Peggy Culbertson

It is with a heavy heart that we honor the legacy of Peggy Culbertson, a beloved member of The Mint Museum family. Peggy, alongside her husband Bob Culbertson, has been a cornerstone of the community for over six decades, generously supporting the museum through unwavering support and dedication. Peggy’s grace, kindness, and keen eye for art were not just qualities admired by those who knew her—they were gifts she shared with the entire museum community.

Strong believers in the value of family and community, the Culbertson Family Learning Center at Mint Museum Uptown stands as a testament to their passion for art education and their commitment to enriching the cultural landscape of Charlotte for all ages.  As a charter member of the Founders’ Circle and founding member of Crown Society, Peggy left an indelible mark on the museum, shaping its growth and ensuring its future for generations to come.

Peggy’s tenure as a board trustee from 1995-1998 and 1999-2002, coupled with her recognition as a Mint Museum Spirit Award winner, exemplifies her deep connection and enduring influence. She and her husband also donated or helped to purchase over a dozen works of art that are part of the museum collection, including the outstanding and historically significant work Selma by artist Barbara Pennington.

Her passion for service in the community manifested in the private and public sectors. In the public sphere, she was first female Chair of Charlotte-Mecklenburg Planning Commission. She served on the board for the Charlotte-Douglas Airport Board of Advisors, the Fourth Ward Historic District Commission, as a Johnson C. Smith University trustee, a Children’s Theatre advisor, and many other roles throughout the community. She also received a Lifetime Achievement award from the Girl Scouts Hornet’s Nest Council, a Charlotte Woman of the Year award, and was author of two books: “Southern Sampler: Women of Courage” and “White Girl: A Memoir of Race and Gender.”

We are immensely grateful for Peggy’s contributions and her support for arts and culture in Charlotte. Her spirit will always remain a part of The Mint Museum, a legacy of beauty, kindness, and generosity that will never be forgotten.

— Michele Huggins, associate director of marketing and communications

 

 

Maya Goded (1967- Mexico City). “Iquique, Chile,” 2022, digital print. Museum purchase with funds provided by Allen Blevins and Armando Aispuro, and Betsy Rosen and Liam Stokes.

Documenting the lives of women lost in the shadows

By Jen Sudul Edwards, PhD

For the past three years, the Mint has been building a significant portfolio of works by Mexico City-based photographers Graciela Iturbide and Maya Goded. Over the decades, the two photographers have created revealing, poignant, and powerful images that examine the intersection of contemporary life and centuries-long practices throughout North and South America.

The artists, who are a generation apart in age, both grew up in Mexico City and have worked in various places throughout the world. Their primary focus, however, has been indigenous communities stretching from Los Angeles to Chile. Over decades of exploring communities, whether urban or isolated, Iturbide and Goded have found women as the consistent force holding these fragmenting societies together.

The exhibition Women of Land and Smoke: Photographs by Graciela Iturbide and Maya Goded (Las Mujeres de Tierra y Humo: Las Fotografías de Graciela Iturbide y Maya Goded), opening November 23 at Mint Museum Randolph, includes over 50 photographs that present an overview of Iturbide and Goded’s careers that span the Americas.

The exhibition is primarily drawn from The Mint’s collection, and celebrates a recent gift from Allen Blevins and Armando Aispuro, and Betsy Rosen and Liam Stokes that allowed the museum to purchase significant portfolios by both photographers.

 

Maya Goded

Born in Mexico City in 1967 to political activists (her mother immigrated from New York City), Maya Goded has long sought out the unseen or actively ignored people in our spaces: prostitutes, the missing, laborers, healers. Goded’s photographs feature women whose essential roles are supporting and sustaining communities but are considered dispensable when it comes to their care and protection. 

Over the last decade, Goded noticed that the healing practices women traditionally used on the sick in their communities were increasingly turned to the land on which they lived. Decades of strip mining, nuclear testing, and chemical dumping had poisoned the earth and water in many Central and South American countries Goded documented. As a result, the portfolio of images the Mint has collected includes many ways in which women’s bodies move through the world with the attempt to heal.

The photographs featured here are an overview of Goded’s work that will be included in Women of Land and Smoke.

Learn more about Graciela Iturbide and her portfolio in the next issue of Inspired.*

Jen Sudul Edwards, PhD, is chief curator and curator of Contemporary Art at The Mint Museum.

*This article originally appeared in the Fall 2024 issue of Inspired magazine, the Mint’s member magazine.

By Jonathan Stuhlman, PhD

One of the things that I enjoy most as a curator is discovering and learning about artists and works of art that are new to me, and then sharing what I’ve found with museum visitors. The exhibition Southern/Modern is the result of this curiosity. 

Nell Choate Jones (1879-1981). Georgia Red Clay, 1946, oil on canvas. Morris Museum of Art, Augusta, GA. 1989.01094

While the South’s contributions to American literature and music during the first half of the 20th century have long been recognized, the region’s visual arts have remained underappreciated. A curator at The Metropolitan Museum of Art famously scoffed in 1949, “little of artistic merit was made south of Baltimore.” To date there have been very few major exhibitions to survey the region’s art, and none that have focused on the modern period during which the South has traditionally been seen, as noted by The Met’s curator, as a kind of artistic backwater.

The inception of an exhibition

While the general public likely does not consider the time it takes to bring a special exhibition to life, the fact is that most are the product of years of behind-the-scenes work. This can involve visits to other museums and private collections, preparing grant applications, creating object checklists, drafting loan requests, working with authors and publishers, and more — and that’s all before the art even arrives in the building! A typical exhibition containing numerous loans like Southern/Modern likely takes a minimum of three to four years to develop. Southern/Modern, however, has been in the works for over a decade!

Elaine Kooning (1918-89). Black Mountain #6, 1948, enamel on paper mounted on canvas. The Heckscher Museum of Art, Huntington, NY. Museum purchase. 1991.20.

I began thinking about this exhibition in 2008 as I got to know the Mint’s collection in depth in preparation for its reinstallation at the soon-to-open Mint Museum Uptown. As I dug into the Mint’s holdings and began to meet other colleagues at museums in the region, I found myself constantly surprised to encounter outstanding works of art by artists from the South who I had not heard of and who were not part of the mainstream history of American art. I thought that the best way to share this knowledge would be to organize an exhibition that brought together the best of this work, which had been studied and exhibited within the region but not benefitted from being brought together and seen as a whole.

To ensure that we were creating an inclusive and comprehensive survey, co-curator Martha Severens and I crowdsourced colleagues across the Southeast asking for feedback on our initial checklist to see what was missing. We also decided that while the majority of the artists in the exhibition lived, worked, and taught in the South, it also would be important to include the work of others from outside the region who created meaningful bodies of work based on their experiences and time in the South, such as Thomas Hart Benton, Jacob Lawrence, and Eldzier Cortor. We also included artists like Romare Bearden, who left the South at an early age but whose work consistently referred to his memories and experiences in the South. With many conversations and a great deal of research, Southern/Modern came together. 

While some of the work in Southern/Modern shows artists engaging with modernism by pushing their works towards simplification of form, bold coloration, and ultimately abstraction, many of the artists focused on addressing topics relevant to the era. Their works were “modern” in the progressive sense of calling attention to contemporary issues and often advocating for social change. Race, gender, urban growth, industrial development, land use and the environment, religion, family, social change, class differences … all of these topics can be found throughout the exhibition.

Carroll Cloar (1913-93). “A Story Told by My Mother,” 1955, casein tempura on Masonite. Memphis Brooks Museum of Art, Memphis, TN. Bequest of Mrs. C.M. Gooch. 80.3.16. ©Estate of Carroll Cloar.

The exhibition not only depicts life in the South then, but makes apparent how relevant these same issues in the South are today. It features 100 paintings, prints, and drawings, gathered from over 50 public and private collections, which are significant for both their artistic merit and subject matter. We hope that after visiting Southern/Modern you will have a better appreciation for the powerful art created in the South during the first half of the 20th century and be inspired to think more about your own relationship to the South and what it means to be a “modern” Southerner in 2024.

Southern/Modern is generously presented in Charlotte by Wells Fargo and the Dowd Foundation. Major support for the tour and exhibition catalogue are provided by the Henry Luce Foundation, the Terra Foundation for American Art, the Wyeth Foundation for American Art, the National Endowment for the Arts, and the Betsy and Alfred Brand Fund at The Mint Museum. Individual sponsorship is kindly provided by Julie Boldt and Dhruv Yadav, Lucy and Hooper Hardison, Posey and Mark Mealy, and Rocky and Curtis Trenkelbach.

Jonathan Stuhlman, PhD, is the senior curator of American Art at The Mint Museum.

This article originally appeared in the fall 2024 issue of Inspired magazine, the Mint’s member magazine.

By Michele Huggins

The passing of Katherine “Kat” Roddey Whitner McKay Belk Cook on August 30, 2024, marks the end of an era for those who were touched by her remarkable spirit. Her life was a tapestry woven with threads of grace, generosity, and steadfast commitment to the arts community.

Katherine “Kat” Belk

“Kat loved the arts and loved Charlotte, which she made apparent in her long and generous support of The Mint Museum and its programs,” says Mint CEO and President Todd Herman, PhD. “Her laugh and smile were her trademarks.”

Kat’s contributions were both visionary and tangible. Her involvement with The Mint Museum began in 1988 as a member of the Board of Trustees, serving with distinction in various roles, including as an Executive Committee At Large Member from 1989 to 1991. Her dedication continued with her Advisory Board service from 2007 to 2009. Her participation in the Curator’s Circle for American Art further underscored her dedication to preserving and celebrating artistic heritage.

As a Lifetime Member of the Mint Museum Auxiliary since 1993, a Mint Masterpiece Circle, Silver Circle member from 2006 to 2009, and a museum volunteer, she demonstrated unwavering support for the museum’s mission. She also advocated for the museum’s expansion and creation of Mint Museum Uptown.

Through the Katherine and Thomas Belk Acquisition Fund, established in 2014, she provided crucial support for acquiring significant works of art by artists Alson Skinner Clark, Beauford Delaney, Stanton MacDonald-Wright, Kay Sage, and Kehinde Wiley. Her generosity also helped to enrich the Mint Museum’s Fashion Collection with 66 garments and accessories donated between 1991 and 2005.

Kat’s dedication was a testament to the power of philanthropy to support arts and culture at all levels. As we remember her, we celebrate the indelible mark she left on our community and The Mint Museum.

Image: Photo from QC Metro by Photographer Lillyanna Sum

Qcity Metro recently named Rubie R. Britt-Height, Mint Director of Community Relations, as one of “The Great 28”, “honoring 28 Black Charlotteans shaping our city”.

Tenured at the Mint for nearly 16 years, Britt-Height is also the Co-leader of DEIAB (Diversity, Equity, Inclusion, Accessibility, and Belonging). She is among those considered instrumental in making the City a better place to live, work, and play; for her, it’s through community servant leadership and the arts. Britt-Height also is a member of the Charlotte-Mecklenburg Public Arts Commission, the Mecklenburg County History Latta Place Reimagining Committee, and mentor, advocate, and collaborator/partner with over 100 diverse and emerging artists, church, civic, and community organizations.

She has been recognized with numerous awards this past year: The Latino Excelente’ Award for the Most Supportive Non-Latino of the Latin American Community (La Noticia Media); the CBJ Power 100 Award (DEI), the Arts Empowerment Project Award and Charlotte NAACP for Outstanding Community Leader, and the Who’s Who in Black Charlotte for one of its Most Influential Leaders.

Passionate and humble about her role arts role in the community, Britt-Height’s mantra is “Greatness is measured by service and selflessness. In that with humility, anyone can be great,” says Britt-Height. “I was raised in a family of public servants (over 150 years in my immediate family along) and compassionate community leaders. Some things just come naturally for me. My great-great grandmother was enslaved, and all sides of my family are connected to a solid foundation of wisdom, education, outreach, and selflessness. That makes me an heir of that.” Britt Height says she invests in the region by using art as a springboard for conversation, dialogue, and transformation by using art education via numerous art forms: music and dance, poetry, quilting, painting, basketry, jewelry and clothing design, photography, decorative art, wood, and glass.

This year’s winners include entrepreneurs, volunteers, business executives, community leaders, and more. Among them honored is Community Leader Jeanette Price, the Grier Heights Youth Arts Program community liaison, and Artist-Educator Naomi Rankin, who accepted the Great 28 Award posthumously for her late husband Nelson Rankin.

Read more here https://qcitymetro.com/2024/02/01/the-great-28-black-charlotteans-who-are-shaping-our-city-2/

Robert W. Ebendorf (American, 1938−), various artists. ECU Charm Necklace, 2017,
silver, copper, brass, enamel, mixed media, found objects, 19 × 12 1/2 × 1 3/4 in.
Collection of The Mint Museum. Gift of Porter • Price Collection. 2022.49.7

Objects of Affection: Jewelry by Robert Ebendorf from the Porter • Price Collection

The story of how a twig necklace led to decades of friendship and a comprehensive collection of works

By Rebecca E. Elliot

You could say that the story of this exhibition starts with a necklace made from twigs. In 1996, Joe Price was working in San Francisco, where his partner (now husband) Ron Porter frequently visited him. They had become interested in contemporary craft during the 1980s through visits to New York and had begun exploring galleries and museums in the Bay Area.

At the Susan Cummins Gallery in Mill Valley, California, Porter and Price saw The Opera Show, for which Cummins invited artists to interpret an opera of their choosing through jewelry. But instead of evoking a specific opera, Ebendorf presented Twig Necklace — a ruff of radiating twigs accented by gold spirals and pearls — provocatively suggesting that this adornment be worn to an opera.

For Ebendorf, this combination of precious and nonprecious materials was typical, but for Porter and Price — and the world at large — it was quite unusual. Porter and Price were fascinated, later describing it as “one of the defining moments of our experience with jewelry.” Yet, they did not purchase the necklace because they perceived it as needing to be worn by a woman to an event. It was only later that they would view jewelry as sculpture that could adorn a wall or simply be owned and admired.

Twig Necklace remained on their minds until two years later when Porter met Ebendorf at the Penland School of Craft Auction and asked about the necklace. He was delighted to learn that Ebendorf still had the necklace. Ebendorf was impressed by this collector who remembered his work from years ago. Not only did Porter and Price purchase the necklace soon after, but the conversation ignited a friendship that has lasted around 25 years and a collection of hundreds of pieces of jewelry. 

Building a collection

Prior to buying Twig Necklace, Porter and Price purchased a ring by Ebendorf from the Susan Cummins Gallery. After buying the necklace, they purchased other works by Ebendorf, but in the spring of 2009, their collecting of jewelry became more ambitious.

Robert Ebendorf (American, 1938- ), Twig Necklace, circa 1994, wood, pearl, 18k gold, steel, 14 1/8 X 13 1/4 x 1/2 in. Collection of The Mint Museum. Gift of Porter * Price Collection. 2019.93.28

At Ebendorf’s invitation, they visited the undergraduate and graduate jewelry and metal design programs at East Carolina University (ECU) in Greenville, North Carolina where Ebendorf taught from 1997 to 2016. After meeting Ebendorf’s faculty colleagues Linda Darty, Tim Lazure, and Mi-Sook Hur, and students (some of whom were setting up their thesis exhibitions), Porter and Price were impressed by the originality of the students’ work. After that visit, Porter and Price began collecting works by ECU faculty members and students, becoming an important source of friendship and support especially for the students and graduates at an early stage of their careers.

During that same trip in the spring of 2009, Porter and Price joined Ebendorf to view a retrospective of his work at the Imperial Arts Centre in Rocky Mount, North Carolina. This was the first time they had seen so many works from Ebendorf’s then 50-year career. They were blown away by his craftsmanship and range, which includes vessels, jewelry, drawings, and installations, extending from sleek, modernist silver objects of the 1950s and early 1960s to his innovative use of found 19th-century photographs on jewelry in the late 1960s, experiments with plastics and torn newspaper in the 1970s and 1980s, and provocative use of squirrel paws and crab claws in the 1990s. 

Porter and Price decided to build a comprehensive collection of Ebendorf’s work to include not only jewelry, objects, and drawings, but also archival materials such as exhibition catalogues and correspondence. As they built this collection (in addition to collections of contemporary ceramics, art in various media, and jewelry by artists not connected to ECU), Porter and Price became more involved with museums, including The Mint Museum. Their goal of preserving Ebendorf’s and the other ECU artists’ work to benefit artists, scholars, and the public aligned with the Mint’s goal of acquiring jewelry by regional, national, and international artists.

In 2019 the museum acquired the Porter • Price Collection as part gift, part purchase (with subsequent gifts in 2022 and 2024) along with the gift of the Robert W. Ebendorf Archive. The Porter • Price Collection comprises around 200 works by Ebendorf and approximately 100 objects by ECU faculty and graduates, while the archive comprises 13 cubic feet (about half the volume of a large refrigerator) of documents, audio-visual materials, and the hundreds of letters and collaged postcards exchanged between the artist and collectors.

Ebendorf gifted and sold works to Porter and Price that he had held back, such as his Colored Smoke Machine brooch (above) from his 1974 series of that name. This was inspired by the work of German jeweler Claus Bury, who was combining colored acrylic with gold on his own work of the time, and who visited Ebendorf that year when Ebendorf was a professor at the State University of New York at New Paltz. The series title, and this brooch’s form, were inspired by Bury’s fanciful drawings of Ebendorf’s house with colored smoke coming from the chimney, which Bury explained changed color according to the occupant’s moods. The brooch thus speaks to Ebendorf’s experimentation with materials and his friendships with international artists and represents one of the many stories told through the objects in the exhibition.

The exhibition Objects of Affection celebrates the oeuvre of Ebendorf, the work of his colleagues and former students at ECU and the friendships among the artists and collectors. It traces Ebendorf’s career since his first jewelry in the 1950s, concentrating on his work in the 21st century, and shows how he influenced his field by approaching materials and people the same way — connecting what was previously unrelated to create a new and compelling whole. This he did as a jeweler, metalsmith, collage artist, professor, teacher of workshops, and friend and mentor to many.

Objects of Affection is generously presented by Bank of America. Individual sponsorship is kindly provided by Posey and Mark Mealy, Jeffrey and Staci Mills, Emily and Bill Oliver, Beth and Drew Quartapella, Ches and Chrys Riley, and Ann and Michael Tarwater. 

Rebecca E. Elliot is assistant curator of Craft, Design, and Fashion and curator of this exhibition.

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Franklin Fifth Helena is an architectural installation within the Contemporary Gallery at Mint Museum Uptown comprised of sand-painted wall panels that create a fantastical imaging of the real-life intertwined lives of the movie icon Marilyn Monroe and her psychoanalyst Dr. Ralph Greenson.

Franklin Fifth Helena

‘A FANTASTICAL IMAGING OF THE INTERTWINED LIVES OF MOVIE ICON MARILYN MONROE AND HER PSYCHOANALYST DR. RALPH GREENSON’

By Jen Sudul Edwards

On November 4, 2022, Mint Museum Uptown opened a new major acquisition to the collection: Franklin Fifth Helena by Brooklyn-based artist Cynthia Talmadge.

An 8-by-11-foot room built within the gallery, the installation is comprised of sand-painted wall panels and a ceiling that create a fantastical imaging of the intertwined lives of the movie icon Marilyn Monroe and her psychoanalyst Dr. Ralph Greenson. The result is mesmerizing and surprising in every way: the sand — intricately mixed by hand and meticulously applied to the surface with fine paintbrushes— mimics the precise color studies of 19th-century Impressionists and Pointillists while utilizing a simple commercial material (Talmadge often buys her sand in bulk from wedding supply companies).

The recognizable objects layer and interact to create an imagined narrative about the relationship between Monroe and Greenson, who treated Monroe at the end of her life. While very specific in her references, Talmadge also explores the complicated ramifications of the cult of personality, the patient-doctor relationship, and how all of these affect the limited power and agency granted to women in this country.

Talmadge’s gallery, 56 Henry, arranged for outside donors to support the acquisition of the work by The Mint Museum, but the on-site build was extensive and complicated. The Mint’s architect-of-record, Aubrey Springer, oversaw the construction and permit process, which required additional lights and sprinkler systems to be installed to meet code, as well as extensive coordination with the Mint’s building staff, the Collections and Exhibitions team, 56 Henry, and Talmadge — who came to Charlotte for a week in October to help with the installation.

Learn more Talmadge and her fascinating and complicated process in the video below, generously underwritten by Aaron and Marie Ligon who are helping the Mint further build a competitive and compelling contemporary art collection.

Jen Sudul Edwards, PhD, is chief curator and curator of contemporary art.

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.

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. 

Q&A with legendary fashion icon André Leon Talley 

The curator of the Mint’s exhibition The Glamour and Romance of Oscar de la Renta and star of the fashion world spoke to the Mint’s director of public relations and publications in 2018 just before the opening of the exhibition. Following is the article that published in the Winter 2018 INSPIRED member magazine.

By Leigh Dyer  

CAN YOU TELL US A LITTLE BIT ABOUT HOW YOU GOT TO KNOW OSCAR DE LA RENTA? 

My first meeting with Oscar was in December 1975, when he and his first wife, the late Francoise de la Renta, invited me at the last minute to their table for two at the annual Met Costume Institute dinner. It was held in December in those days, and it was a very small, intimate society dinner and celebrity-filled. Diana Vreeland had spoken so highly of me to the de la Rentas that he simply made space for me at his already seated table. 

 WHAT WERE YOUR IMPRESSIONS OF HIM? 

My first impression and my lasting impression, was he was a great man of impeccability, elegance, well-groomed, and polite. He also had a wonderful charm and smile. His whole being simply exuded a natural nobility of goodness and sunshine, warmth, laughter, and generosity. All the real things that matter. I miss him every day and his second wife, Annette, was also a close friend of the first Mrs. de la Renta. They both love beauty and comfort, nothing over the top, as the late Bunny Mellon said, “nothing should be noticed.” 

 WHAT IS YOUR FAVORITE MEMORY OF HIM? 

 I loved watching Oscar dance and sing. He was the best dancer and did the best merengue. He was so soigné, even dancing. And swimming, in his native Dominican Republic. He also had a voice that was as rich and warm as his heart. He was kind, but he also had a wicked sense of humor, loved telling the anecdotal historical narrative of French high society in fashion-for example he went to some of the famous Paris society balls. And I loved him telling the narrative of those glamorous women. 

WHY DO YOU THINK HIS DESIGNS WERE SO SUCCESSFUL AT CONNECTING WITH THE PUBLIC AND POPULAR CULTURE? 

 His designs impact everyone, from the 8-year-old girl to the 80-year-old grand dame. I fondly remember a young girl being brought by her parents to de Young in San Francisco for the retrospective on Oscar, and she was so impressed by the pale pink tulle dress and hat and veil, inspired by Madame Bovary. It was actually a wedding dress in a Pierre Balmain collection in Paris, designed beautifully by Oscar. So romantic, so rich in romantic history. Oscar always wanted to make women beautiful; he didn’t care about being an artist, he wanted to make dresses that were worn and admired by the women who loved them. Embedded in every bow and every nuance of taffeta flourish, every flounce of velvet edged in sable and embroidery, was his sense of romance. The body of work from his beginnings at Lanvin Castillo to his early youth in Spain anchor him in the historical context of romantic and glamorous design. He loved so much to realize clothes that were exuberantly baroque in surface, yet weighted in elegant simplicity. 

WHAT DO YOU THINK IS HIS MOST IMPORTANT LEGACY IN THE FASHION WORLD? 

There are three designers I think of who have left a lasting mark in the realm of modern fashion that is romantic: Oscar de la Renta, Valentino, and Yves Saint Laurent. All three of these titans of talent, I know or knew personally. In the hands of each, a dress, a coat, or a suit became a poem! 

CAN YOU TELL US ABOUT YOUR RELATIONSHIP WITH LONGTIME MINT SUPPORTER MARIANNA SHERIDAN? 

I worked closely with Marianna and she was quiet, yet fiercely passionate about Oscar de la Renta. She loved the designer so much, she had a family home built in the Dominican Republic. I always looked forward to her e-mails with another glorious find. She frequently would seek my advice on if she should or should not acquire certain looks, but she was somehow drawn to the glorious pieces that always reflected the best of Oscar’s designs. Under her direction, the de la Renta archives became a wonderful resource, a literal goldmine of offerings in every category. We were friends, and I had a deep respect for her dedication and her work. She had a love of beauty, luxury, and elegance.  

WHAT ARE YOU HOPING THAT VISITORS TO THE EXHIBITION WILL COME AWAY WITH? 

I hope visitors wi11 take away a breathtaking sense of Oscar’s love of texture and fabric, color, and complex layerings of details of the world of couture conceits. Romantic ruffles and the glory of Spain’s culture in the arts, and flamenco, the bullring, and the idea of the warmth of the sun in Sevilla on a beautiful day is somehow in the very cut of the cloth. More than anything, he was a true romantic and loved life, and he showed that in his love of gardens, garden motifs, flowers. 

THIS EXHIBITION HAS COINCIDED WITH THE PREMIERE OF YOUR NEW DOCUMENTARY, “THE GOSPEL ACCORDING TO ANDRE.” 

I am proud the documentary opens at the same period this spring as the exhibit. Kate Novack, director, narrates brilliantly my humble beginnings in Durham, N.C. and how I soldiered through the “chiffon trenches” for decades to arrive at the heights of my career, landing at Vogue for nearly two decades. I am still aligned to Vogue as a contributing editor and consider Dame Anna Wintour a close friend. She has supported me throughout my career and I am blessed to have her [in my life]. The documentary received the Whistler prize last December at the Whistler Film Festival, as World Documentary. 

 It’s a great honor to curate this, my third exhibition since Oscar de la Renta died. I considered Oscar one of my close friends and I think of him every day as I do so many wonderful people who have passed away: Yves Saint Laurent, Diana Vreeland, Andy Warhol (who gave me my first job in fashion in 1975), and Azzedine Alaia. I am also proud of the books I published in collaboration with SCAD in Savannah, Georgia, published by Rizzoli, Little Black Dress and Oscar de la Renta: His Legendary World of Style. 

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.  

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. 

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. 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 and programming presented 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

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.

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.

“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.

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.

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

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.

 

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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.

 

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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.

 

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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.

 

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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.

 

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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.

 

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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. 

 

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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. 

 

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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.

 

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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.

 

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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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5 works of art selected for Interactive CLT augmented reality series

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The subtle art of the museum label

By Jen Cousar

One of our greatest goals at The Mint Museum is to ensure that art is for everyone. When our doors are open, we host community programs, free evenings, and a whole host of tours and programs to help our community experience art like never before. But even with open doors and open conversation, some things within museums are just down right confusing. Enter the museum label. Many of you have seen these text panels next to every work of art in the museum, but what exactly do they mean? Well, we’re here to explain, so that your next trip to the Mint—and any other museums you visit—will be that much more valuable and accessible. 

Every work of art in The Mint Museum has a label. The label provides useful information about the object, such as when and where it was made and by whom. Most of the labels also have a paragraph offering more detailed information about the object, including who or what it depicts or something interesting about its design or creation. Every label in the museum has the same essential parts, as illustrated by this example:

Artist or maker

If we know who made the work of art, that person’s name appears on the first line. Sometimes a work of art is made by a factory, workshop, or studio, in which case its name appears on that line. If we know the name of an individual working for that organization who contributed to the object’s creation in a key way, then he or she is also identified. “Attributed to” means that we do not have definitive proof that this person created the work, but he or she likely did

Point of origin

Under the artist’s name, we indicate that person’s nationality or culture, and life dates. For organizations, location and years of operation are listed. 

Name and date art was created

Sometimes we know exactly when an object was made, but for historical works of art we often have to estimate. In the label example above, for instance, the work was made circa, or about, 1876.

Material

What the object is made of, whether it be acrylic paint, porcelain, wood, stone, canvas, or any combination of materials. 

Object’s Owner

This information is called the credit line. If the work is owned by a museum, either the Mint or another institution who is lending the object to the museum, then the credit line generally includes whether the object was a gift to the museum or a purchase. It also includes the accession number. This is unique to each object in a museum’s permanent collection and identifies it in the museum’s records. Loans from private collectors do not have accession numbers.

Description

This paragraph gives you background information of interest to help increase understanding of why the object was created. 

Through the eyes of docents, a closer look at the Mint’s permanent collection

More than 50 docents make up part of The Mint Museum family. A docent is a museum guide, usually a volunteer, who can share knowledge on everything from the Art of the Ancient Americas at Mint Museum Randolph to the Craft+Design galleries at Mint Museum Uptown. And best of all, the tours are free to visitors. Museum docents share their favorite artworks and insights on the Mint’s permanent collection below.

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Sabrina Gschwandtner (American, 1977– ). Quilt Film Quilt, 2015, 16 mm polyester film, polyester thread. Museum Purchase: Funds provided by the Founders’ Circle Ltd. in honor of Fleur Bresler. 2016.42

Quilt Film Quilt by Sabrina Gschwandtner

One of my favorite pieces is Quilt Film Quilt by Sabrina Gschwandtner (Gish-wandt–ner). The piece is a quilt made of old 16-millimeter film that is cut and sewn together to form a quilt. The piece is amazingly beautiful and looks totally different when viewed from afar versus up close. It is also a wonderful homage to the history of handicraft in the United States. Throughout the years, quilts have played many roles in our society, including a way for women to express information about their lives. Quilts were also created to raise funds for causes, such as women’s suffrage, and with the advent of quilting bees, quilting became a social outlet. What I love most about quilts is their ability to provide warmth and spread love.

—Lindsey Edmondson

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Grace Hartigan (American, 1922–2008). Scotland, 1960, oil on canvas. Gift of the Mint Museum Auxiliary, 2013.33. © Estate of Grace Hartigan

Scotland by Grace Hartigan

Grace Hartigan’s painting Scotland in the Contemporary Gallery is one of my favorite pieces in the Mint Collection. I find that spending time looking at this painting slowly is a transformative experience. The large size of this work is engaging. The abstract style, as well as the use of the color blue, encourages meditation and introspection. I am also drawn to the spontaneity and gestural mark making, and the emotional expression and sense of spirituality.

—Diane Lowry

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Sheila Gallagher (American, 1966- ). Ghost Orchid Plastic Nebula, 2018, melted plastic on armature. Museum purchase with funds provided by Wells Fargo. 2018.48

Ghost Orchid Plastic Nebula 2018 by Sheila Gallagher

Created by melting plastic packaging and other plastic objects otherwise destined for the trash, Ghost Orchid suggests that transformation can result in great beauty. The bright colors and cheerful arrangement remind me of a field of wildflowers or a glorious bouquet.  

You must look closely to understand what this work is about. Viewed from a distance, it looks like an abstract painting. That would be enough, but to fully appreciate Gallagher’s message and her mastery of materials you must spend some time with the work—plus, you have to find the ghost orchid. Ghost Orchid Plastic Nebula asks us to consider the objects that are part of our everyday lives and what happens to them when they are no longer of use. By including the rare and endangered ghost orchid in the work, the artist reminds us of the fragility of our ecosystems. Good things to keep in mind as we find ourselves evaluating what really is important.  

Check out the video Chronical Trash Talk: Artists Are the Best Recyclers for a glimpse of Sheila Gallagher at work and for some very heavy thoughts on trash. 

—Renee Reese 

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David Drake (American, 1800–75). Five Gallon Jar, 1864, stoneware, alkaline glaze. Museum Purchase: Exchange Funds from the Gift of the Mint Museum Auxiliary and Daisy Wade Bridges in memory of Walter and Dorothy Auman. 2002.112

Five-Gallon Jar by David Drake

I absolutely love the large piece of pottery Five-Gallon Jar on display at Mint Museum Uptown. The Mint has many great pottery pieces, but this pot is especially special because of its maker, his story, and his personality. The pot was made on March 19, 1864 by a master potter named Dave. We know this because it’s inscribed on the pot.  It also says “lm,” which refers to Dave’s master, Lewis Miles. Dave signed many pots, which was highly unusual for the time. As an enslaved African American in South Carolina it was illegal for Dave to write. His signed pots show an independence and a spirit, as well as courage.  

Several of his pots also had short poetry.  Three of my favorites are: 

“Another trick is worse than this, Dearest Miss, spare me a kiss” – August 26, 1840.    

“I wonder where is all my relations, Friendship to all – and every Nation” – August 16, 1857.  

“I made this jar all of a cross, if you don’t repent all will be lost” – May 3, 1862, during the Civil War when many people were dying.   

Dave’s personality comes through in his poetry, and in the Mint’s example, I can see it in his large scripted signature, “Dave.” Five-Gallon Jar is one of the last he signed. He died at age 64. It’s an incredibly unique gift to see, to absorb, and to appreciate the craftsmanship and poetry in Dave’s work.  

—Ross Loeser 

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Nancy Callan (American, 1964– ). Spin, Weave, Gather, 2018, blown and slumped glass. Gift of lead donors Lorne Lassiter and Gary Ferraro; Judy and John Alexander, Sandy Berlin, Linda and Bill Farthing, The Founders’ Circle, Libba and Mike Gaither, William Gorelick, Barbara Loughlin, Jancy and Gilbert Patrick, Mark Ridenhour, Vicki Jones, Yvonne and Richard McCracken, Sara and Bob McDonnell, Britt and Greg Hill, and Deborah Halliday and Gary Rautenstrauch. 2019.8A-O

Spin, Weave, Gather by Nancy Callan

One of my favorite pieces of art at The Mint is Spin, Weave, Gather by Nancy Callen. As you approach this splendid wall-hung exhibit, you can’t immediately tell that you are looking at glass, and most especially, that the flat, textural pieces are blown glass. In 2016, Nancy Callan, a Seattle-based glass artist, entered a residency here in North Carolina at STARworks. During that time, she learned about the history of the textile industry in North Carolina. The transformation of cotton from plant to thread to woven fabric captured her imagination because her work in glass has been informed by textile patterns, as well as the process of fabric production. In this work, Callan celebrates the alchemy of starting with sand and ending up with crystal – much the same as the magical journey of a plant seed ending up as a beautiful piece of fabric.

Her process requires a skilled team of glass blowers to make the caliber of work that she produces. She says working with her team is like a ‘jazz band’ – there is a leader, but everyone has a role to play and a time to ‘shine’. They work to music, any kind of music, which she believes creates a rhythm that they all respond to. What is so remarkable in this process is that the glass panels start out as large cylinders (like the ones behind her in the picture below). Once these cylinders are completed, the bottoms are cut off and they are returned to the kiln.  She cuts along one long side of the cylinder after it begins to soften and as the glass continues to heat, they coax it open and it becomes flat. After the piece is flattened and cooled, it must be cleaned, polished, and fired again. Nancy says this is the process in which artists originally made window panes for buildings.

—toni Kendrick

Nancy Callan in front of the large glass cylinders that are eventually transformed into the glass panels that make up her artwork. Photo courtesy of toni Kendrick

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Hoss Haley (American, 1961– ). “White Ripple,” 2013, metal. Museum Purchase: Funds provided by Windgate Charitable Foundation. 2013.59. © Hoss Haley 2013

White Ripple by Hoss Haley

I am a big fan of the work of Hoss Haley. I love to bring visitors to see his piece called White Ripple. It is fun to watch the guests study it and figure out how it was made. Hoss takes found objects, (mostly metals) and shapes them into interesting forms. In this case, he went to a junkyard and took the sides off washing machines. The squares are then bolted together and curves are introduced in a circular fashion like you see when something drips into water. He likes to keep the metals raw and unfinished and many of his items rust in outdoor installations. He has several pieces around Charlotte, including a giant bronze hand called Integrity by the Courthouse uptown, and a gargantuan 40-foot tall, 20-ton installation called Old Growth at the Charlotte Douglas airport.

—Laura Lynn Roth

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James Goodwyn Clonney (American, 1812–67). Offering Baby a Rose, 1857. oil on canvas with an early nineteenth-century frame. Museum Purchase: Exchange Funds from the Gift of Harry and Mary Dalton. 1998.20

Offering Baby a Rose by James Goodwyn Clonney

One of my favorite things about being a docent at the Mint Museum is helping people discover new and fun ways of viewing and thinking about art. One piece I often like to show visitors at our Uptown location is Offering Baby a Rose by James Goodwyn Clonney. I like this piece because it gives me the opportunity to show visitors how to “look” at art with more than just their eyes, but using their other senses as well. For example, I often ask visitors what they smell when they look at this piece. At first, I get some strange reactions, but then I pass around a bar of rose-scented soap and they immediately get it.You could also think about how the rose feels. Are the petals soft and silky, or are there thorns on the flower’s stem?

Another question to think about is: What do you hear when you look at this piece of art? Do you hear birds chirping or a light breeze blowing through the trees? Or do you hear the clanging of dishes as breakfast is being made? By using all of your senses you can come to a more nuanced understanding of works of art. Engaging smell, sound, and touch allows you to create new interpretations of Offering Baby a Rose. 

—Lindsey Edmondson

9 ways to get creativity flowing during a WFH lunch break

Noon (Rest from work) (from Millet) (1890)
Vincent Van Gogh (1853,1890)

Doodle and color

While our access to the outside world is limited, doodling is an easy way to get creative with items you already have at home. If you’re more of a color-inside-the-lines kind of person, check out these coloring pages of famous artworks ready to download. Don’t be afraid to mess up, just start.

Use your words

Take five minutes to write a haiku (Japanese style three-line poem with a 5-7-5 syllable structure) about your day, your mindset, or even what’s on your lunch menu. This idea comes from Inc., and luckily they’ve shared 31 other ways to boost creativity while at home that we think are pretty great.

Practice writing your letters

Lettering has surged in popularity and visibility in the past few years, and is a fun way to share favorite phrases with the world. Draw your own letterforms, or use this printable practice sheet we’ve created as a place to start.

Paint your own masterpiece

Whether you try your hand at watercolors, or break out the finger paint with your kids, painting is a relaxing and beloved art form with many styles to explore. Here’s a watercolor tutorial from Mint staffer Leslie Strauss to get started.

Let your mind wander creating a watercolor painting with markers.

Take it from the experts

Read a book about art or creativity to get your creative juices flowing before your next project. A few favorites: Big Magic by Elizabeth Gilbert, Steal Like an Artist by Austin Kleon, How to be an Explorer of the World: Portable Life Museum by Keri Smith, and Creative Block: Get Unstuck, Discover New Ideas. Advice & Projects from 50 Successful Artists by  Danielle Krysa. (Not into these? Check out what our staff has been reading during this time at home).

See what Mint staffers are reading for inspiration for a new book while staying at home.

Preserve the moment with photos

Every phone has a camera these days, and thankfully photography is a pastime that we can all enjoy no matter our skill level. Take photos of your surroundings, your family, or try your hand at nature shots. Check our guide to getting your best snapshots with tips from some Charlotte professional photographers.

“Pay attention to your light source (or the position of the sun if you are outside). Make sure the light source is either in front of or behind your child,” says Elly Kinne. Photo by Elly Kinne

Build your creativity soundtrack

Find an already made playlist on Spotify or Pandora, or dive into a genre you’re unfamiliar with. Artist Michael Sherrill shares this favorite playlist.

Take a class and support a local business

Skillpop Anywhere and other local businesses are using art as inspiration for classes you can take at home to grow your next hobby or skill.

Visit a museum

The experience of seeing artwork in person can’t be replicated, but the Mint—and many other museums across the world—are taking a chance on virtual tours, videos, and all kinds of alternative methods to bring art to your couch, kitchen table, or sunroom. Join curator Brian Gallagher for a gallery tour of our Classic Black exhibition, or travel a little farther from home with tours from The National Gallery in London, The J. Paul Getty Museum in Los Angeles, or the Museu de Arte de São Paulo Assis Chateaubriand in Brazil. 

Take a virtual tour of the Mint’s “Classic Black: The Basalt Sculptures of Josiah Wedgwood and His Contemporaries” for an art break.

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Student artists sketch in Classic Black galleries

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Afterschool Art Club Virtual Gallery Tour

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Why designing theater sets has shown me museum exhibition design can (and should) be so much more than a white box

By HannaH Crowell

Four years ago, I took my career off the stage and into the gallery. After working as a freelance theatre designer for many years, I joined The Mint Museum staff as the exhibition designer in 2016.

Inspired by art since childhood, theatre revealed itself as a form of creative expression that combined my love for art and storytelling. The daughter of an amazing storyteller, I knew from an early age that I wanted to be a storyteller, too. But I wanted to create spaces where these stories came to life.

Those early formative years have led to a career focused on crafting the immersive art experience, emphasizing audience engagement and finding new ways to tell stories. And while I now work full-time in the museum world, I’ve kept my foot in the arena of theatre design, often designing for Children’s Theatre of Charlotte.

The transition from theatre to museum work has redefined how I use design to interpret space and engage an audience in a story. But, there are three lessons theatre has taught me that I bring to each new project.

Curtain up! The big reveal sets the scene

When the lights go down in the theatre, just before the curtain rises, my heart skips and I tear up. It’s been this way since I was a kid, and when I started working in theatre I didn’t become numb to it—I learned to design for it. The big reveal is not just part of the magic, it’s the first impression you give your audience of the world you’ve created for the story.

Of course, we can’t raise a curtain for every visitor to a museum gallery, but I work to design each Mint exhibition entry in a way that still gives the visitor that big reveal. For most exhibitions, the entry begins with a title wall that provides a brief introduction to the exhibition concept. I want ours to go one step farther: to set the rhythm and atmosphere for the visitor’s experience.

For Under Construction: Collage from The Mint Museum, an exhibition exploring the dynamic medium of collage that opened December 2018 at Mint Museum Uptown, I wanted to give the visitor a tactile experience upon entering. So we created a wall, where visitors could tear off each letter of the exhibition name. By tearing away a layer of the title wall, the visitor would participate in an ever-evolving collage and better understand how a collage is made through the layering, tearing, and subtracting of materials.

The exhibition “Under Construction” included an interactive element that allowed visitors to help create an ever-evolving collage. Photos by Brandon Scott

Sometimes, though, the big reveal of an exhibition entry needs to transport the visitor into an entirely new world. For the Mint Museum’s exhibition Michael Sherrill Retrospective—on view from October 2018 through April 2019 at Mint Museum Uptown—it was important that upon entry, the visitor develop a strong connection to the artist Michael Sherrill, known for his groundbreaking work with clay, glass and metal.

For Michael Sherrill Retrospective, I took a far more atmospheric approach, designing an environmental treatment that immersed the visitor in the lush green forest of western North Carolina, set against the cobalt blue stained wood planking matched to Michael’s Studio. The entry transitions the visitor seamlessly between interior and exterior spaces inspired by Michael’s studio space and surrounding property.

Left to right: A visit to Michael Sherrill’s property. Photos by HannaH Crowell. The exhibition entrance to “Michael Sherrill Retrospective” at Mint Museum Uptown. Photo by Brandon Scott

Listen to what the characters have to say

The first step in any theatre design process is reading the script. Each character is an essential part of the story, and the playwright has given important information that defines the world of the play—and the design—in the character’s dialogue. The first step in an exhibition design process is reviewing a document similar to a script, known as a checklist. More like a character breakdown, the checklist gives specific information about each work of art that will be in the exhibition. Unlike a script, the characters in the checklist don’t have speaking lines. And yet, they still speak if you know how to listen.

While it took an adjustment at first when transitioning from theatre to museum design, I learned to rely on the curator, the artist, lots of research and my own intuition to help interpret what the objects have to say and how this informs the world of the exhibition.

For the Mint’s most recent exhibition Classic Black: The Basalt Sculpture of Wedgwood and His Contemporaries at Mint Museum Randolph, I worked with curator Brian Gallagher and did months of research to help interpret what the more than 100 objects—ranging from small portrait medallions to large busts and vases—all of the objects had their own story, so finding a way to weave those stories together to create a seamless narrative was one of the biggest design challenges I’d faced. The other distinctive aspect of these “characters” was that they were all “costumed in black”—or rather, they are all made of a black basalt ceramic material. So one of the first design decisions influenced by our cast of characters was to set them in a world of color. But how to shape the gallery into a stage that each of these characters could come to life?

Inside the galleries at “Classic Black: The Basalt Sculpture of Wedgwood and His Contemporaries” at Mint Museum Randolph. Photo by Brandon Scott

Originally produced in the 18^th century, these objects were thriving in the height of neoclassical design. My research lead me through the designs of Robert Adam, whose aesthetic focused on the movement of the eye from floor to ceiling, creating architectural features that would frame these objects within the elegant rooms. For our exhibition, each of the three gallery rooms was inspired by the grand designs of the neoclassical style. The Sculpture Hall for the character that told the story of the classics, The Library for the characters that were the thinkers and the politicians, and finally, for the beautiful characters fit for the finest entertaining, The Drawing Room.

The audience is your most important collaborator

Theatre is a collaborative art. Actors, the director, designers, and stage technicians—they all bring their expertise and talents to the process, but it isn’t until that first performance with an audience that the team is complete. While working as a theatre designer, I was so intrigued by the prospect of designing for an environment where the audience is no longer confined to a theatre seat and can navigate their way through a multidimensional creative moment.

This led me away from the “black box” of the theatre and into the “white box” of the museum gallery. With each new exhibition design project, I learn and apply new ways of creating immersive and engaging spaces for the visitor to create their own stories.

The most theatrical design I’ve yet to do in the museum, the exhibition Never Abandon Imagination: The Fantastical Art of Tony DiTerlizzi needed a design that invited the characters in DiTerlizzi’s illustrations to break out of the white box and come play in the gallery. Designed into the immersive exhibition there where drawing activities, larger than life character cutouts, and books to read and look at so that visitors to the exhibition could interact with the characters the book they live in, creating their own stories.

Inside the gallery at the “Never Abandon Imagination: The Fantastical Art of Tony DeTerlizzi.”

I still return to the theatre to remind myself of these lessons and learn new ones that might help make me a stronger designer—for the stage or the gallery. Last fall I worked with Children’s Theatre of Charlotte on their world premiere production of The Invisible Boy. Part rock concert and part picture book, the scenic design brought the beloved children’s story by Trudy Ludwig to life, pulling inspirations directly from the pages of this thoughtful book about a boy, Brian, whose vivid imagination becomes a canvas for his creativity.

On set at Children’s Theatre of Charlotte’s “The Invisible Boy” performance. Photos by John Merrick

The Mint remembers Dr. David C. Driskell, a pioneering artist and scholar

We are losing many great minds and kind hearts in these spring months and while we may not be able to recognize all, we will try to celebrate the lives of artists, collectors and patrons who have had direct impact on the museum and our community. One such man of national and international acclaim is artist and scholar Dr. David C. Driskell, who passed away of coronavirus on April 1, 2020 in Washington D.C. at the age of 88. His touring exhibition Narratives of African American Art and Identity was on view at The Mint Museum in 2002.

Driskell was born on June 7, 1931 in Eatonton, Ga. His paternal Gullah lineage was from the Georgia Sea Islands. His family moved to Hollis in the Appalachian Mountains of western North Carolina when he was a child. His parents were both  “makers”—his father, a blacksmith and Baptist preacher; his mother, a basket weaver and quilter. Educated in a small segregated school house, his teachers recognized his intellect and passion for art and encouraged him to attend college.  He tells the story, with great humor, of traveling to Washington, D.C.,  enthusiastically arriving at Howard University totally unaware of admission procedures, determined to “attend” college.  He sat in on classes until someone helped him officially enroll. His passion, his determination to learn, create, and teach never faulted.

Like his parents, Dr. Driskell also remained a maker. A figurative painter, his work had the loose brushwork and bold colors of the abstract expressionist painters who dominated the galleries in his youth. He became nationally recognized and lauded as early as 1956 with his modern day Pietà, Behold Thy Son, a memorial for the brutally murdered Emmett Till. The painting now hangs near Dr. Driskell’s Washington D.C. home, at the Smithsonian Institution’s National Museum of African American History and Culture.

Covid-19 virus abruptly ended his life; however, his legacy—his indelible contribution to the canon of American art history—will live on through his art and through his many publications, scholarly dissertations, lectures, and the generations of art historians that he spawned.

Driskell modeled himself after his mentor, Dr. James A. Porter, who established the art department at Howard University and pioneered the field of African American Art History. As heir to Porter’s groundbreaking work in the field, Driskell pursued his study, achieving his Bachelor of Arts from Howard University in 1955 and an MFA from Catholic University in 1962. He also studied at Skowhegan School of Painting and Sculpture in Maine in 1953 and Art History at The Hague, Netherlands in 1964.

Driskell remained an important teacher as well as scholar. He taught at Talladega College in Alabama, Howard University, Fiske University in Tennessee, Bowdoin College in Maine, the University of Michigan, Queens College, and Obafemi Awolowo University in Ile-Ife, Nigeria, before joining the faculty of the Department of Art at the University of Maryland, College Park in 1977. He remained affiliated with the school through his retirement in 1998. In 2001, the school established the David C. Driskell Center for the Study of Visual Arts and Culture of African Americans and the African Diaspora. The school reflects its namesake: Terry Gips, Director of The Art Gallery University of Maryland, states, “Driskell evidences his commitment to enhancing the study of art by emphasizing the multicultural contributions made by Native Americans, Black, Asian and European artists.”

Rubie Britt-Height, Director of Community Relations at The Mint Museum, first met Driskell while on staff at the Virginia Museum of Fine Arts. “Dr. Driskell was often involved with us—sharing, advising, and supporting,” says Britt-Height. “He would lend commentary on a work or an exhibition, and we’d inquisitively seek his wisdom. And of course, he had great ties to Loïs Mailou Jones, his Howard University art instructor.”

Driskell advised esteemed collections, and in 1996, he assisted President Bill Clinton and First Lady Hillary Clinton in their selection of the first work of art by an African-American for the White House permanent collection with the acquisition of Henry Ossawa Tanner’s Sand Dunes at Sunset, Atlantic City.

Driskell directly touched our Charlotte community when his chose to honor his North Carolina roots by ending his national touring exhibition, Narratives of African American Art and Identity at The Mint Museum in 2002. The museum exhibition, along with a solo exhibition of his paintings at Noel Gallery, was facilitated by former Mint Museum trustee B.E. Noel. “The best way we can honor Dr. Driskell is to enfold the work of African-American art into every aspect of the canon and celebrate our common humanity through art,” says Noel.

Todd Herman, the Board of Directors and our Mint staff extend our appreciation to Dr. Driskell and sincere condolences to the Driskell family.

This piece was written by B.E. Noel, a former trustee of The Mint Museum who knew Dr. David Driskell through her role as a gallerist, collector, and scholar.

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From basalt to charcoal: don’t miss this gallery-sketching time lapse inside the Mint’s ‘Classic Black’ exhibition (more…)