soft Sculpture Inspired by Nick Cave’s Soundsuits

So, what is a soft sculpture? A soft sculpture is a 3D form that is made from soft materials like cloth, foam, paper, or other flexible materials. Soft sculptures can range from fine art pieces in exhibitions to comforting toys.

Get inspired to design and hand sew your own soft sculpture with this lesson inspired by a series of sculptures called Soundsuits by fabric sculptor, performance artist, educator, and dancer Nick Cave.[/vc_column_text][vc_empty_space height=”16px”][cs_divider color=”#b7b7b7″][vc_empty_space height=”16px”][vc_column_text]

About the Artist:

Nick Cave began working with fabric at a young age by manipulating hand-me-down clothing from his older siblings. His work is inspired by an array of things, from the experience of being Black in America, to African art traditions, to haute-couture fashion. Cave has created over 500 Soundsuits since he created his first one in 1992. The Soundsuits serve as a sort of armor that distorts the wearer’s figure and hides their identity.[/vc_column_text][vc_empty_space height=”16px”][vc_column_text]

“The Soundsuits hide gender, race, class and they force you to look at the work without judgment.”

-Nick Cave

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SUPPLIES:

• Paper & drawing utensil
• Fabric – Use something from home like an old dress shirt or linens. Choose fabric without much stretch because sewing on stretchy fabric can be challenging. If purchasing fabric, choose something cotton, as cotton is easily drawn and painted on.
• Polyester fiber fill – Alternatives include cotton batting, stuffing from an old pillow, rice.
• Needle & thread
• Straight pins
• Scissors
• Skewer or chopstick for filling
• Strong glue – Elmer’s Glue-All, Alene’s Tacky Glue, or fabric glue
• Embellishments (See optional supplies)

OPTIONAL SUPPLIES:

• Fabric markers/Sharpies
• Acrylic paints
• Yarn
• Embroidery thread
• Beads & bells
• Sequins & gems
• Pom poms
• Sewing machine[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][cs_divider color=”#6e6e6e”][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

Instructions:

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1. Plan your design and pattern.

Sketch out what you want your sculpture to look like, and then draw a pattern for your design. To create a sewing pattern, draw and cut out each piece of your sculpture onto any type of paper or cardboard. Then trace the cut pieces of your pattern onto the fabric to guide you in cutting your fabric. Keep in mind that this is a sculpture not an item of clothing, so you’re pieces of fabric don’t need to be perfectly symmetrical. You can even try to freehand draw the pieces of your pattern onto your fabric.

This simple, 4-piece Soundsuit pattern includes a front side, a matching back side, and two identical legs. Make the leg pieces twice as thick and a few inches longer than desired. Each leg will be folded in half and sewn together to create a cylinder shape when filled. The extra length at the upper end of each leg will be sewn inside of the body.

Tip: Limit the pattern to simple shapes. Details will be lost when pieces are sewn together. Also, make your pattern an inch larger than you want your sculpture because you will lose some of the size.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”41168″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”41169″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

2. Cut the pieces of your pattern out of your fabric and pin together pieces where you will be sewing.

Mark a line along the edge to help guide where to sew.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”41170″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”41171″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

3. Use a running stitch to sew together pinned pieces about a ¼ inch away from the edge.

A running stitch is when the needle and thread pass over and under. Keep the stitches tight to strengthen the bond between the two pieces, and carefully remove pins as you go. Leave the bottom edge of the body and the top of each leg open to fill.[/vc_column_text][vc_empty_space height=”12px”][vc_column_text]

4. Turn the stitched pieces inside out to hide the raw edges of the fabric and create a cleaner look.

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5. Fill the legs with stuffing.

Use a skewer, chopstick, or long handled utensil to help pack filling and reach small areas like the toes. After the legs are filled, halfway fill the body with stuffing, and then position legs inside the body before you finish filling the body. Be sure to leave enough space so that the bottom edge of the body can be stitched closed with the legs inside.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”41174″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”41175″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

6. Pin the bottom edge closed and using a running stitch to stitch close the body.

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7. To finish the sculpture, add embellishments and surface design.

This is your opportunity to personalize your sculpture. Use markers, paint, found objects, and fiber materials to strengthen your Soundsuit ‘s appearance.

Begin with markers and paints if you want to add color and pattern to the fabric. Once that dries, add the three-dimensional decorations using different embroidery techniques and glue.

Ideas for surface design:

• Couching using a chunky yarn. Couching is a type of embroidery where thread is laid down on the surface and then stitched over with small stitches to hold it in place. A thicker yarn makes the process go faster and gives the sculpture a plush feel.
• Thread long pieces of twine through the sculpture and then tie beads to the end. This makes a great clacking sound when the beads knock against each other.
• Glue sequins or any other small objects to the surface.[/vc_column_text][cs_responsive_video mp4=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/SoftSculpt.Timelapse.mp4″][/cs_responsive_video][vc_column_text]

Challenge: Create your own pattern to sew. Think of ways to add more pieces and dimensions to the sculpture.

Simplify: Fill a sock with stuffing and sew it closed. Add embellishments to the outside.

Learn More:

There is so much to look at and learn about Nick Cave and his hundreds of Soundsuits. Check out the resources below to learn more about Nick Cave and his work:

https://publicdelivery.org/nick-cave-soundsuits/

https://art21.org/artist/nick-cave/

Share a picture of your creation and tag us @themintmuseum on Instagram, Facebook, and Twitter.

This idea brought to you by Zoe Whiteside[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Sticker Making with Owl: Mini art workshop

[/vc_column_text][vc_empty_space height=”22px”][vc_column_text]Owl, local artist and creative behind the murals of Classic Black, shows us how she creates custom stickers that show her unique style.

This video compliments the Teen Hangout that Owl will be hosting with NexGen. Sign up to watch Owl work, or pull out your art supplies and work along side her.[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Mint curator Annie Carlano presents studios talks with artists Danny Lane, Tom Joyce, and Kate Malone at inaugural Intersect Chicago art fair

In celebration of the tenth anniversary of Project Ten Ten Ten, The Mint Museum is presenting studio talks with three featured artists: Tom Joyce, Danny Lane, and Kate Malone. In conversation with Annie Carlano, Senior Curator of Craft, Design & Fashion at The Mint Museum, the artists will discuss the impact of The Mint Museum commissions on their work, as well current and future projects as part of Intersect Chicago.

More than 100 exhibitors are part of the Intersect Art and Design roster for the inaugural edition of Intersect Chicago, the virtual art fair replacing SOFA Chicago for the 2020 edition due to COVID-19. Intersect Chicago will be online from November 6-12, 2020.

The fair is the evolution of SOFA – Sculpture Objects Functional Art. It is the intersection of art, design, and objects, including daily highlights on glass, contemporary art, design, ceramic and craft, outsider art, fiber, and public art/sculpture. Intersect Chicago will feature institutions from around the globe, including The Mint Museum, with dedicated programming and a selection of galleries showcasing work of these disciplines. Cultural partners of Intersect Chicago will be featured on different days of the fair with special programming, talks, virtual tours, and more. See the full schedule.

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Fall into fashion with these picks from The Mint Museum Store

Our fun and funky Peruvian Trading Company hats, gloves, arm warmers, ponchos and headbands, and even dog sweaters make the perfect gift and are always a seasonal favorite. Celebrate the coming chilly weather, and one of our favorite vendors, with a special pop-up sale. Enjoy 25% off Peruvian Trading Company’s handmade wonders through the end of October.[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”41274″ img_size=”large” alignment=”center”][vc_column_text]

Peruvian Trading Company Hand-Knit CLT Hat with Pompom, $22 / CLT Hand/Arm Warmers, $18

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Peruvian Trading Company Hand-Knit Peace Sign Hat with Pompom, $22

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Peruvian Trading Company Hand-Knit Headbands, $22

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Peruvian Trading Company Hand-Knit Spider Hat, $58

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Klimt Silk Artist Tie, $58 / Klimt Cufflinks, $72 / Newgate Drummer Watch, $208

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Bracken Explorer’s Hat, $72

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Fair trade, hand-embroidered clutch from Thailand and fair trade hand-embroidered mask from Mexico (assorted designs and colors), $32 / $22

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Sarah Cavender Metalworks jewelry and scarf. Each piece is hand crafted in Oxford, Alabama and made by local artisans under the supervision of Jewelry Designer Sarah Cavender. Square Cobra Necklace (Bottom Right), $174 / Knotted Snake Necklace (Bottom Left), $130 / Long Gold Chain, $120 / Short Gold Chain, $68 / Short Rose Chain, $68 / Interlocking Disk Earrings, $92 / Open Weave Metal Scarf, $250

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Fair trade from Nepal felted oversized bag with three interchangeable felted flowers, $118

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Kevin Cole YAM’s Studio Tour

[/vc_column_text][vc_empty_space height=”22px”][vc_column_text]Young Affiliates of the Mint join Kevin Cole (virtually) for another studio tour. Cole was featured in the Young Affiliates juried show “Coined in the South” in 2019. His work is included in more than 3,600 public, private, and corporate collections throughout the United States and abroad (Michael Jordan owns one of his pieces!). Watch to hear about some of Kevin’s latest work and the inspiration behind some of his best known pieces.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Sponsored by Chase.

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Women’s artistry shines as Charlotte Symphony Orchestra concertos inaugurate Mint Museum Uptown’s newly installed Foragers

By Michael Solender

Charlotte Symphony Orchestra violinist Jenny Topilow could barely contain her enthusiasm when she learned she’d be performing in a special filmed concerto in the Mint Museum’s Robert Haywood Morrison Atrium uptown earlier this fall.  

 Topilow, along with three of her symphony colleagues, were part of a unique celebration showcasing the space and the brilliant newly installed 96-panel “stained glass” installation, Foragers, by contemporary American artist Summer Wheat.

“The beauty of great art is of importance to all of us,” Topilow says, “I love spending time at the Mint, go there often, and am excited to be part of this collaboration between two of Charlotte’s favorite cultural institutions.” 

Bringing people together to enjoy beautiful artistry is at the core of the museum’s mission. As part of the Mint Museum’s 10th anniversary year uptown and in recognition of the challenges many in our community face getting out of their homes during the time of Covid, the Mint partnered with the Charlotte Symphony Orchestra in creating a short film featuring a pair of duets performed by symphony musicians.  

 The collaboration came at invitation of the Wells Fargo Foundation, longtime supporters of both cultural institutions. “Our foundation uses different mediums to help tell the story of impact and reach into the communities we serve,” says Jay Everette, Wells Fargo’s senior vice president of philanthropy and corporate social responsibility. “The film represents a celebration of the power of women in art presented at the intersection of architecture, art and music. The film will ultimately be made available at no charge to the entire community.” 

Charlotte Symphony Orchestra players, cellist Sarah Markle and violinist Alaina Rea, teamed up for a performance that was filmed in front of “Foragers.” Photo courtesy Kelso Communications

Each duet is performed under the backdrop of Summer Wheat’s transformative atrium window installation. Bathed in glowing jewel-toned light, the compelling musical performances are elevated by the sublimity of the space. Topilow and CSO harpist Andrea Mumm Trammell paired to play contemporary Estonian composer Arvo Part’s Fratres, an enthusiastic set of frenetic activity juxtaposed against contemplative stillness. Charlotte Symphony Orchestra players, cellist Sarah Markle and violaist Alaina Rea, teamed for the contemplative and reflecting duet Limestone and Felt, by contemporary North Carolina composer and Pulitzer Prize for music recipient Caroline Shaw.  

“During this time of COVID, we want to provide content that is uplifting, hopeful, positive, and optimistic,” says Hillary Cooper, Chief Advancement Officer for The Mint Museum. “It’s a gift to our donors and partners and comes with a promise of a brighter future.”

Foragers was realized through the generous support of the Wells Fargo Foundation Women Artists Fund, a special fund developed to support broader representation of women artists in museum collections. The work showcases Wheat’s commitment to telling the stories of women as laborers and makers. She redefines historic artistic gender representation in ways that make her work resonate loudly today. 

“We asked our musicians to find inspiration in Foragers, and to select music that would complement it,” says David Fisk, president, and CEO of Charlotte Symphony Orchestra. “To continue our focus on the impact of women in the arts, we feature two duets by female musicians, and one work by a contemporary female composer. I am pleased to highlight musicians from the Charlotte Symphony here at The Mint Museum for a performance that is at once classical and contemporary.” 

 For Topilow, the performance is a joyful experience at a happy junction of art and music.  

“Everything right now, during Covid, has unique aspect,” Topilow says, “We wanted to create a large amount of powerful music with a small number of players and the result is truly special.”

Michael J. Solender is a freelance writer whose work has appeared in the New York Times, American City Business Journals, Metropolis Magazine, Business North Carolina, the Charlotte Observer, and others. He develops custom content and communications for businesses and organizations.

Members of the Metrolina Native American Association dressed in tribal colors and costume. Photo by Lance Bradshaw

Celebrating Indigenous Peoples’ Day

Compiled and written by Rubie Britt-Height and Kurma Murrain

Indigenous Peoples’ Day is a holiday that celebrates and honors Native American peoples, and commemorates their histories and cultures. It is celebrated across the United States on the second Monday in October.

In 2018, North Carolina Governor Roy Cooper proclaimed the second Monday in October as Indigenous Peoples’ Day in North Carolina. Cooper’s proclamation states “American Indians, who have inhabited this land since long before their first contact with English settlers, share their knowledge of the land and its resources, and have continued to play a vital role in the development of our local communities, the state of North Carolina and the nation.”

North Carolina has several indigenous peoples, including the Catawba, Eastern Band of  Cherokee‎, Chickasaw‎, Choctaw,‎  Coharie, Haliwa-Saponi, Meherrin, Muscogee‎, Occaneechi Band Saponi, Sappony, Waccamaw Siouan Seminole tribe, Lumbee‎, and‎ Pamlico‎.

Governor Cooper noted, “Our state has enjoyed a positive relationship with the indigenous people of North Carolina and continue to grow in our shared progress. We honor and respect the heritage and the many cultural and economic contributions of our American Indian tribes and people.”

Dancers from the Metrolina Native American Association perform at a Sunday Fun Day and Community Conversations event at The Mint Museum. Authentic costumes with feathers, bells, leather, and beads brighten ceremonial and celebratory dances.  The dances are a form of storytelling. Photo by Lance Bradshaw

The History of Indigenous Peoples’ Day

Indigenous Peoples’ Day began in 1989 in South Dakota, where then Governor  George S. Mickelson backed a resolution to celebrate Native American day on the second Monday of October. It was a counter-celebration held on the same day as the U.S. federal holiday of  Columbus Day, which honors Italian explorer  Christopher Columbus. Some in the United States reject celebrating Christopher Columbus, saying that he represents “the violent history of the colonization in the Western Hemisphere” and that Columbus Day overshadows Columbus’ dismal actions, including enslaving Native Americans.

According to the Cherokee One Feather news, “Columbus’ landing in the Caribbean marked the beginning of decline among Native American tribes and the beginning of the Transatlantic slave trade.” Columbus Day is still celebrated the same day in many states, including by numerous Italian-American communities.

Celebrating Indigenous Peoples Day at the Mint

The Mint Museum joins North Carolina’s celebration of Indigenous Peoples’ day and embraces the idea of acknowledging the historic sacrifices of indigenous people and their contributions to the United States. The museum is proud of its relationship with the Metrolina Native American Association in presenting cultural history, heritage, dance, storytelling, and music during Native American Heritage Month.  It also has presented programming with Catawba artists.

A diverse audience of parents, children, and the Native American community enjoyed circle and tribal dance to the rhythms of indigenous musical instruments at a Sunday Fun Day event in 2019. Photo by Lance Bradshaw

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Draw & Print Patterns Inspired by Textiles

Find patterns in the textiles around your house, then turn them into a series of prints inspired by the glass panel installation Spin, Weave, Gather by Nancy Callan. In her patterned glass panels, Callan references North Carolina’s rich history of textile manufacturing. From twisted threads, to woven patterns, to designs of stripes or dots, the fabric around us can prompt some pretty cool design ideas![/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”41188″ img_size=”medium” add_caption=”yes” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]

“I think art is both a question and an answer. We ask the question ‘What if?’ and we answer that question through the process of making.”

-Nancy Callan

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About the Artist:

Glass artist Nancy Callan lives in Seattle, Washington, where she works among many skilled glassblowers. She created the piece above while working at STARworks in Star, North Carolina.[/vc_column_text][vc_single_image image=”41626″ img_size=”medium” add_caption=”yes” alignment=”center”][vc_column_text]

Supplies:

• Scratch art printing foam (or recycled foam trays from the grocery store)
• Paper to print on
• Water soluble printing ink or tempera paint (also known as poster paint)
• Paint brush, pencil, or blunt end to use as a stylus (you can use more than one size tip to create different line thicknesses)
• Brayer (or small paint roller or foam brush)
• Washable, flat container for rolling ink
• Tarp or table covering that can get dirty
• Damp and dry paper towels for wiping hands
• Ruler – optional[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

Steps:

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1. Gather fabrics to use as your inspiration.

Find pillows, towels, or pieces of clothing with textures or patterns that interest you. Pictures from the internet can also be used as inspiration for the project. Printing them and having them next to you as you work can help.[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41182″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]

2. Carve your decoration

Use your stylus or pencil to scratch patterns into foam boards, also called “plates”. Press hard enough to make an indentation, but not so hard as to cut through the foam. Mixing large and small patterns and using various sizes of foam boards helps create contrast and interest in your prints.[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41183″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]

3. Create your Borders

To create even borders around your print, or to plan a layout of multiple prints on one large piece of paper, draw light pencil marks where you plan to print your design. This will help with positioning. You can use a ruler or straight edge, or trace around the non-inked styrofoam plates.  You don’t have to be this precise if you don’t want to.[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41627″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]

4. Add some ink

After you have covered your work area with a tarp or disposable covering, decide what color you would like your print to be. Put ink into the flat container and roll the brayer back and forth to cover the entire roller with ink. Roll over your foam plate several times until there are no bare spots. If you are using a foam brush, dab the ink on as evenly as you can. If you get ink on your hands, be sure to wash and dry them before touching your paper to keep from getting fingerprints on it.[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41185″ img_size=”835×469″ alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]

5. Press on your design

Place foam plate, ink side down, on a piece of paper. Gently press and rub your fingers over the foam making sure the entire surface of the plate is in contact with the paper. You can use a paper towel or extra piece of recycled paper to lay over top of your foam plate before rubbing to help keep the edges of your print clean.[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41186″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]

6. Do it again!

Carefully lift the foam plate off the printed paper. Remember, perfection isn’t the goal. If you would like to use the same foam plate with a different color, just gently wash the foam plate and the brayer with warm soapy water and dry with an old towel. Have fun; make more than one! Why not make multiple prints to share with friends and family?[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]Option:
If you like the way your foam plate looks with ink on it, let it dry and then glue it to a piece of paper ink side up. The plates will have a darker tone than the prints themselves.

Challenge:
Have friends or family each create their own unique patterns. Make a larger collage with all the prints.

Simplify:
If you don’t have styrofoam, try printing with a plastic sandwich bag! Brush one color of paint onto a bag, doodle designs into the paint with a Q-tip, and flip it onto a piece of paper. Gently pat, then peel off, and you’ll have a print.

Learn More:

Watch Nancy Callan and her team create Spin, Weave, Gather for The Mint Museum (3.25 minutes)

This idea brought to you by Maggie Burgan.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Simply Tie Knots to Create Macramé

Macramé is an ancient fiber art that uses knots to create items that are both useful and beautiful. This activity inspired by Wall Hanging 3 by Tanya Aguiñiga uses only square knots. It is easy for beginners and for young children, with help from parents.

About the Artist:

Growing up in Mexico and California, Tanya Aguiñiga discovered a passion for making things with her hands. As a child, she got her start in fiber art by turning shredded palm fronds into jewelry and selling it to her neighbors! Today, she uses her artist/designer/activist voice to address social issues with creativity and compassion.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”41151″ img_size=”large” add_caption=”yes” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”41148″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

Supplies:

• Scissors
• Tape
• Cardboard or clipboard for holding your work
• Macramé cord- this can be rope, twine or yarn cut to desired length (3 feet is a good length for beginners/young children)
• Support, something to tie your cords to- dowel, branch, straw or ruler (Your yarn will be attached to this)[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

Steps:

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1. Start by cutting your cord or yarn.

Three foot pieces (3’) are a good length to start with. You will need at least two pieces to practice tying square knots. Tape your support to the cardboard then anchor pieces to it using a simple loop called a Larks Head.

You’ll need 4 cords or strands to make a square knot.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41139″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][/vc_row_inner][vc_column_text]

2. Tie a Knot

Bring the ends of each cord together to find the middle. Loop it midway over your support then feed the ends through. This is called a Lark’s Head knot. Repeat with each cord. You’ll be using the Left and Right strands for knotting; the two center strands don’t move.[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41140″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41141″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41142″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

3. Make a Loop

Take the Left strand and make a loop over the center strands, then the Right one goes over the Left’s “tail” and through the loop in back. Then tighten. Now you’ve made a Half Square knot.[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41143″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41144″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][/vc_row_inner][vc_column_text]

4. Now do the reverse!

Loop the Right strand, Left strand goes over the tail and through the loop in the back. Tighten the Square Knot you just made. You can keep repeating the same knots to make a chain. Here is a little trick to help you as you work:

Left over Right, tuck under. Right over Left, tuck under.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner offset=”vc_col-xs-12″][cs_responsive_video mp4=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/macramevid.mp4″][/cs_responsive_video][/vc_column_inner][/vc_row_inner][vc_column_text]Option:

Using just square knots, you can make a chain for a bracelet or keychain. Add a few more strands and you can make a wall hanging. You can even add beads to your work![/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41145″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][/vc_row_inner][vc_column_text]Simplify:

Even young children can experiment with freeform knotting. Get them started and let them go![/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41146″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][/vc_row_inner][vc_column_text]Challenge:

Try a more advanced approach using 5 cords. Start your knots lower and skip the outer cords after the first knot, then add them back. Then use all the cords to make a large square knot. Feel free to experiment, you can always untie and start again![/vc_column_text][vc_separator][vc_column_text]Learn More:

“Meet” the artist in this Craft in America video (13 minutes)[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Personalize your space with a tissue paper initial

Use small squares of tissue paper to create a colorful, textured initial to personalize your desk or room. This project is inspired by Pilar Albarracín’s Ceiling of Offerings, a sculptural installation made of 724 flamenco dresses suspended from the ceiling. From below, the ruffled material looks like a floating bouquet of colorful flowers.[/vc_column_text][vc_row_inner][vc_column_inner][vc_single_image image=”40303″ img_size=”large”][vc_column_text]

About the Artist:

Spanish artist Pilar Albarracín creates performance, video, and installation art. She often creates challenging art about identity, culture, gender, and heritage.[/vc_column_text][vc_empty_space][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/3″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41156″ img_size=”large” add_caption=”yes” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]

Supplies:

• Cardboard cut-out of your favorite initial (or other symbol/shape)

• Colored tissue paper squares (1” and 2” work well)

• Glue

• Pencil

• Tarp or table covering that can get dirty[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][cs_responsive_video mp4=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/Monogram-2-time-lapse-video.mp4″][/cs_responsive_video][vc_empty_space height=”16px”][vc_column_text]

Steps:

[/vc_column_text][vc_column_text]Choose tissue paper colors that best represent you, and cut into small squares. Wrap the squares (one at a time) over the eraser end of a pencil to create a flower-like shape. Dab a small amount of glue to the bottom of the tissue paper, and lightly press onto your cardboard. Repeat the process until your cardboard is covered. The closer you place them together, the fuller the effect.

You can clump colors together or go with a random approach – either way, have fun! This process is simple, but you will find that it helps with focus and relaxation.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41157″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]Option:
Draw a block-letter initial or a symbol onto a piece of cardboard, instead of cutting out a shape. Fill in the shape first, and then fill in or paint the background area.

Challenge:
Glue a smaller size tissue square inside of a larger one to create dimension. Use a complementary color for variation.

Simplify:
Purchase pre-cut tissue paper squares.

Learn More:
• Brush up on your Spain facts with National Geographic Kids
• Watch superstar singers, musicians, and dancers in the 1995 documentary, Flamenco

This idea brought to you by Maggie Burgan.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Summer Wheat (American, 1977–). Foragers, 2020, colored vinyl on mylar, 805.5 x 738.5 inches. T0263.1a-qqqq. Photo credit: Chris Edwards

Summer Wheat’s monumental Foragers underscores the Mint’s ongoing commitment to women artists, perspectives historically underrepresented in museums

By Michael J. Solender

Uptown visitors meet with a fresh sensory experience this fall as Mint Museum Uptown reopens its doors following the Covid-mandated lockdown. As guests enter the towering glass-paneled Robert Haywood Morrison Atrium, they’re enveloped in warm jewel-toned light bathing the space of the new 96-panel “stained glass” installation Foragers by contemporary American artist Summer Wheat.

And while the quiet beauty of hand-drawn, collaged and placed colored vinyl panels encourage many to slow their pace and reflect in the grandeur, the imagery of strong, powerful women, taking on traditional male roles of hunters and providers, makes a clear and confident statement—women are represented on their own terms, making vital contributions.

The messaging is not accidental. Wheat’s work is deliberate in pushing back on gender objectification and unidimensional portrayal often depicted in museum collections. “Histories we tell, and the histories told to us are never really true,” Wheat says, her slight Oklahoma drawl elongating her cadence. “They’re only telling one side of the story, and there’s a lot that’s left out.”

Wheat, a mid-career artist whose work has been displayed in museums only within the past few years, is bucking a trend unfavorable to women. Just 11 percent of all acquisitions and 14 percent of exhibitions at 26 prominent American museums over the past decade were of work by female artists, according to a recent study by art market information company Artnet.

Recognizing this historical underrepresentation of women’s voices on public display, the Mint is leading the way to better balance the scales. “We have a strong community partner and advocate in Wells Fargo whose values align so closely with the museum on this important social and cultural issue,” says Todd Herman, Mint Museum President & CEO, “Something  we really admire and treasure in the relationship we’ve had with Wells Fargo is they collaborate with us and push us further in ways that make the community better. Their Women Artist Fund and their support of our Foragers installation is a wonderful example of that.”

Charlotte knows Wells Fargo as a significant community partner and stalwart investor in our region’s diversity and success. Their foundation focuses on projects and innovation at the community level such as awareness and social change, increasing housing affordability, and access to capital for businesses. Last year, they contributed more than $14 million in support of projects and programing in the Charlotte region. In addition to programmatic work with quantitative measure, like the number of low-income individuals placed into safe and affordable housing, a component of the foundation’s work focuses on bringing perspectives and understanding to social issues through the arts.

“As company, we’re one of the largest small business lenders to women owned businesses,” says Jay Everette, Wells Fargo’s senior vice president of philanthropy and corporate social responsibility. “With the arts and culture sector of our [philanthropic] work, we realize putting a focus on female artists helps elevate and escalate women’s voices through promoting their artwork. Not only is Foragers a significant work by an important female artist, it’s also public art that anybody can come in and access without having to pay a fee.”

It was the Mint Museum’s 80^th anniversary celebration and the 2016 Women of Abstract Expressionism exhibition that served as a catalyst for the formation of the Wells Fargo Foundation Women Artist Fund according to Everette. “We were beginning to formulate some of the strategies on this and through the exhibition discovered there were a group of other women artists leading the way in the movement.  But they did not have gallery representation. They were not being picked up by museums after the abstract expressionist movement.”

Inspired, the Wells Fargo Foundation set about to address and help reconcile the imbalance of female representation in museum collections. “The Women Artist Fund was established three years ago, and we’ve been successful in helping to place and acquire seminal pieces of art in permanent museum collections across North Carolina,” says Everette. Other museums benefiting from the program include the Cameron Museum of Art in Wilmington, The Weatherspoon Museum of Art in Greensboro, and The Blowing Rock Art Museum in Blowing Rock.

Admirers of Summer Wheat’s Foragers, on display through September 6, 2022, will be pleased to note that through the generosity of The Wells Fargo Foundation Women Artist Fund, the artist’s work With Side, With Shoulder, a large painting where Wheat’s technique extrudes paint through wire mesh, has been acquired for the Mint’s permanent collection.

Mary Myers Dwelle, one of the Mint’s female founders would undoubtedly be pleased.

Foragers is part of the exhibition In Vivid Color: Pushing the Boundaries of Perception in Contemporary Art that opens Oct. 16 at Mint Museum Uptown.

Michael J. Solender is a freelance writer whose work has appeared in the New York Times, American City Business Journals, Metropolis Magazine, Business North Carolina, the Charlotte Observer, and others. He develops custom content and communications for businesses and organizations.

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Collaged Memory Box

In this collage project inspired by Romare Bearden’s Evening of the Gray Cat, you can create an artistic Collaged Memory Box to celebrate a special person, place, or journey. Cut, paste, and collage your story on the lid, and keep favorite mementos inside the box.[/vc_column_text][vc_empty_space height=”16px”][vc_single_image image=”40974″ img_size=”835×469″ add_caption=”yes” alignment=”center”][vc_empty_space height=”16px”][vc_column_text]As a child, Romare Bearden traveled to Charlotte each summer to visit his great-grandparents. Many years later, he created a series of art called “Mecklenburg Memories,” inspired by his recollections of North Carolina in the early decades of the 1900’s.
Can you find the gray cat in this scene?[/vc_column_text][vc_empty_space height=”16px”][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]

“A work of art can always keep growing. You can always add something to it each time you see it.”

-Romare Bearden

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About the Artist:

Romare Bearden was born in Charlotte, North Carolina, in 1911. At a young age, he moved with his parents to Harlem, in New York City to seek opportunities that weren’t available to African Americans in the south. As an adult, Bearden became known as one of the most important American artists of the 20^th century.  Combining images from magazines, prints, and colored and textured papers to create collage “paintings,” his art told many stories about the Black experience, classical literature and art, and cultural history.[/vc_column_text][vc_empty_space height=”16px”][/vc_column][/vc_row][vc_row][vc_column][cs_divider color=”#b7b7b7″][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

SUPPLIES:

• Shoe box, or any box with a lid
• Piece of paper cut the size of the box lid
• Scissors
• Glue
• Pencil
• Small paintbrush to paint glue onto paper
• Small container for glue (add a drop or two of water)
• Collage material cut from magazines, catalogs, recycled artwork, envelopes, photos, greeting cards etc.
• Optional: White paper and markers or paint to create your own collage paper[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][cs_divider color=”#6e6e6e”][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

Instructions:

[/vc_column_text][vc_row_inner][vc_column_inner offset=”vc_col-xs-6″][cs_responsive_video mp4=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/Bearden-one.mp4″][/cs_responsive_video][vc_empty_space height=”16px”][/vc_column_inner][/vc_row_inner][vc_column_text]To make some of your own hand-painted papers like Bearden did, use markers or paints to create patterned and colorful papers. When they dry, cut them into shapes or add to the background. Check out the other Mint Museum Create at Home projects for some inspiration.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-6″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40980″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]Gather your supplies. Look through the collage materials for images and patterns that appeal to you or bring back a memory. Draw out any elements you would like to add.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-6″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40981″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][cs_responsive_video mp4=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/Bearden-two.mp4″][/cs_responsive_video][vc_column_text]Cut out your shapes and elements, and start arranging them onto the box lid, or onto a piece of paper the size of your lid that you’ll glue down to the lid. Layer and overlap the pieces to add more depth to your collage, and play with different placements.[/vc_column_text][vc_row_inner][vc_column_inner offset=”vc_col-xs-6″][cs_responsive_video mp4=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/Bearden-Three.mp4″][/cs_responsive_video][vc_column_text]Once you’ve chosen your final arrangement, it’s time to glue. Put some glue in a small container and add a few drops of water to thin it. Using a paintbrush to apply the glue, paint a thin layer of glue to the back of each piece or to the surface, making sure to secure the edges.[/vc_column_text][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-6″][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”41584″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″][/vc_column_inner][/vc_row_inner][vc_column_text]When you’re finished gluing, look at your collage and think about the images you chose and how they relate to your memories. What feelings come up? This gray cat feels proud that his picture made it into our collage!

Option: Write a note, short story, or poem about your project inspiration and drop it in the box. Our project was inspired by fun memories of traveling with a good friend.

Challenge: Fill the background with a grid of horizontal and vertical rectangles of different sizes and colors, then build your collage on top of it.

Simplify: Instead of a box, collage onto a colorful piece of paper.  This makes it easier to fill your space.

Learn More: There are so many great resources about Romare Bearden! Below are a few. As you view his art, look for some of these themes:

Trains, large hands, birds, musicians, windows, cats, roosters, the sun, the moon

• The Romare Bearden Foundation

• YouTube Video: Trains, Snakes, and Guitars- The Art of Romare Bearden

• Family Guide for Southern Recollections, a 2012 Mint Exhibition[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Brian Gallagher, Curator of Decorative Arts at The Mint Museum (left) with Herb Cohen.

A stalwart supporter of the arts and dedicated staff member at the Mint, Herb Cohen provides an oral history of The Mint Museum

Herb Cohen, a well-respected potter, has been a part of the Mint family since the late 1950s and is still an active member of the Mint and the Delhom Service League.  First working with clay at the age of 6 at the Henry Street Settlement on the Lower East Side of Manhattan, Herb earned two degrees in ceramics at Alfred University before becoming a designer for Hyalyn Porcelain Company in Hickory, North Carolina.

After two years at Hyalyn, he moved to Charlotte in 1958, and immediately became involved with the Mint Museum Drama Guild. He and his husband, José Fumero, a textile artist and painter, designed and built sets and costumes, as well as appearing onstage. This was the beginning of Cohen wearing many hats on the Mint staff, including exhibition designer, ceramics teacher, interim museum director (twice!), and exhibits director. In 1972, he and Fumero moved to Blowing Rock to pursue their art full-time, but never lost touch with the Mint.   

During the 38 years in Blowing Rock, Cohen made his living as a potter, was a founder of the Blowing Rock Art and History Museum, and served on the boards of the Southern Highland Craft Guild, Piedmont Craftsman, and the American Craft Council. After he and Fumero returned to Charlotte in 2010, Cohen became active with the Delhom Service League and the Potters Market Invitational. In 2012, the Mint celebrated his work with the exhibition, Sophisticated Surfaces: The Pottery of Herb Cohen. 

The following interviews were conducted by Brian Gallagher, curator of decorative arts, and Ellen Show, archivist at Mint Museum Randolph during the summer of 2017. Cohen discusses his career at the Mint Museum, his life as a potter and artist, his experiences with the Mint Museum Drama Guild, and, during a walking tour, describes what the Mint Museum Randolph building was like before and after the 1967 expansion. 

Interview 1 – June 12, 2017: Cohen’s roles at The Mint Museum

Gallagher talks with Cohen about his years on staff at the Mint Museum, which ran from 1958 to 1972. Cohen began as a volunteer exhibition installer and Mint Museum Drama Guild technician and actor, and went on to become exhibition designer, interim museum director (twice!), ceramics instructor, and exhibits director. 

Interview 2 – June 26, 2017: Cohen’s Life in the Arts

Cohen discusses his relationship with the Henry Street Settlement on the Lower East Side of Manhattan and its contribution to his studying ceramics at Alfred University, his singing at Madison Square Garden and on Broadway as a child, and his work as a potter in North Carolina. 

Interview 3 – July 10, 2017: The Mint Museum Drama Guild

Ellen Show talks with Cohen about his experiences working with the Mint Museum Drama Guild. Highlights of their conversation include stories about Drama Guild founder Dorothy Masterson, and memories of other guild members, including Jan Karon, Leon Rippy, and his husband, artist Jose Fumero. 

Interview 4 – Aug. 18, 2017

A walk-and-talk through the original staff areas of Mint Museum Randolph. Cohen remembers the spaces as they were in the late 1950s to 1960s. 

Interview 5 – Sept. 12, 2017 

A walk-and-talk around the original gallery spaces of Mint Museum Randolph. Cohen describes the spaces before and after the 1967 building expansion. 

Building on talent and tradition, ceramic artists leave their mark through clay creations in the Mint’s permanent collection

By Annie Carlano, Senior Curator of Craft, Design & Fashion, and Rebecca Elliot, Assistant Curator of Craft, Design & Fashion

Locally, across the country, and across the pond, North Carolina is known as the “clay state.”  With an abundance of clay in the soil from the Piedmont to the mountains, centuries of pottery making, and generations of families making objects of exceptional craft and design, by the early 20^th century an appreciation for North Carolina ceramics grew. In the 1960s, amid the back-to-the-earth cultural movement, pottery was collected, exhibited, and published widely, and the was the subject of scholarly inquiries and symposia.

Building on the talent and traditions of the past, in the 21^st century, North Carolina has attracted potters and sculptors from throughout the world who seek good local clay bodies, but a community of makers and a lifestyle that values simplicity.

North Carolina ceramics is one of the great strengths of the Mint Museum’s permanent collection. Its contemporary holdings continue to grow through the generosity of many individuals. Striving to represent the full range of artistic production throughout the state, the Mint has amassed a collection that includes jugs, tableware, sculpture, and installation art. A sampling is featured here for your enjoyment.

Fine functional and decorative objects are also featured in the Mint Museum Store at Mint Museum Uptown.

Cristina  Córdova (United States, 1976-). Preludios y Partidas, 2012, ceramic, concrete, steel, resin, 129.5 x 36 x 180 inches. Project Ten Ten Ten Commission. Museum Purchase: Funds provided by Laura and Michael Grace, Donna and Al De Molina, Lorne Lassiter and Gary Ferraro, and Yvonne and Richard McCracken. 2014.30A-J. Image © Mint Museum of Art, Inc. © Cristina Córdova, 2012.

Cristina Córdova’s figurative installation, Preludios y Partidas, commands a wall at one end of the Clay Gallery on Level 3 at Mint Museum Uptown. This subtle yet powerful psychological work was created nearly a decade ago yet is prescient. Córdova says: “In understanding this piece as a metaphorical topography, I wanted to use the title to hint as to what that corresponding psycho-emotional space would be. This landscape is one of transition and like the reference to the distillment of reason and logic from uncertainty and chaos, these figures are in the preliminary charged states (preludios) before a great action (partidas). Although the floating concrete elements could hint of the residual vestiges of a previous reality, I am not thinking of it as further leading to an ending but to the beginning of a new cycle. Common to the human experience are profound shifts where the ground gives way and one is thrust into powerful periods of self-reflection, growth, and renewed vision; this is how this space looks in my mind right before the next grand launch.”

Born in Boston, raised in Puerto Rico, Córdova received a BA, magna cum laude, University of Puerto Rico at Mayagüez, Colegio de Agricultura y Artes Mecánicas, Mayagüez, Puerto Rico, in 1998, and an MFA in Ceramics from New York State College of Ceramics, Alfred University, Alfred, New York, in 2002. Her sculptures are included in other prestigious museum collections including the Renwick Gallery of the Smithsonian American Art Museum in Washington, D.C., Fuller Craft Museum in Massachusetts, Museum of Contemporary Art of Puerto Rico, and the Mobile Museum in Alabama, as well as important private collections. The recipient of numerous awards and honors, she currently lives and works at Penland School of Craft in the Blue Ridge Mountains of North Carolina.

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Alexander Matisse (United States, 1984-), East Fork Pottery (Asheville, NC, founded 2010). Two Tall Vases, clay, glaze, 26 x 16 inches. Gift of the Delhom Service League: 2014 Potters Market Invitational Purchase. 2014.74.1a-b. © Alexander Matisse, 2014

Two Tall Vases form an elegant sculptural pair illustrating the skill and aesthetic of clay artist and entrepreneur Alex Matisse. The large vessel forms are beautifully shaped with hints of the handmade in the faint throwing lines and gracefully manipulated drip glazes. Based on traditional North Carolina storage jugs and inspired by English and Asian wares, Two Tall Vases signal a transitional period in Matisse’s career, when his mastery of regional forms and global techniques led to a period of experimentation and the emergence of his unique contemporary style.

Matisse grew up in Groton, Massachusetts and studied at Guilford College in Greensboro, North Carolina where he discovered the rich history of the ceramics of our state. Dropping out of college to undertake apprenticeships with Matt Jones and Mark Hewitt, he started East Fork Pottery at the age of 25 along with his now wife Connie Coady Matisse, and John Vigeland. East Fork Pottery was founded on the principles of William Morris (British, 1834- 1896) that life is improved by living with objects that are beautiful, handmade, useful, and affordable. With their clean lines and muted colors, the simple everyday tableware and objects are staples in several restaurant dining rooms and are popular on wedding registries.

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Matthew S. Jones (United States 1971-). Storage Jar, stoneware, 20 x 15.5 inches.  Gift of an Anonymous Donor to Commemorate the First Potters Market Invitational. 2005.73.1. © Matthew S. Jones, 2005

In Storage Jar, with its broad strong rim, a robust vernacular shape is transformed into an elegant vessel, through its small delicate handles, surfaces markings, and glaze. Matt Jones achieves a timelessness in this and other works in the Mint’s collection through his deep knowledge and mastery of historic forms, the wood firing process, salt and alkaline glazes, and slip trailing. According to Jones, “It is important to me that my work is grounded in the Carolina traditions that go back 150 years, but I feel quite free to incorporate a modern sensibility and ideas from other cultures.”

Matt Jones fell in love with clay as a student at Earlham College in Indiana. His academic education was followed by an apprenticeship with Todd Piker at Cornwall Bridge Pottery in Connecticut, and another with Mark Hewitt of Pittsboro, North Carolina. In 1998 Jones set up his own pottery studio in Leicester, North Carolina. Today the studio is owned and run by Matt and his wife Christine. Using blue pipe clay—so named because it was once used to make pipe tobacco heads—Matt Jones continues to make a variety of garden pots and vessels.

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Benjamin W. Owen lll (American, 1968-). MiSe Vase, 2016, stoneware, 41 x 24 inches. Daisy Wade Bridges Purchase Prize from the 2016 Potters Market Invitational, given by the Delhom Service League. 2016.38.1

The MiSe Vase is a stunning example of Ben Owen III’s artistry. Though massive in size, it is perfectly symmetrical, displaying Owen’s great skill in throwing pots at any scale. The vessel’s rich blue color with hints of burgundy around the rim and on the handles demonstrates his mastery of a wide variety of glazes and his willingness to continually push himself to develop new glaze types. Its shape and the title MiSe reflect his knowledge of Asian ceramics, especially the Chinese ceramics tradition. In 2007, Owen traveled to China as part of a delegation of American political and community leaders and had the honor of presenting his work as gifts for the delegation’s Chinese hosts. During that trip, he also visited museums and pottery villages in China and Japan.

Owen comes from a long line of potters who settled North Carolina in the eighteenth century and made functional wares for the next two hundred years. Owen learned pottery beginning at the age of 8 from his grandfather, Ben Owen Sr., who had worked at Jugtown Pottery near Seagrove and later established his own pottery, Old Plank Road Pottery in Westmoore, North Carolina. Ben Owen III studied business at Pfeiffer University and earned a BFA in ceramics from East Carolina University in 1993. During the 1990s, he traveled to visit potters in Japan, Australia, and New Zealand. Since 1999, he has operated his own studio at the Old Plank Road Pottery.

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David Stuempfle (American, 1960-). Large Jar, 2012, stoneware, 17.5 x 21 inches. Gift of Daisy Wade Bridges. 2012.75.1

This Large Jar by David Stuempfle illustrates his skill at throwing large forms and achieving interesting glazing effects solely through the chemical reaction of clay and wood ash in the kiln. Dripping lines of brown and splotches of off-white add visual interest and complement the jar’s round form, accenting its background hues of rich brown, beige, and charcoal gray. Stuempfle makes his own clay body and slip from a mix of clay from his land and elsewhere in Seagrove, North Carolina, and commercially mined clays.

Originally from Gettysburg, Pennsylvania, Stuempfle first studied ceramics at the High Mowing School in New Hampshire. He then worked for many years as a journeyman potter in various states, including Tennessee and Wisconsin, as well as in Asia. When he relocated to North Carolina, he worked first for M.L. Owens Pottery and Jugtown Pottery before settling permanently in Seagrove. He built his wood-burning kiln there in 1992 and specialized in salt-glazed stoneware for several years but has recently stopped using salt glaze. His sources of inspiration include Chinese, Japanese, and Korean pottery.

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Pamela Owens (American, 1958-), Jugtown Pottery (Seagrove, NC, 1921-), Jennie L. Keatts (American). Jar with Lid, 2006, stoneware, silver, 6 x 4 inches. Gift of the Delhom Service League: 2006 Potters Market Invitational Purchase. 2006.67A-B. Copyright 2006, Pamela L Owens

On this lidded jar, Pam Owens has thrown a classic shape inspired by traditional Asian vases and complemented it with glazes in rich jewel tones of deep turquoise, burgundy, blue, and purple. The placement of the burgundy glaze around the jar’s shoulder highlights the elegance of its form. The jar’s small scale and silver lid further indicate that its purpose is decorative. The lid is by Jennie (Jennifer) Lorette Keatts, Pam’s sister, a jeweler in Seagrove, NC whose jewelry often features glazed ceramic “gems” made at Jugtown Pottery. 

The Lorette sisters were raised in New Hampshire. Pamela first studied pottery there in 1975 and became an apprentice at Jugtown in 1977. After further apprenticeships in New Hampshire, she returned to Jugtown in 1980 and three years later married its owner Vernon Owens. Since then they have been the principal potters, as well as managers of this historic pottery, which was founded in 1921 by Jacques and Juliana Busbee. The Busbees were artists from Raleigh who sought to reinvigorate the North Carolina pottery tradition by introducing Asian forms and glazes. The grandfather of Ben Owen III, Ben Owen senior, worked at Jugtown Pottery as a potter from 1923 to 1959. Ben Owen and Vernon Owens are from the same family line, although Vernon’s grandfather added the ‘s’ to his name. 

What’s the difference between pottery and ceramics?

Ceramics are clay objects that have been heated and chemically changed. Clay is porous and water-soluble, but ceramics are not. Pottery is a subcategory of ceramics that refers to vessels but not sculptures. The vessels can be functional or not. Pottery also has something of a rustic connotation, such that earthenware and stoneware are called pottery, whereas porcelain objects are called ceramics.

Perfectly pottery: Shop 8 of NC’s top pottery makers wares at The Mint Museum Store

The Mint Museum Store is a one-stop-shop to see many different styles of some of North Carolina’s top pottery artists, including Ben Owen, East Fork Pottery, and Erin Janow. Throughout the month of September all pottery at the store is 25% off. Start your holiday shopping with a visit to the store, and learn about some of the top pottery makers represented at The Mint Museum.

Micro Crystal Bowl, $310; Tang Vase Blue Micro Crystal, $320; Egg Vase Blue Micro Crystal, $320

Ben Owen III 

Ben Owen III continues a family tradition of pottery making that dates back to the 1700’s. His forefathers came to North Carolina from England to poly their craft and furnish storage jars and other utilitarian wares to early settlers. One of the most acclaimed and collected of today’s current North Carolina potters, Owen began his craft at an early age under the tutelage of his grandfather, Ben Owen I, a master potter himself. Owen went on to formally study ceramics at East Carolina University, where he garnered many awards and a BFA in ceramics in 1993. His pottery reflects a foundation in traditional designs alongside Asian influence. His work can be found in many museums including ours, The Mint Museum. Also, notably, The Smithsonian Museum of Art and the Boston Museum of Fine Arts. Singer/songwriter James Taylor and golfer Arnold Palmer are among the notables whose collections include works by Ben Owen III.

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Dean and Martin Potter, $60-$200.

Dean and Martin Pottery

Jeff Dean and Stephanie Nicole Martin, both born and raised in the heart of North Carolina, rely on their love of nature and the land as inspiration for living the life of potters. Jeff received a BFA in ceramic design from East Carolina University. Balancing form, function and design, his forms usually come from something seen on a city walk or in nature. Stephanie received a BFA in design with a concentration in ceramics from UNC-Greensboro. Often utilizing digital, as well as printmaking, techniques, she builds the surfaces of her vessels. She makes hand-built and wheel-thrown objects using color, pattern, floral and figurative images to evoke a feeling of nostalgia. Watching her grandmother sew and quilt influenced her sense of craft and design, as well as her love of 1960’s and 70’s culture and music.[cs_divider]

 

East Fork pottery cereal bowls, $42.

East Fork Pottery 

East Fork Pottery, founded in 2010 by Alexander Matisse (great-grandson of Henri Matisse) and Connie Coady, is nestled in the Blue Ridge Mountains in Asheville, North Carolina. East Fork designs, manufactures and sells durable ceramic dishware. Their lines are simple and fundamental. Unadorned, the work is distilled to its essential elements: form and function. It is durable and timeless, resistant to fashion and trends. Alexander along with their team of talented artisans, make their pots with dynamic, iron-rich clays dug from the American south East and colored with glazes formulated and mixed in-house. The glazes are often limited-edition colors and the collection of colors we have in the store, are from a limited batch, unavailable now from the studio itself.[cs_divider]

Erin Janow Sake Set of 6, $180

Erin Janow 

Erin Janow is a potter, a wife, a mother, and a cook. Born and raised in Indiana, Erin graduated from Indiana University earning a bachelor’s degree in Fine Arts and Art History. She began her apprenticeship working for Magnum Pottery in North Carolina as an understudy, honing her craft there for nearly seven years. In January 2009, she ventured forth as a solo potter to develop her own line. She began devoting much of her time developing new glazes and techniques and, along with her husband, a jewelry maker, working in a studio conveniently found in the basement of their home in Asheville. Erin has said, “My work is designed to be user friendly and functional. Because I also have a passion for cooking and family, my hope is that others will find happiness using my pottery when cooking meals for their families, in turn.”[cs_divider]

Jon Ransmeier basket, $550

John Ransmeier

John Ransmeier grew up in Asheville, North Carolina. John was introduced to clay in 1968, and just two years later, he built his first kick wheel. John worked with many potters perfecting his art and co-founded the Biltmore Clay Company in Asheville in 1976. His work can be seen in galleries throughout the country and has been collected by such notables as Oprah Winfrey. The daily challenges of ceramic materials and techniques become rewards when he passes on his work to a receptive new owner.[cs_divider]

Jugtown teapot, $198 and square teacups $26

Jugtown Pottery

Jugtown Pottery is a working pottery and an American Craft Shop located in a grove of trees and bamboo eight miles south of Seagrove, in Moore County, NC. It is just off Busbee Road, a road named for Jacques and Juliana Busbee, the founders of Jugtown. Both artists with a love of craft and form, together they created Jugtown Pottery, melding forms from ancient traditions with those developed in North Carolina. In 1917 they created The Village Store and Tea Room in New York City, and in 1922 they began stamping each piece with the circular Jugtown Ware stamp.

The forms derive from simplicity and practice, a continuous line, then a complimentary glaze and occasional decoration. Drawing from the North Carolina tradition, you will find jugs, pitchers and candlesticks in wood fired Salt Glaze and Frogskin, and tableware in green, blue, brown, and gray. Vases, bowls, and jars in glazes made with wood ash, local clays, copper reds, greens, and iron earth tones, have origins in world clay traditions.Jugtown thrives on the aesthetic foundation laid out by the Busbee’s. Vernon Owens, recipient of the NC Folk Heritage Award and the NEA National Heritage Fellowship, wife Pam, son Travis and daughter Bayle are the main potters, while Bobby Owens mixes clay and glazes the pieces.
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Turtle Island drunk jug, $190

Turtle Island Pottery

Owned by Maggie and Freeman Jones, Turtle Island Pottery is named for an American Indian creation story. In its simplest form, a turtle swam to the bottom of the waters that covered the world and brought up mud to make the land. Turtle hatched her eggs on this land, and everything has come from this. Maggie and Freeman have made their living from the very stuff of creation since 1984. Their handmade stoneware pottery is both functional and decorative, with a sculptural feel. Maggie says of her process, “When I think and plan about the clay and glazes in the heat of the kiln, I envision lava flowing, crystals growing and flowers blooming. Earth, air, fire and water minerals reacting with one another, like when the earth was being formed.”[cs_divider]

Paradox Pottery by Jim Whalen

Paradox Pottery 

Jim Whalen’s one-of-a-kind vessels are turned on a potter’s wheel, then burnished and coated with terra sigillata, an ultra-refined clay slip that can give a soft sheen when applied to bone-dry wares and, if polished or burnished while still damp, may give a high gloss. The ancient Greeks and Romans used this technique in lieu of glaze. After bisque firing, patterns and images are created with wax resist. The patterns he creates are sometimes mathematical, sometimes emotional, but always drawn from within and are intended to evoke images of an evolving planet. His unique firing process explores the lower temperature ranges of wood, salt, and soda, enhancing these patterns. Because the process is challenging and unpredictable, each piece achieves a uniqueness that is impossible to duplicate.

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Recreate Ancient Ruins with leftover cardboard

You’ll just need a cardboard box and a few basic tools to create these ancient architectural ruins, inspired by the wood sculpture Pompeii by artist, architect, and furniture designer Po Shun Leong. This project can serve as a launching point to design your own imaginative architectural realm from cardboard scraps![/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”40408″ img_size=”large” add_caption=”yes” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”40451″ img_size=”large” add_caption=”yes” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]

About the artist: 

A man of many talents, Po Shun Leong creates complex wooden sculptures and boxes reimagining ancient sites like Mesa Verde, Pompeii, and Petra. He works with many different types of wood, and encourages artists to recycle their scraps into new art.  

“Be joyous, use all your … scraps, and add to the sum total of beauty in this world.” 

-Po Shun Leong [/vc_column_text][vc_single_image image=”40395″ img_size=”large” alignment=”center”][vc_column_text]

Supplies: 

• Corrugated cardboard
• Medium- large bowl to trace
• Scissors
• Strong glue, like Elmer’s Glue-All or Alene’s Tacky Glue
• Masking tape
• Paper towel for wiping hands 

Optional:

• Ruler
• Extra cardboard (paperboard like cereal boxes, paper towel tubes, etc) [/vc_column_text][vc_column_text][/vc_column_text][vc_column_text]

Tips: 

• To glue cardboard, add glue then hold the pieces together and count to 20.
• Use a small piece of masking tape to temporarily hold cardboard together while glue dries.
• Wet a cardboard box and leave it outside to dry to easily separate the corrugated layer from the smooth layers. The water dissolves the glue! [/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

Steps:

[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40396″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40397″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Use the bowl to trace a circle onto a large piece of cardboard. Peel some sections of the paper covering to reveal areas of texture. Keep the bowl nearby to hold small scraps of cardboard[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40398″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40399″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Cut 4 cardboard rectangles, around 6” wide by 4” high. Peel the paper from both sides of the cardboard to reveal the corrugated piece in the middle. Add glue to the short end of the rectangle and roll into a column. Repeat with the other rectangles to make 4 columns.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40400″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40401″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40402″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Measure and cut 3 triangles, about 5” wide by 2” high. Stack and glue them together to create a pediment. Do the same with 3 rectangles, about 5” wide by 1” high, to create the tablature, or base for the pediment. Cut 12 small squares, about 1” by 1”. Create 4 bases for the columns by stacking and gluing 3 squares per base. When dry, stack and glue the pediment to the tablature and the columns to the bases. [/vc_column_text][vc_row_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40403″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40404″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/3″ offset=”vc_col-xs-4″][vc_single_image image=”40405″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Create the corner of a building ruin by cutting 2 rectangles and cutting away sections to look like brickwork. Use the leftover right angle triangles from your pediment to make braces to hold the two walls together. Or try a different cardboard construction idea to build a wall or building.[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40406″ img_size=”large” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40407″ img_size=”large” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Add details to the architectural elements using cardboard scraps. Be creative and add your unique ideas to the structures. Glue the final pieces to the base and add finishing details.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]Option: For younger artists, provide cereal boxes, tubes, and lighter paperboard, which is easier for young artists to cut and manipulate. Pre-cut some basic corrugated cardboard shapes to help trigger creative thinking.

Challenge: Start with a larger base and incorporate other recyclable materials into your design.

Simplify: Don’t worry about measurements and rulers, just start cutting shapes and let the process happen organically!

Learn more: Po Shun Leong’s website is a treasure trove of interesting information!

This idea brought to you by Leslie Strauss.[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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“Tune In” is a 4,000 pound sculpture designed by Charlotte-based artist Richard Lazes.

Tune In puts focus on where we’ve come as a society and where we are going … for better or worse 

A larger-than-life outdoor diorama is coming to the plaza at the Levine Center for the Arts just outside Mint Museum Uptown. The 4,000-pound multidimensional diorama titled Tune In, created by local artist Richard Lazes and his studio team of fellow creatives at the Art Factory, is a sculpture of six stacked televisions from the 1960s in an enclosed room with wallpaper, pictures and linoleum that replicate a TV room of the time.

Tune In will be installed on Wells Fargo Plaza outside Mint Museum Uptown in tandem with the grand re-opening of the museum. The installation will be accompanied by food and live music during the Mint’s grand re-opening celebration. (Museums currently are grouped in Phase III opening guidelines. Re-opening dates will be announced when the latest guidelines from North Carolina Governor Roy Cooper are confirmed).

Televisions in the installation display a collage of rolling snippets of media programming from the 1950s and ’60s, including news segments like the launch of Apollo 11, sitcoms and tv dramas, live musical performances by the likes of Little Richard and The Beatles. It’s a reflection of history that is mirrored in society today, as well as a display of media that has—and continues to—heavily influence the way people think and act. He hopes that Tune In stimulates conversations among viewers to consider where we have come from and where we are going as a society.

Lazes wanted to create a piece of art that put the pandemic crisis of 2020 and social unrest in some type of historical perspective. The massive sculpture was created by dissecting vintage television sets found in antique shops, and then assembled into a precarious formation indicative of the dysfunctional state of our society today. Six LED screens replace the old television tubes. In order to create content for the screens, he created a video collage mined from 100 hours of TV shows and news media during the 1960s to create iconic TV shows, great musical performers by the entertainers of that day and news clips of current events during that time period. 

“It’s been 60 years since these programs were broadcast on TV and while video programing has become more politically correct it is unclear whether American culture and society has become any more fair and equitable,” he says.

Lazes recognizes that shows like “The Jeffersons,” “The Little Rascals,” Lucille Ball, and “Sanford and Son” were misogynistic, chauvinistic and racist, portraying a very shallow  and prejudiced view of women and blacks. “These portrayals of minorities were indicative of that period. While we have moved a long way to a more magnanimous and politically correct viewpoint in our media, I wonder if our society has really changed in the way we treat one another,” he says. 

Richard Lazes working on the assembly of the “Tune In” diorama space.

But television programming of that period also brought families together to watch favorite shows.

“With the introduction of the internet, personal computers, and smartphones, we have become isolated and no longer came together with friends and families to take in a shared media experience. Perhaps a silver lining of the pandemic is that it has brought us back together as families to sit in front of the TV set as newscasters and politicians brief us on the status of the pandemic. With all of the discord and alienation in society, we are all in need of some introspection and a positive message so I hope that my sculpture will contribute to the healing process.”

“Tune In” on view in Martha’s Vineyard.

Tune In is scheduled to travel throughout 10 cities, including Charlotte, Washington D.C., Boston, New York, Chicago, Atlanta and Los Angeles. At each stop of the exhibit, Lazes along with co-director Aaron Atkinson will interview and film local artists to document how they are leveraging their creative talent to bring hope to each city. The documentary “Artists in Quarantine: American Creativity During the 2020 Pandemic” will showcase how creatives took their craft to showcase truth, justice and hope in a time of despair, and is scheduled to stream on Netflix in 2022.

Suffragette Bookend from Silk Road Bazaar (fair trade and made by women), $36 // Susan B. Anthony Ornament from Silk Road Bazaar (fair trade and made by women), $24 // VOTE Enamel Pin, $12 // 19th Amendmints, $4

15+ items that celebrate women, and the centennial of women’s suffrage

This one’s for the women — and men who respect women’s rights. This year marks the centennial anniversary of women getting the right to vote. On Aug. 26, 1920, the 19th amendment passed giving women the right to vote. The vote opened opportunities for women to innovate, create and legislate for women’s rights — and art by women for women has always been a social commentary to push change. As a matter of fact, The Mint Museum’s history is rich with generations of women dedicating time to establish and grow The Mint Museum, including Mary Myers Dwelle who was the driving force behind the creation of the first art museum in North Carolina. Read more about how the Mint’s history is women’s history.

The curated list of art, books, cards and more below celebrate the strength and voice of women, and are all available at the Mint Museum Store.

Hood Feminism: Notes from the Women That a Movement Forgot by Mikki Kendall $26  // Amazons, Abolitionists, and Activists: A Graphic History of Women’s Fight for Their Rights by Mikki Kendall and A. D’Amico, $19.99.

Books that tell “her”story.

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eeBoo 100 Piece Votes for Women, $18 // 500 Piece Women’s March Puzzle, $24

Pandemic puzzle project with a lesson. Get it for the kids and you. eeBoo is “Woman Owned. Mother Run. Sustainable Sourced.”

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The Illustrated Feminist: 50 Postcards by Aura Lewis, $15.99

Send a note of inspiration with these notecards that celebrate strong women.

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Dean and Martin Pottery (pictured pottery is made by Stephanie Nicole Martin) $60-$198

A reminder in every sip of the different women and how each has made a difference in their own way.

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RBG bookend from Silk Road Bazaar (fair trade and made by women), $36 // RBG puzzle, $24 // RBG mug, $16

The notorious R.B.G once said “Fight for the things you care about, but do it in a way that will lead others to join you.”

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“The New Woman’s Survival Catalog,” $30

Originally published in 1973, The New Woman’s Survival Catalog is a survey of the second-wave feminist effort across the United States.

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Calhoun & Co. throw blankets, $130. Designs are created from illustrations and artwork by founder Kerry Stokes

A throw with a thoughtful message and design — something we can all use a little more of these days.

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Humberto and Fernando Campana. Photo by Bob Wolfenson

“Through experimentation and our life experiences, we allow the creative chaos to take over and, eventually, we discover combinations of colors and materials”

Pioneers of disruptive design, the art of Fernando and Humberto Campana is strongly rooted in Brazilian culture and traditions, and carries universal values in its core, such as freedom and human dignity, by searching self-identity through life experiences. By incorporating the idea of transformation and reinvention, their creative process raises everyday materials to nobility, bringing not only creativity into design, but also Brazilian characteristics — the colors, the mixtures, the creative chaos — the triumph of simple solutions, in an artistic and poetic way, including the piece “Kaiman Jacare” that is part of Mint’s permanent collection and in the latest exhibition New Days, New Works.

Based in Sao Paulo, Estudio Campana is constantly investigating new possibilities within design: from furniture making to architecture, landscaping, fashion, scenography and more, and are represented throughout the world. Below the brothers share about how they work together, their creative processes and inspirations, and hope for the future.

Fernando Campana (Brazilian, 1961–). Humberto Campana (Brazilian, 1953–). Kaiman Jacaré Sofa, velvet, polyurethane. Gift of the Tony Podesta Collection. 2014.75.12

Tell me a bit about yourselves and the type of art you specialize in. 

We are storytellers, we like to bridge disciplines and try not to define ourselves by a particular type of art. Our mantra is to let materials “speak” to us, from which point we discover what shape and function it can take. Through experimentation and our life experiences, we allow the creative chaos to take over and, eventually, we discover combinations of colors and materials (many times overlooked by most designers) that tell the stories from that experience, artistically and poetically.

Where is your studio located?

Our studio is located in São Paulo, Brazil, in a neighborhood called Santa Cecília. Today it is considered a cool place, thriving with hype galleries, bars, shops and restaurants, right next to mom-and-pop shops, discount clothes stores, little hardware stores.  When we started our practice there, back in the 1990s, it was considered a “no-go” zone due to the humble buildings and working-class population, but that’s exactly why we were attracted to it, for it was genuine and grassroots.

What’s it like working together from creation to execution of your artwork?

Humberto: Fernando and I complement each other very well. He starts from a bi-dimensional concept, making drawings, and often I bring that idea to life by researching materials, establishing a process, until it takes shape and comes into existence. I am interested in this process, and what happens behind the scenes, the role of the piece as it occupies a place in people’s homes. Fernando offers a distant gaze to my ideas, bringing a fresh outlook.

Fernando: It’s fair to say we have almost like a twin connection, certainly a spiritual one, although our thought process is different. When we are developing a new piece, there is an unspoken agreement between us, which is not always that smooth, but always with mutual respect. We also count with the support of our team at the studio, to help settle any standoffs.

What was your inspiration for Kaiman Jacare?

Our inspiration was the pre-historic animals, the dinosaurs. The idea was to create an oversized piece of furniture that resembles a tangle of giant scary creatures from that era. Each piece can be detached and reattached, allowing you to come up with several combinations. It’s a very comfortable, inviting, huggable composition, yet, it plays with the sense of being surrounded by these dangerous creatures, which we find quite provocative.

What is your favorite piece you’ve created?

Fernando: My favorite piece is still a very classic one, the Vermelha armchair, from 1998. We were fiddling around with different materials trying to come up with unusual upholstering when we picked up this roll of 500 meters of red rope and began to wrap it around a metal structure. It is our signature piece, produced by Italian manufacturer Edra, and part of several museums around the world.

1998, Vermelha Armchair @ Edra.

Humberto: I am very fond of our Plush Toy collection (2002) because it has a deep connection with affection. It started as an experiment to find new ways of upholstering, and soon it transformed itself into this whimsical universe reminiscent of our childhood, the memory of a favorite stuffed toy, and the sense of protection and comfort.

Cake Stool, Courtesy of Estudio Campana. Photo by Fernando Laszlo

How do people and your environment influence your art?

Fernando: These are an enormous influence for us, no doubt. We portray what we experience in our daily lives, especially in a country so culturally rich such as Brazil, with a unique viewpoint. Also, we grew up in the countryside, and nature was our main source of inspiration. Time had a different pace, giving us the chance to observe the landscape and animals in every season. That gave us the ability to pay attention to life as it unfolded. Once we moved to the city, we applied that same gaze towards people and their way of living, giving us a solid foundation for our design practice.

Humberto: Our work is like a snapshot of the world we experience. Places like the outskirts of São Paulo, Shanghai, the Amazon, the Sahara Desert, plus the people we encounter along the way. All of that fuels our imagination which is then materialized into objects.

2016, Pirarucu Armchair Pink. Courtesy of Estudio Campana. Photo by Fernando Laszlo (4)

Are you finding new inspiration for your art during these current events in the world?

Fernando: It’s been pretty hard to find inspiration, but I had the chance to travel to the countryside and the seaside during the quarantine, keeping a distance from the industrial world and immersing myself in nature. This period will gradually percolate and eventually, something will come out of it, creatively speaking.

Humberto: At the beginning of the quarantine, I was quite upset like everyone else. Aside from the tragic loss of life, we also have terrible leadership in Brazil. After a while, I began to come to terms with the fact I had to stay at home, and suddenly my house became my universe. I discovered ways of creating with what I had at hand, in the space I had. Lately, I have been doing collages and assemblages, and it has helped me a great deal to stay creatively active.

What positive-perspective changes in society would you like to see evolve from the protests, pandemic and social struggles of now?

Fernando: I would like humanity to be more respectful of the environment. And a more fraternal society, where we look out for each other. We had enough destruction, deforestation and pollution on this planet. It’s time we take responsibility for our actions and stop producing waste that keeps corroding our home.

Humberto: I think the world today is too divided. This antagonism doesn’t take us anywhere, it only leads to destruction with no clear way out. I wish people would become more united, have more respect and affection for each other, leaving their ego aside, so that we can find and follow a path to coexistence.

2018, Noah bench 2. Courtesy of Estudio Campana. Photo by Fernando Laszlo (13)

What are you reading, watching, and listening to these days?

Fernando: I just finished reading Les Misérables by Victor Hugo. I am also watching a few series on TV. One is called Girls from Ipanema which takes place in the ’60s, in Rio, during the Bossa-Nova years. I like to listen to all kinds of music, but Brazilian Popular Music (MPB) is always on top of my list.

Humberto: I have been reading articles about iconic designers and architects in English. I enjoy learning more about their life trajectories while reading them aloud and practicing the language.

Who are you following on social media right now?

Fernando: I am a bit of an outcast when it comes to social media. I don’t have any accounts on any platform. I am not attracted to this type of thing. I am much more interested in the real world.

Humberto: I am currently following Design Academy Eindhoven on Instagram (@designacademyeindhoven), from The Netherlands. I admire not only their outstanding conceptual design program, but also their intrinsic concern with training students to produce work in favor of a better planet.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Sponsored by Chase.

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Unique art prints made from bubble wrap

Who doesn’t love bubble wrap? Here is a simple printmaking activity using just bubble wrap markers, and paper. Children of all ages can color designs onto any type of bubble packaging and make prints. The prints can then be used to make cards, wrapping paper or displayed as art! The possibilities for creativity are endless. If you can keep yourself from popping the bubbles, you can rinse them off and use them again and again!

This project was inspired by Bubble Wrap by Courtney Starrett, on view at Mint Museum Uptown.

Courtney Starrett (American, 1977–). Bubble Wrap, 2008, silicone. Gift of the Artist. 2015.47

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SUPPLIES: 

• Copy paper or construction paper
• Scissors
• Bubble wrap in assorted textures/sizes, cut into pieces or shapes  
• Assorted colored markers

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Instructions:

[/vc_column_text][vc_column_text]Begin by choosing a piece of bubble wrap. You can compare the different types and sizes and talk about the properties of air in the bubbles and how they provide cushioning. Children can draw and color on the bubble wrap to create a color pattern or something more abstract. Notice how the ink from the marker does not get absorbed into the plastic. Don’t wait too long to make your print or the ink will dry. [/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”39997″ img_size=”medium” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”39998″ img_size=”medium” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Flip your bubble wrap over and press it firmly onto the paper to create your print! There might be enough ink to make another print and each one will be totally different. Experiment with the different bubble wrap types if you have them. Older children can draw designs onto big bubble packaging. [/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”39999″ img_size=”medium” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40000″ img_size=”medium” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]Any image will be printed in reverse so lettering would need to be drawn backwards. [/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40001″ img_size=”medium” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40002″ img_size=”medium” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_column_text]You can extend this activity by looking for shapes and patterns in your prints and drawing in details to turn them into faces, animals, and more. Now you can pop a few bubbles for fun! Seamus the cat was very helpful until… POP! [/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40003″ img_size=”medium” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″ offset=”vc_col-xs-6″][vc_single_image image=”40004″ img_size=”medium” alignment=”center”][/vc_column_inner][/vc_row_inner][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Career Chat with Mint Staff

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Get a sneak peek of our newest exhibition New Days, New Works

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Credit: Publishers Weekly

Books for kids, and podcasts for parents that help teach justice for all

Teaching children anti-racist values begins when children are young, and continues as they go through the various ages and stages of childhood. Here are expert resources for reading and listening to help navigate the ins and outs of teaching future generations, and helping to break racial barriers for a clearer path to justice for all.

Picture books to graphic novels, and a lot inbetween

Dictionary for a Better World: Poems, Quotes, and Anecdotes from A to Z. Each entry presents a word related to creating a better world, such as ally, empathy, or respect, and related quotes and poems.

Antiracist Baby Picture Book. Written by founding director of the Boston University Center for Antiracist Research Ibram X. Kendi, Antiracist Baby Picture Book offers parents and their little ones nine ideas to build a more equitable world through playful text and bold illustrations.

Coretta Scott King book award winners. Awarded to African American writers and illustrators whose books explore African American experiences and humanity, the Coretta Scott King book award winners showcase a variety of fiction, biographies and nonfictions for babies to teens.

20 Picture Books for 2020: If a picture can say 1,000 words, then these stories that embrace race are a great beginning.

Early Childhood: Activism and Organizing. A smart guide to choosing anti-bias children’s books, plus a curated list of book that touch on social justice in a kid-friendly and explainable way.

An Anti-Racist Graphic Novel Reading List. For tweens and teens who love a graphic novel, these selections “address topics including the Civil Rights Movement, hip-hop, gentrification, white supremacy, the criminal justice system, police brutality, and the lives of black women.”

Podcasts for parents who want real talk about real issues

Parenting Forward. Author, blogger, community leader and mother Cindy Wang Brandt  features interviews with authors and thought leaders from progressive faith spaces, monthly listener question shows, and practical strategies for parents, grandparents, and anyone who loves children and wants to commit to treating children with justice in her podcast Parenting Forward.

Fare of the Free Child Akilah S. Richards and guests discuss the fears and costs of raising free black and brown children in a world that tends to diminish and dehumanize children of color in the Raising Free People podcast.

Raising White Kids with Jennifer Harvey. Dr. Jennifer Harvey discusses her book Raising White Kids: Bringing Up Children in a Racially Unjust America, as well her personal journey towards anti-racist organizing, educating, and child rearing. 

Talking Race With Your Young Child (NPR). A discussion between NPR journalist Noel King, anti-racism scholar and author Ibram Kendi, and author Renee Watson about how to be intentional when talking about race, plus tools to guide conversations with kids.

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Three ingredients plus three steps to make your own signature clay pots

Baking is one of the little things that brings us joy while at home during the pandemic. Creating objects from common baking ingredients bridges the relationship between industry, craft, and consumer. A basic clay can be made from flour, salt, and water. Have fun using spices, such as turmeric and paprika, along with compost like coffee grinds to add texture and color to your clay. 

This project is inspired by Autoarchy on view at Mint Museum Uptown.

Studio Formafantasma (Eindhoven, The Netherlands, 2009–), Andrea Trimarchi (Italian, 1983–), Simone Farresin (Italian, 1980–). “Autarchy,” 2012, flour, agricultural waste, vegetable dyes, beeswax, pine tar. Museum Purchase: Funds provided by Missy Luczak-Smith and Doug Smith. 2013.18.1-158

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SUPPLIES: 

• Flour 
• Salt 
• Cold water 

OPTIONAL ITEMS

• Spices or kitchen compost 
• Rolling Pin 
• Wax paper 
• Ribbon or rope 
• Metal tabs from soda cans or washers 
• Glue 
• Scissors 

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STEPS:

Start with 1 cup flour and 1 cup salt. Add spices or other kitchen ingredients for color and texture. Slowly add up to one half cup cold water while mixing together to form a ball. It helps to knead the clay for several minutes. Add a few more drops of water if the clay is not holding together.

Consistency will vary depending on what type of flour you use and what you mix in. 

If the clay is too soft, knead in more flour until you have a clay that can stand when shaped. Divide dough and form into pots, bowls, or plates. 

Make small pinch pots from balls of clay and allow to dry on their own. Make larger bowls by rolling the clay into a slab and draping over containers with a piece of wax paper between the clay and container to keep it from sticking. Once the outside of the clay is dry, carefully remove it from the container and take off the waxed paper. The inside will need additional time to dry. It can take up to 24 hours total to dry depending on size.  

Option: Drape clay over a greased, oven-proof container and bake in a 300-degree oven for 20 to 30 minutes depending on size and thickness. Younger children should ask an older sibling or adult for help with the oven. 

Challenge: Decorate the outsides of your pieces with materials you have at home. 

Simplify: Let younger children use as play dough. The clay can be stored in an air-tight container for up to three days. Food coloring can also be used as a colorant.  

This idea brought to you by Maggie Burgan. [/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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5 things you may not know about artist Summer Wheat, plus a virtual tour of her Brooklyn studio

One silverlining of being quarantined at home is the opportunity to see and share experiences that we might not normally be able to experience. Enter our favorite new video pastime: artist interviews and studio tours. Mint’s Chief Curator Jen Sudul Edwards, PhD, joined Brooklyn-based artist Summer Wheat in her studio for a bit of show-and-tell on her technique and processes.

Wheat’s painting With Side With Shoulder is part of the newest New Days, New Works exhibition, and her atrium installation Foragers will be on view throughout the fall. Here are a few fun facts that we learned during Wheat’s studio tour.

• Summer Wheat is originally from Oklahoma City, OK, attended Savannah College of Art and Design, and has been living and working in Brooklyn, NY for the past 11 years.
• She has created in many mediums, from painting and sculpture, to even making custom salt and pepper shakers. Wheat says that she “likes the idea of taking a drawing and making it something usable.”
• Her creative process is two-fold: First, she always starts with a drawing, which she does alone and views this as an intimate space. Then she brings the drawing to the studio where she and her team make the ideas come to life.
• Her installation on the windows of the Mint Museum Uptown’s atrium will be her third large-scale piece using this material, and reminds her of stained glass. “I wanted to start telling stories in this format,” says Wheat, who is excited to tell impactful stories through visuals, color, and dimension.
• When the Mint opens, you’ll get to see not only Wheat’s atrium installation, but also her painted piece With Side With Shoulder that uses mesh in our newest exhibition New Days, New Works.

 

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The Mint Museum From Home is Sponsored by Chase.

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Known as one of the most influential African American quilt historians in the United States, Carolyn Mazloomi, PhD, who was trained as an aerospace engineer, has artwork showcased in numerous important museums around the world, including the Smithsonian American Art Museum, and American Museum of Design.

Fiber artist Dr. Carolyn Mazloomi’s passion for educating through art leads her to curate We Are the Story 

She thought she’d be settled into retirement by now, but Carolyn Mazloomi’s passion for her art pushes her to keep making, curating and working. Mazloomi, who earned a doctorate in aerospace engineering from the University of Southern California and worked as a pilot and Federal Aviation Administration crash site investigator, became involved in fiber artists and quilting in the early 1970s, and founded the Women of Color Quilters Network in 1985. She currently is spearheading and curating the exhibition We Are the Story, set to open at various sites throughout Minneapolis later this summer. The exhibition is a response to the death of George Floyd in the hands of a Minneapolis police officer.

We Are the Story is a series of six quilt exhibitions by the Women of Color Quilters Network, and Textile Center created under the curatorial direction of Mazloomi. The series is organized around the themes of remembering those lost to police brutality, history of civil rights, and racism in America.

“I am an artist quiltmaker, and I like to tell stories,” says Mazloomi. “Most of the work I do deals with issues of race or status of women, and a lot of the work is somewhat controversial, but I hope viewers look at it and learn something and think about things and how things possibly could be.” 

As a mother and grandmother, Mazloomi was rocked when she saw the video of George Floyd being pinned to the ground, and heard him cry out for his mother.

“It just shook me to my core. I cried for days because it was sad and tragic how he passed. But hearing him call for his mother personified the role of women in the sphere of the universe,” she says.

Mazloomi is a believer in the dynamic power of females, and has been involved in the economic development of women through the arts for over 30 years. Throughout her career of making textile art, many of her works showcase the women and their strong role in society. 

“Young women need to know about the power they wield. As women, we are the  first teachers because we give birth. We are the teachers of humanity. It’s a position that influences all of humanity,” she says. “The first word a baby learns is usually mama and it’s so strange that the last thing a human being may talk about when dying is their mother. They call on their mother.”

A self-proclaimed news addict, she listens to news while she works. Her quilts serve as a response to what’s going on in her environment, and the world, and is meant to evoke thought. 

“My inspiration always comes from the environment around me. Currently the environment is very toxic, so I’m creating work about human condition — not just here in the United States, but of refugees around the world because women and children form the greater population of refugees,” she says. 

When asked what she hopes to see evolve from the protests, pandemic and social struggles of now, she answers with the wisdom, patience and hopeful tone of someone who has weathered years of society’s injustice.

“Let’s deal with the pandemic first,” she says. “Because African Americans are disproportionately affected, they are dying more than anyone else,” she says. “Hopefully out of this pandemic, maybe it will help African Americans. They have health issues brought about due to racism because they don’t have access to good housing and healthcare, which plays into susceptibility to the virus.” 

Thirteen people in the Women of Color Quilters Network died due to COVID-19. She and other members of the network collectively made more than 27,000 masks that were given to healthcare workers, nonprofit organizations, funeral homes and other places of need.

“When it comes to protests, I am happy to see protesters aren’t just African Americans, but a diverse group of people around the country,” says Mazloomi. “Anything that can prompt racial equality and justice in America is a good thing. Hopefully something good will come of these demonstrations, and our government and individuals will make efforts to be more civil to one another and see equality for all American citizens.”

Mazloomi was awarded the first Ohio Heritage Fellowship Award in 2003. Ohio Heritage Fellows are among the state’s living cultural treasures.  Fellows embody the highest level of artistic achievement in their work, and the highest level of service in the teaching and other work they do in their communities to ensure that their artistic traditions stay strong. In 2014 Dr. Mazloomi was given the National Endowment for the Arts National Heritage Award, the highest award in the nation for traditional art.  She was also inducted into the Quilters Hall of Fame Museum the same year.

Mazloomi’s quilt Gathering of Spirits has been part of The Mint Museum collection since 1999, and is set to be on view in the Schiff-Bresler Family Fiber Art Gallery at Mint Museum Uptown in February 2021.

Carolyn L. Mazloomi (American, 1948–). Gathering of Spirits, 1997, cotton, silk, beads, metallic thread, shells. Museum Purchase: Funds provided by Dennis and Betty Chafin Rash, Lee and Mebane Rash Whitman, and Jim Rash in loving memory of Margaret Rabb Rash. 1999.1. © Carolyn L. Mazloomi 1998

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6 books for children that teach about Black history, cultural differences and similarities

The journey to a more just world grows with children. Books open up a view of the world to children outside their own neighborhood. These six books, and many others, are available at Mint Museum stores, which are open for business.

Voice of Freedom: Fannie Lou Hamer, Spirit of the Civil Rights Movement

A Caldecott Honor Book written by Carole Boston Weatherford and illustrated by Ekua, Voice of Freedom: Fannie Lou Hamer tells the story of civil rights hero Fannie Lou Hamer who participated in marches, sit-ins, and voter-education training. She also endured police brutality, time in jail and bullets shot into her home. Malcolm X called her “the country’s No. 1 freedom-fighting woman.” This book celebrates Fannie Lou Hamer’s life and legacy with a message of hope, determination, and strength. (Candlewick, $17.99).

Crown: An Ode to the Fresh Cut

This rhythmic, read-aloud title by Derrick Barnes, illustrated by Gordon C. James, is an unbridled celebration of the self-esteem, confidence, and swagger boys feel when they leave the barber’s chair. Winner of a Coretta Scott King Author Honor, Newberry Honor, and Caldecott Honor, and named a best book of 2017 by NPR Books, Huffington Post, Publishers Weekly, Kirkus Reviews, the Los Angeles Times, the Boston Globe, the Horn Book Magazine, and the News and Observer.. (Agate Bolden, $18.95).

Talking Walls: Discover Your World

Written by Mary Burns Knight and illustrated by Anne Sibley O’Brien, is a story about walls the stories they could tell if they could talk, from how some walls kept people out to how they became symbols of dreams, memories and fear. Talking Walls has won honors, including the Boston Globe’s Top 25 Non-Fiction Children’s Books, and winner of a Mom’s Choice Gold Award. (Tilbury House, $9.95).

Daddy Played the Blues

Follow Cassie as she travels with her family moves to Chicago from the South, and music, particularly Blues, travel with them throughout their journey. Daddy Played the Blues is a picture book tribute to the African-American odyssey for social and economic justice, and how music was a rich part of the daily lives of Black people. Written and illustrated by Michael Garland. (Tilbury House, $17.95).

Little Humans

Written by street photographer and storyteller extraordinaire Brandon Stanton, this 40-page picture book combines some of his favorite children’s photos with a heartwarming ode to little humans everywhere. (Farrar, Straus and Giroux, $17.99).

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‘Comics, graphic novels, and literature in general have always been a voice and vehicle’

A longtime teacher and supporter of the Mint Museum, artist Wolly McNair creates stories through his illustrations. McNair’s “Black Hornet” and “of Peace of War” illustrations were featured as part of the 2019 Never Abandon Imagination: : The Fantastical Art of Tony DiTerlizzi exhibition at Mint Museum Randolph. He’s also has been an active instructor with The Mint Museum’s Grier Heights Community Youth Arts Program since 2009.

Wolly McNair is a Charlotte-based illustrator. His illustrations, “Black Hornet” and “of Peace of War,” were part of the Mint Museum Randolph exhibit, “Never Abandon Imagination: The Fantastical Art of Tony DiTerlizzi.”

McNair found a love for drawing as a child, and received ample encouragement from his family. He created a business to include character design, story-boarding, animation, writing and illustrating for local and national companies. He self-publishes through his brand GOrilla Bred Publishing and currently is working on a couple of his own “intellectual properties.”

“One is a sorta of ‘what if’ story called Super Bastard. Every aspect of the name plays into the DNA of the story. It deals with the idea of power meeting endless power. What happens when the voiceless finally gain a voice and can enact real change by any means chosen. No more asking,” McNair says. “Using super heroes allows it to be entertaining while having a message and not become preachy. I think comics, graphic novels, and literature in general has always been a voice and vehicle to that can place people from different walks of life in the shoes of those they least relate to. See the stories and life of others, be it fantasy or reality.”

If that wasn’t enough, he’s also reworking his graphic novel Fairy Tale Knights that he wrote for his daughter after realizing there weren’t many comic books featuring Black characters. He also is working on a follow-up to his single-issue comic King Supreme. “It is more of a traditional comic in aesthetic feel, but nontraditional in some of its subject matter and content.” McNair shares more about his art and how art is a catalyst for change.

An illustration from the follow-up to “King Supreme,” one of McNair’s latest projects.

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Tell us about the type of art you create.

My work is normally illustration based, but I often work both digital and traditional combining paint, markers, watercolor with digital colors to add texture. On a day-to-day basis, though, I work digital. Professionally I illustrate graphic novels, create worlds for character settings, concepts for characters in film, gaming, and comics.

My more gallery-based work is often larger in scale, and I typically do work that has lots of varied symbolism in it. Some things are literal, while other elements have a reason or meaning for placement. I often do several pieces in a small series with a central, connecting theme. Because I work in a character-driven world, and the world itself is but a stage full of characters, most of my gallery work also has a heavy character-driven base to it. 

Algorithms of B3AR by Wolly McNair

What do you want your art to say to America today, and what conversations do you hope it may spark?

The same as I would have probably wanted 10 years ago, and not just to America, but to the world. That we as a people (Black people or whatever term is considered appropriate) have a varied voice, have a beautiful hidden and forgotten history, and a terrible covered-up and watered-down history, and have influenced culture since there was such a thing. I want people to stop, maybe admire, maybe question, maybe reflect, maybe actually see … then ask questions, listen. Each piece, each series of pieces, all speak to different things, and I rarely completely explain my work cause lots of it is self explanatory, but I also want people to gather their own honest thoughts and start the conversation from there. 

How do race, place, and your environment influence your art?

Race and environment have an influence because both are a part of who and where I am, have been, or plan to be. As the world changes or stays the same, so do the reflections in my art. But the history is always shared as I learn and grow, coming from the background I grew up in, that places a roll in detail, the way I may position elements of a piece, or what I may decide to speak on. Not only I am influenced by these things, I also try to use these elements of who I am and where I am from to influence others in a creative and positive way. 

Are you finding new inspiration for your art during these current events?

Current events are actually the same events, just a different timeline. Many of the things happening have happened so many times before. Some of the “changes” are good to see, but mirror things of the past. I have hope that it will ultimately play out differently, and we are not right back here again. I still create, but I don’t want to create only as a result of another life lost, a continued struggle, racism or classism — I have over 400 years of history to use for that type of influence. I can, and do, create from that space without needing more of it. This doesn’t mean the fight is given up, it just means these events — good and bad — shouldn’t have to keep repeating. I’d rather get inspiration from seeing and knowing my kids won’t have to go through this and can live a happy life. Seeing them smile, not cry, not be afraid, not have to be strong would be so much more inspirational.

What positive perspective changes in society would you like to see evolve from the protests, pandemic and social struggles of now?

I just want to see a power shift. Power to the people. We already have a positive perspective or we wouldn’t keep getting up everyday, but I understand that those in true power have to come to an understanding, or no longer hold those positions, for the change to actually come and stay intact. I have seen people who only viewed life from where they sit come to realizations from my own personal conversations, and that was good to see.

More allies. I just want to see things handled better, artists of color given fair chances to speak and be properly compensated, voices amplified, corruption called out, and the people standing for each other instead of over each other. 

lOckS by Wolly McNair.

How do you believe art can be a positive influence on kids?

Art helps kids find a voice. I teach kids to use it to express even if they don’t want to actually say the words out loud yet. Art helped me to write, and writing helped to add to my art and the stories I wanted to tell. Art allows an escape as well. It opens up the mind, and it teaches discipline for many — patience and perseverance. Most importantly, it allows expression. I simply think it is needed, maybe not for every child, but it can be a lifesaver or game changer for many. Even in simply teaching kids how art can be used daily, and the options that are out there, at an early age can help them figure out the path that works for them, and test options as they grow. 

What are you reading, watching, and listening to these days?

I’m not reading much, other than the autobiography of Malcom X. I am listening to James Baldwin a lot lately, and Fred Hampton speeches, and Malcom debates and speeches. I go back to them from time to time. I have a stack of comic books and graphic novels that I haven’t read for mixed reasons, in part due to things I’m currently working on and not wanting to have any other creative elements that aren’t mine creep in.I listen to a lot of instrumental music, including Future Garage/Wave stuff — Nipsey Hussle, Lil baby. I listen to a wide range of things as I work based on where I want my mind to be. My son also creates his own music, so I listen in on it. My daughter is learning piano, so I listen to her. She’s self-teaching at age 9. They prove to me what is possible. I guess I am creating things that hopefully will aid others in the future more than anything.If I do watch anything, it’s the TV show Goodtimes, documentaries, an anime, or Property Brothers or something about buying or renovating houses. It is a different world for a few minutes per day.

Who are you following on social media right now, and why?

I follow a few people of course, but I honestly just float through looking at random things and seeing what catches my eye. There are tons of dope artists out there doing cool things.[/vc_column_text][vc_empty_space height=”16px”][vc_separator][vc_empty_space height=”16px”][vc_column_text]

The Mint Museum From Home is Sponsored by Chase.

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Show your love with tie-dye hearts

This is a fun and easy project that can be used to share messages of hope and support with those you love. [/vc_column_text][vc_empty_space][vc_row_inner][vc_column_inner width=”1/2″][vc_single_image image=”38841″ img_size=”full” alignment=”center”][/vc_column_inner][vc_column_inner width=”1/2″][vc_column_text]SUPPLIES: 

• Paper coffee filters
• Markers
• Scissors
• Glue
• Spray bottle for water
• Sharpie (optional)
• Protective table covering (ink from the markers will bleed through the coffee filter) 

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Instructions:

[/vc_column_text][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]1. Use your markers to create designs and patterns on the coffee filters. [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”38842″ img_size=”large”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]2. When you are finished, place coffee filters on an old towel or disposable table covering. Spray the coffee filters lightly with water. Start with just a few sprays and watch the colors spread. You only need to spray one side. (Be careful not to use too much water or all your ink will bleed out.) [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”38843″ img_size=”large”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]3. When the coffee filters have dried, fold them in half and cut out the shape of half a heart with the fold down the center. [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”38844″ img_size=”large”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]4. Put glue around the edge of one side of the heart. Use small pieces of crumpled-up filters or recycled paper as stuffing. Place the top filter over the stuffing and press down on the glued edges to form a pocket. [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”38845″ img_size=”large”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]5. Add glue to the other side of the heart, add a few more pieces of crumbled paper, and press seams together.Let glue dry. 

 [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”38846″ img_size=”large”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner width=”1/2″][vc_column_text]6. Write a word to reflect on or a message to share with someone you love. [/vc_column_text][/vc_column_inner][vc_column_inner width=”1/2″][vc_single_image image=”38840″ img_size=”large”][/vc_column_inner][/vc_row_inner][vc_row_inner][vc_column_inner][vc_column_text]Challenge: Make several more hearts and string them together to form a garland or banner. 

Simplify: Pre-cut filters into heart shapes. [/vc_column_text][/vc_column_inner][/vc_row_inner][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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Latin Music @ the Mint

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13 socially-conscious artists that deserve a follow now on Instagram

If you’re looking to bring something new into your Instagram feed, may we suggest these socially conscious artists. Some are people of color, and all allies of #BlackLivesMatter using their voices (and social media feeds) to bring new perspectives and first-hand insight to culturally important topics.

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Hank Willis Thomas

@hankwillisthomas, 124K followers

His sculpture art is large and poignant, and his IG page follows with images and commentary that call for social justice and a deep look at systemic racism in America. Brooklyn-based, he works primarily with themes related to perspective, identity, commodity, media, and popular culture.

 

View this post on Instagram

 

A post shared by ᕼᗩᑎK (@hankwillisthomas) on Jun 17, 2020 at 9:58am PDT

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Simone Leigh

@simoneyvetteleigh, 53.8K followers

Simone Leigh is an American, black female artist based in New York City by way of Chicago who strives to undo cultural assumptions about black women’s life and work. Her artwork is influenced by African and African American art. She posts stunning photos of her sculptures, as well as artwork that speaks to racial activism today and throughout history.

 

View this post on Instagram

 

A post shared by Simone Leigh (@simoneyvetteleigh) on Jun 18, 2020 at 8:25am PDT

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Dammit Wesley

@dammit_wesley, 12.8K followers

One of the artists who created the Black Lives Matter street mural in uptown Charlotte, Dammit Wesley is the founder and force behind BlkMkrt CLT, the art gallery at Camp Northend in Charlotte that represents artists of color. He is a black, multidisciplinary artist, whose work “provides context and commentary on the black experience through the lens of pop culture” (Elsewhere). His work is thoughtful, albeit sometimes brash, but without apology. He was also part of the Mint Museum’s Battle Walls event in the summer of 2019.

 

View this post on Instagram

 

A post shared by Dammit Wesley (@dammit_wesley) on Jun 22, 2020 at 7:01pm PDT

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Owl and Arko

@owl.clt, 4.8K followers

@arko.clt, 4.5K followers

Colombian-born, Charlotte-based, Owl posts images of her work, as well as images of other artists’ work, including her partner, Arko, and positive messages that encourage change, equality, and respect. Owl is also the creator of the mural walls in the current exhibition Classic Black: The Basalt Sculpture of  Wedgwood and His Contemporaries at Mint Museum Randolph.

 

View this post on Instagram

 

A post shared by Owl (@owl.clt) on Jun 5, 2020 at 10:29am PDT

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John Hairston Jr. 

@jagolactus, 6.9K followers

A UNC Charlotte professor, freelance artist and illustrator, John Hairston Jr. is well-known in the Charlotte arts community for his graphic arts and graffiti style that blends social commentary and political satire.

 

View this post on Instagram

 

A post shared by John Hairston Jr. (@jagolactus_) on Jun 3, 2020 at 9:40am PDT

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Arsham Studio 3020

@danielarsham, 728K followers

Sculptor Daniel Arsham’s IG posts are complemented by his social commentary. Recently he and artist Samuel Ross’s came together to provide $3,000 grants to 10 black artists in an effort to showcase under-represented creatives from around the world.

 

View this post on Instagram

 

A post shared by ARSHAM STUDIO 3020 (@danielarsham) on Jun 15, 2020 at 9:14am PDT

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Ola Ronke Akinmowo

@thefreeblackwomenslibrary, 41.8K followers

Ola Ronke Akinmowo is a Brooklyn-born artist and community activist. She started the Free Black Women’s Library to amplify the voice of black women and to bring their stories into the spotlight. She posts books to read, updates on the library, and other great content supporting black women and writers.

 

View this post on Instagram

 

A post shared by OlaRonke (@thefreeblackwomenslibrary) on Jun 19, 2020 at 3:10pm PDT

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Shane Pierce

@abstractdissent, 4.1K followers

Shane Pierce, aka the mural artist, Abstract Dissent, posts pictures and videos of his work. Many of his murals are responses to events like George Floyd’s murder and the pandemic, and he calls for change and unity.

 

View this post on Instagram

 

A post shared by SHUG_NPC_Abstract Dissent (@abstractdissent) on Jun 6, 2020 at 5:20pm PDT

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Nico Amortegui

@nico_malo1, 2.5K followers

A Colombian artist living in Charlotte, Nico Amortegui is a ceramic artist and painter whose art is rooted in being an immigrant. He moved to the U.S. at age 17 from Bogota, Colombia and lived undocumented for some time. In his bio online, he states: “Being forever between two cultures has shaped my views and molded the themes of my pieces. I consider myself 100% Latino – equally Colombian and American.” He even made a mask to fit on top of his mask during the COVID-19 pandemic. 

 

View this post on Instagram

 

A post shared by Nico Amortegui (@nico_malo1) on May 2, 2020 at 1:43am PDT

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Angelik Vizcarrondo-Laboy

@angelik.wiki, 1.6K followers

A curator, writer, and speaker who currently serves as the Assistant Curator at the Museum of Arts & Design (MAD) in New York City, Angelik shares works of art and promotes the talents of artists of color, and started a regular POC Artist series on her Instagram page. Her profile is full of bright colors and beautiful works. 

 

View this post on Instagram

 

A post shared by ??????? ???????????-????? ??✨ (@angelik.wiki) on Jun 16, 2020 at 2:34pm PDT

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Bree Stallings

@breequixote, 3.8K followers

A professional artist and muralist based in Charlotte, Bree Stallings is active in the local art scene most recently helping to raise money for local organizations through the sale of her art. She was also part of Battle Walls at Mint Museum Randolph in 2019, and is the creator of the To be Seen and Celebrated solo exhibition.

 

View this post on Instagram

 

A post shared by Bree Stallings, Artist (@breequixote) on Jun 14, 2020 at 6:23pm PDT

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Stella McCartney

@stellamccartney, 6.3M followers

“Yes the designer, who has amazing posts,” says Mint curator Annie Carlano. The Stella McCartney IG page is fashion forward, but to support #BlackLivesMatter protests and campaigns, the platform was used as a way to learn from, listen to and amplify black voices, and amplify the voices of diverse women.

 

View this post on Instagram

 

A post shared by Stella McCartney (@stellamccartney) on Jun 20, 2020 at 8:13am PDT

Fill your shelves with these books that educate about race, anti-racism and inequality

The Hate U Give by Angie Thomas is the story of the killing of a young unarmed African American man by a white police officer, and its aftermath, told by his childhood friend, Starr. She is also the only witness to the shooting. Although this book is a work of fiction, the story drives home the real effects of systemic and institutional racism, as well as putting a very human face on events that are occurring far too often in real life. Starr’s world is very different from my own, and I chose this book because I wanted to stretch beyond my comfort zone. My takeaway is that there is much work to be done and it’s time to do it. —Ellen Show, archivist

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Race and Reunion: the Civil War in American Memory by David Blight. This book is about the consequences of ignoring racial justice after the Civil War in favor of reconciliation or reunion amongst white northerners and southerners. Importantly, Blight talks about how public monuments — among other things — perpetuated white supremacy. It makes one look differently about the importance of contemporary public monuments like Kehinde Wiley’s Rumors of War, a direct response to Confederate monuments. —Joel Smeltzer. head of school and gallery programs

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Me and White Supremacy by Layla Saad. The idea behind this book began as an online call for accountability. In 2018, Saad hosted a free month-long Instagram campaign where she asked folks to share the ways in which they, knowingly or not, had upheld white supremacy. She expected resistance and reluctance. Instead, she was blown away by a worldwide outpouring of self-examination and admission. She turned that into a workbook which eventually led to the book, a manual for understanding white privilege and participation in white supremacy so that we might stop our harmful actions against BIPOC and help others do the same.

Between the World and Me by Ta-Nehisi Coates. Named Esquire’s best book of the 2010s, Between the World and Me is the spiritual successor to Baldwin’s The Fire Next Time. Coates book is an impassioned letter to his teenage son. Coates recalls his gradual awakening to the bitter truth of racism as he eloquently voices the concern of parents everywhere who fear that their children of color will inherit a world broken beyond hope of redemption. In heralding Coates’ arrival as one of our most gifted and necessary public intellectuals, Toni Morrison put it best: “I’ve been wondering who might fill the intellectual void that plagued me after James Baldwin died. Clearly it is Ta-Nehisi Coates.”  —Todd Herman, CEO

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So You Want to Talk About Race by Ijeoma Oluo is so engaging and educational. Oluo covers so many race-related topics, from offering definitions of what racism is, to explaining the school-to-prison pipeline, microaggressions, and cultural appropriation. She navigates these topics with personal stories, real examples, and as a white person I feel like this is exactly the book I should and need to be reading right now to educate myself. — Jen Cousar, graphic designer

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White Fragility by Robin DiAngelo. Published 2018, The New York Times best-selling book exploring the counterproductive reactions white people have when their assumptions about race are challenged, and how these reactions maintain racial inequality. Download the reader’s guides here. —Lyndee Champion Ivey, executive assistant

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I was invited a few years ago to join a book club of women connected mostly through children and one particular friend. I love meeting new women, but was particularly drawn to this group because the books they chose to read all related to understanding our white selves and how we drift through the days without racism in our hearts but also without wholly recognizing the systemic parameters that exist. Two books we read that I particularly like are I’m Still Here: Black Dignity in a World Made for Whiteness by Austin Channing Brown, and Behold the Dreamers: A Novel by Imbolo Mbue. Each book, in very different ways, shines a light on the misconceived American dream and how different it is for a person of color.

Behold the Dreamers, is the story of two families: one an immigrant family from Cameroon who believes life will be better in America, and the other a wealthy white family living in New York City. It’s a stark contrast of lifestyles, beliefs and culture. I’m Still Here is an eye-opening first-person account from a black woman navigating majority white schools, organizations, churches and corporate America, and how it affects everything in her life. —Michele Huggins, media relations and communications project manager

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Tune in

Liberate Meditations. Liberate is a Meditation app for black, indigenous, and people of color community. Over 50,000 people use Liberate to reduce anxiety, stress less and sleep better. I chose this resource in an effort to listen and learn about how to connect people through the art and meditation. Art is communication, it allows people from different cultures and different times to communicate with each other via images, sounds and stories. While we are all being proactive to make needed change, its important to remember that art can be healing. —Diane Lowry, guest services associate

HB2 Squirrels shake up expectations of social norms,  shine spotlight on LGBTQIA+ issues

HB2 Squirrels, a pair of gender-symbol-wielding squirrels covered in multicolored war paint greet visitors in the main entryway of Mint Museum Uptown. The squirrels, part of The Mint Museum collection, pose a striking opposition to expectations of social norms and what one expects to be met with in a museum.

Michelle Erickson. “HB2 Squirrels,” 2016, salt-glazed stoneware, porcelain slips. Museum Purchase: Funds provided by the Charles W. Beam Accessions Endowment. 2019.3a-b

The HB2 Squirrels were inspired by North Carolina’s House Bill 2, commonly referred to as the “bathroom bill.” HB2 required residents to use the bathroom in public facilities that matched the gender on their birth certificate, launching a national outcry over civil liberties. The bill was criticized for impeding the rights of transgender people and other people in the LGBTQIA+ community who do not identify strictly within the gender binary, and was later repealed by N.C. Governor Roy Cooper.

Artist Michelle Erickson, outraged, took to her potter’s wheel. The result: two salt-glazed stoneware squirrels, grasping the gender symbols—one drenched in the colors of the American flag, the other in the colors of the LGBTQIA+ rainbow flag. “Congressional acts are temporary,” she says “but art is forever.”

The composition of the squirrels also was crucial. The squirrels face each other, seemingly holding their assigned gender symbols as weapons used to fight one another. The female symbol, a circle with a cross stemming down, is inverted and held by the squirrel to mirror the way the male symbol is held. Erickson said inverting the symbol was a call to uprooting the traditional view of women as a shield. 

The color of the squirrels is also indicative of the message being sent. Both have rainbow colored lines covering their face and body. Erickson said she wanted to use the rainbow motif instead of the colors of the transgender flag, to place a gentle reminder that transgender individuals are included as a part of the LGBTQIA+ community.

The squirrels also have different base bodies. The choice to make one black and one white was a conscious decision to ground it in societal tensions involving race, and to highlight the different viewpoints that stem from race within the LGBTQIA+ community.

When working with a new piece Erickson says she “allows the work to take [her.]” She starts with a design, but as the piece of clay is being shaped, it gradually takes on a new form. The overall product is as much a reflection of the process as it is the original idea.

HB2 Squirrels are a part of the past and present, she says, representing the processes of the Moravian potters, as well as speaking to the heightened political atmosphere surrounding LGBTQIA+ issues, and specifically the HB2 bill that was introduced in North Carolina in 2016. The resulting work of art challenged norms through revitalizing old processes and questioning societal implications.

The idea that became the HB2 Squirrels began as a study of a set of figural bottles from the 18th or 19th century. Erickson says the bottles originally intrigued her due to their lack of clear function and their unique construction. The bottles’ unglazed interior and overall shape indicated that they were made using a cast or mold. During her artist residency  at STARworks, Erickson began using traditional techniques with salt-glazed stoneware to see if she could create a similar design. The original designs of the squirrels were modified to be reflective of the modern era.

Sphere Series: Responsibility of Representing with Linda Foard Roberts

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Must-watch shows that reflect on racial identity, protest, and the ongoing fight for equal rights

Race-born conflict and inequity throughout history affect the turmoil of today. The Mint Museum believes in helping bridge conversations about racial identity and history — especially some of the lesser-known events and people — that have shaped our society. These TV series, videos and movies are stories of heroes, antagonists, protest, artists and collaborators that we hope inspire cultural understanding.[/vc_column_text][/vc_column][/vc_row][cs_divider][vc_row][vc_column][vc_column_text]

Courtesy of Netflix

I Am Not Your Negro

Using James Baldwin’s unfinished final manuscript, Remember This House, this documentary follows the lives and successive assassinations of three of the author’s friends, Medgar Evers, Malcolm X and Martin Luther King Jr., delving into the legacy of these iconic figures, and narrating historic events using Baldwin’s original words and a flood of rich archival material. An up-to-the-minute examination of race in America, this film is a journey into black history that connects the past of the Civil Rights. —Todd Herman, CEO of The Mint Museum[/vc_column_text][/vc_column][/vc_row][cs_divider][vc_row][vc_column][vc_column_text]

Just Mercy

Just Mercy is a great film to really get a sense of what systemic racism looks like in America, particularly relative to innocent African-American men being falsely accused, sentenced, and put on death row for a crime/s they didn’t commit. Without Attorney Bryan Stevenson’s efforts, through seemingly hopeless situations, many would not have been released. Over 140 falsely accused men on death row have been set free, and some had been incarcerated for decades.” —Rubie Britt-Height, director of community relations

Another must-watch: Juneteenth Jamboree (A PBS special)

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Free White and 21

While working from home, I’ve done some research on artists, one being Howardena Pindell. I was really drawn in by her life story and how it informed her art. As a black female artist in the 60’s and 70’s, she experienced racism and sexism in her work life and in trying to find representation as an artist. In 1980 she was in a near fatal car accident that left her with memory problems. In an effort to try to piece her life and memory back together, Pindell set up a video camera in her apartment and created a  piece titled Free White and 21 in which she recites details of her experiences with racism, both personally and professionally, juxtaposed by herself, in whiteface echoing phrases she had heard as a woman of color. The video was not widely able to be seen at the time but is now considered groundbreaking in the realm of video art. At 77 she is still a working artist and activist and her works have been shown all over the world. She also talks about the racism she has experienced throughout her life and some of her thoughts and reactions to it in this Wonderroot podcast. —Patti Schigoda, family and studio programs associate

Another must-watch: Robin DiAngelo discusses White Fragility[/vc_column_text][/vc_column][/vc_row][cs_divider][vc_row][vc_column][vc_column_text]

Courtesy of IMDB

Mrs. America

Mrs. America follows the female leaders of the Equal Rights Amendment, as well as the brigade of suburban housewives, led by Phyllis Schlafly, that created a nationwide campaign to keep the ERA from passing. Each episode spotlights a central character in the movement, including Shirley Chisholm (Uzo Aduba), Betty Friedan (Tracey Ullman), Bella Abzug (Margo Martindale), Gloria Steineim (Rose Byrne), and Phyllis Schlafly (Cate Blanchett). It’s story of political challenges, conquests, protests, and setbacks for women—black, white, Latino, gay and straight—fighting together for equal rights. Perhaps more importantly, it’s the lesser-known story of Phyllis Schlafly, who used conservative politics for personal gain, and to preserve things just as they were. (Sidenote: Casting and costume is spot on). —Michele Huggins, communications and media relations project manager

Another must-watch: Watchmen series (free on HBO June 19-21 to celebrate Juneteenth)[/vc_column_text][/vc_column][/vc_row][cs_divider][vc_row][vc_column][vc_column_text]

codelisten.org

Code Listen

I’ve been thinking about Gerhard Richter’s quote, “Art is the highest form of hope.” I recently came across the work of Shaw Pong Liu, an artist/musician from Boston. She uses music and performance to encourage healing and dialogue around violence, racism, and police practices. Code Listen is a collaboration with the Boston Police Department, teen artists, family members of homicide victims, and local musicians. Her work breaks down barriers, builds trust, opens conversation, and gives hope to all human beings. —Maggie Burgin, public programs coordinator

Code Listen Police-Youth Music-Dialogue Workshops 2016 (excerpt) 

Code Listen: Music for Healing and Dialogue 2018 (excerpt)

Another must-watch: 13th

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James Baldwin and William F. Buckley Debate

If you’ve never seen the famous James Baldwin v. William F. Buckley debate from 1965, do yourself a favor and watch it here on YouTube. In the highly publicized debate held at the Cambridge Union, Baldwin—a renowned African-American writer and orator—faced off against Buckley, a white symbol of wealth and prosperity known to most at the time as the founder of modern American conservatism. In the debate, Buckley downplayed systemic racism, arguing that the black community itself was largely to blame for its lack of economic growth, while Baldwin argued that “the American Dream is at the expense of the American Negro.” Fifty-five years later, their words are prescient, and the debate will undoubtedly leave you with a lot to think about—and some chills. Baldwin’s performance is masterful. —Caroline Portillo, director of marketing and communications

Another must-watch: Do the Right Thing[/vc_column_text][/vc_column][/vc_row]

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Celebrating Juneteenth with community discussions, music, storytelling and more

We are entering a new age in our country, where many are opening their eyes, affirming that #BlackLivesMatter, and educating themselves on the still very current issues of racism in America. With these conversations has come the recognition and awareness of Juneteenth. On June 19, 1865, Major General Gordon Granger brought news to Galveston, Texas that the war had ended and that the enslaved were free. This news was delivered two years after the Emancipation Proclamation, and symbolizes the news finally reaching the whole country.

In honor of Juneteenth, and the continued work that is needed to end systemic racism in America, cultural organizations and community groups across Charlotte are hosting programs from block parties and food drives to panels and family days. We encourage everyone to join virtually or in-person (with social distancing, of course), and let the history, creativity, and celebration inspire you to continue learning and doing the work to put an end to racism in our country. 

June 19

The 23rd annual Juneteenth Festival of the Carolinas will be held June 19-21 from 10 AM to 8 PM at House of Africa in Plaza Midwood. Attendees can expect a multi-cultural celebration filled with drum circles, local vendors, performances, as well as an open mic. The event is free, and social distancing measures will be honored.

Levine Museum of the New South is hosting a virtual Juneteenth celebration for families from 9 AM to 5 PM. The festivities can be accessed via the museum’s Facebook and Youtube channel, and will feature spoken word, storytelling, history, and music. Visit the website to view the schedule of performances and talks. 

Charlotte Mecklenburg Library invites ages 12 and older to the virtual Engage 2020: Juneteenth Lunch and Learn noon to 1:30 PM. Learn more about the past, present, and future of civic engagement. Special guest Elisha Minter will reflect on Juneteenth celebrations in Charlotte. Register with a valid email address and the meeting link will be sent a few hours before the program begins.

The Harvey B. Gantt Center for African-American Arts + Culture is hosting an art workshop with artist and educator Alicia L. McDaniel from 3-4 PM, This event is free and people of all ages are encouraged to participate. For more information on supplies or how to join in, visit the Gantt’s website. 

Charlotte Ballet is offering free admission to its regularly scheduled intersession classes (different classes taking place at 3 and 4 PM) and ask that participants donate money that they would have spent on attending the class to an organization that is doing work to advance racial equality in Charlotte or nationwide. More information and class schedules can be found on the Charlotte Ballet website.

From 5-8 PM, the Coalition for a New South is hosting a food truck rally at Hornets Nest Park on Beatties Ford Road. The socially distanced event will be filled with food, music, and speakers. It also serves as a space to remember victims of police brutality and an event to call participants to anti-racist action. More details and park location can be found on the Facebook event page for the gathering. 

June 20

SEAS University, Unitymarkets, and Riziki Zafira together are hosting a Juneteenth Social Distance Community Celebration, filled with community vendors, live entertainment, give-aways, and more. The family-friendly event takes place from noon to 4 PM, and then transitions into a day party for adults from 4-8 PM. The event is free, and more information can be found on the event Facebook page.[/vc_column_text][/vc_column][/vc_row]

5 works of art selected for Interactive CLT augmented reality series

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