Romanticizing the American Landscape

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

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

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

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

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

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

JS: Suddenly, everyone is an outdoorsman.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The bracelets are on view in Craft + Design permanent collection galleries and the Craft in the Laboratory: The Science of Making Things.[/vc_column_text][vc_empty_space height=”16px”][vc_empty_space height=”16px”][vc_separator][vc_column_text]

The Mint Museum from Home is Presented By Chase.

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

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

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

‘Broken, but in one piece’

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

By Page Leggett

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

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

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

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

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

From coop to kitchen to studio

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

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

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

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

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

‘A place we can call home’

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

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

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

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

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

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

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

Evolution of an artist

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

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

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

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

‘My daughter ate it’

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

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

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

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

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

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

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

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Remembering Dr. Martin Luther King, Jr.  

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Mint Museum from Home is Presented By Chase.

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

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

The Mint Museum from Home is Presented By Chase.

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

The Mint Museum from Home is Presented By Chase.

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

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

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

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

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The Mint Museum from Home is Presented By Chase.

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

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

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The Mint Museum from Home is Presented By Chase.

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

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

The Mint Museum from Home is Presented By Chase.

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

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Rainbow & raindrops Kit throw Blanket

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

Rainbow Catch-all

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

Unicorn and Rainbow Magnetic Lapel Pin

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

Wide Calf Pride Knee Sock

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

Liberty Rainbow Puzzle

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

Great Gays Heat Activated Mug

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

The Future is Equal Mug

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

You are Magic Socks

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

Rainbow Pride Mason Jar Candies

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

Wooden Bead Rainbow Necklace

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

Want to see more?

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

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

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

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

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

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

The Mint Museum from Home is Presented By Chase.

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

The Mint Museum from Home is Presented By Chase.

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

The Mint Museum from Home is Presented By Chase.

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

By Liz Rothaus Bertrand 

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

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

Building artist communities

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

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

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

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

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

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

What public art brings to the city

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

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

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

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

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

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

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

By Rafael Prieto 

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

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

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

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

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

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

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

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

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

The Mint Museum from Home is Presented By Chase.

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

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

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

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

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

The Mint Museum From Home is Presented By Chase.

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Celebrating Mexican artists for Cinco de Mayo

Get to know Zuleyma Castrejon Salinas

Haga clic aquí para leer la traducción al español.

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

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

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

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

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

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

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

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Celebrando Artistas Mexicanos Por El 5 de Mayo

Llegar a saber Zuleyma Castrejon Salinas

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

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

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

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

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

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

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

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

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

By Liz Rothaus Bertrand  

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

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

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

CAPTURING A MOMENT WE’RE STILL EXPERIENCING  

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

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

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

CONFRONTING SYSTEMIC RACISM  

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

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

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

RECLAIMING SYMBOLS OF POWER  

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

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

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

OTHER PANDEMIC-BORN PERSPECTIVES  

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

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

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

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

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

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

The Mint Museum From Home is Presented By Chase.

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

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Sarah Cavender Metalworks Jewelry

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

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

White Dali Flower Chiffon Scarf

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

Gilded Frame Cuff

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

Bird Cage Necklace

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

Van Gogh Starry Night Scarf

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

Double Dogwood Necklace

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

Papaya Scarf

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

Passion Flower on Wide Scalloped Chain Necklace

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

Monet Inspired Water Lily Scarf

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

Pansy Petal Drop Earrings

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

Bright Felted Rings Scarf

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

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

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

The Mint Museum From Home is Presented By Chase.

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Gallery Chat with Curator and Community, Part 1

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

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Black Stacked Circles by Ibrahim Said – Curators’ Pick

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

The Mint Museum From Home is Presented By Chase.

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Looking Back on 10 Years of Mint Museum Uptown

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

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

September 25, 2010

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

April 29, 2011

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

July 13 & 14, 2012

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

September 3–6, 2012

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

February 18, 2013

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

May 6–20, 2013

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

June 19, 2014

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

October 22, 2016

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

October 28, 2017

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

February 2019

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

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Mint Música & Poesía Café

This event will premiere at 7 PM on March 31.

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

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

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

Women in Art: 50 Fearless Creatives Who Inspired the World

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

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Mamas knit throw blanket

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

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Votes for Women Suffrage felt doll

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

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You Go Girl mug

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

Ruth Supreme zipper pouch

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

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Greta Thunberg felted 0rnament

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

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Poet’s Garden 1000 Piece Puzzle

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

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Through the Lens

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

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

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

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

Delhom Service League Studio Visit

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

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Get to know artist Gisela Colón

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

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

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Studio Visit with Amy Sanders and Ron Philbeck

Delhom Service League

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

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

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

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

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Shop artful while supporting Black artists at the Mint Museum Store

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

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Find Your Voice jigsaw puzzle

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

Black Art Matters face mask

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

Brave. Black. First. postcard set

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

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Young, Gifted and Black: A New Generation of Artists

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

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

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

The Beauty of Everyday Thangs

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

Black Lives Matter T-shirts

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

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Leah Leitson Ceramics: Then and Now

Delhom Service League Studio Visit

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

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

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

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The Mint Museum from Home is presented by Chase.

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

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

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

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Delhom Service League Studio Visit with Julie Wiggins

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

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Revive Your Routine 

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

Desk Jockey 

Work-from-home tally? Too many days to count. If your makeshift workstation needs a makeover, grab a bright notebook or inspirational shelf piece—some welcome respite for your Zoom-fatigued eyes. [/vc_column_text][vc_column_text]• Black and White Playable Art Cube, $35
• Make Mistakes Small Notebook, $12
• Color Wheel Notecards, $16
• Stonewear Trivet, $8
• Modern Graphite Pencils, $8
• Desk Signs, $8
• Great Things Sticker Book, $16
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S’il Vous Play 

Suffering from puzzle fatigue? Here are a few indoor alternatives to keep you entertained, from new reading material and creative card games to a brush with the supernatural. [/vc_column_text][vc_column_text]• All Good Things Book, $24.95
• Make Art Where You Are Guide and Sketchbook, $19.99
• Dino Car Trio, $7
• Young Gifted and Black: A New Generation of Artists, $49.95
• Show Me The Monet Card Game, $18.99
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Food for Thought 

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

Word on the Chic 

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

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On the Daily

24 Hours in the life of Ruben Natal-San Miguel

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

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

7 AM

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

8 AM

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

9 AM

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

NOON

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

1 PM

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

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

2:30 PM

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

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

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

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

6 PM

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

6:30 PM

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

1 AM

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

1:30 AM

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

3 AM

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

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

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

The Mint Museum From Home is presented by Chase.

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

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

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

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The Mint Museum From Home is Presented By Chase.

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A Conversation with Summer Wheat

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

The Mint Museum From Home is Presented By Chase.

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Add more merry at home with artful holiday decor

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

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

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

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

Colorful Slim Champagne Glasses, $14 each

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

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

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

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

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

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

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Fall into fashion with these picks from The Mint Museum Store

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

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

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

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Peruvian Trading Company Hand-Knit Headbands, $22

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Peruvian Trading Company Hand-Knit Spider Hat, $58

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

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Bracken Explorer’s Hat, $72

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

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

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

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Kevin Cole YAM’s Studio Tour

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

The Mint Museum From Home is Sponsored by Chase.

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

By Michael Solender

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Celebrating Indigenous Peoples’ Day

Compiled and written by Rubie Britt-Height and Kurma Murrain

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

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

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

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

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

The History of Indigenous Peoples’ Day

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

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

Celebrating Indigenous Peoples Day at the Mint

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

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

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.

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

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

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

Ben Owen III 

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

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Dean and Martin Potter, $60-$200.

Dean and Martin Pottery

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

 

East Fork pottery cereal bowls, $42.

East Fork Pottery 

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

Erin Janow Sake Set of 6, $180

Erin Janow 

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

Jon Ransmeier basket, $550

John Ransmeier

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

Jugtown teapot, $198 and square teacups $26

Jugtown Pottery

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

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

Turtle Island Pottery

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

Paradox Pottery by Jim Whalen

Paradox Pottery 

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

“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

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

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

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

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

Crown: An Ode to the Fresh Cut

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

Talking Walls: Discover Your World

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

Daddy Played the Blues

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

Little Humans

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

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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.

 

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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.

 

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

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

Courtesy of Netflix

I Am Not Your Negro

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

Just Mercy

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

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

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Free White and 21

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

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

Courtesy of IMDB

Mrs. America

Mrs. America follows the female leaders of the Equal Rights Amendment, as well as the brigade of suburban housewives, led by Phyllis Schlafly, that created a nationwide campaign to keep the ERA from passing. Each episode spotlights a central character in the movement, including Shirley Chisholm (Uzo Aduba), Betty Friedan (Tracey Ullman), Bella Abzug (Margo Martindale), Gloria Steineim (Rose Byrne), and Phyllis Schlafly (Cate Blanchett). It’s story of political challenges, conquests, protests, and setbacks for women—black, white, Latino, gay and straight—fighting together for equal rights. Perhaps more importantly, it’s the lesser-known story of Phyllis Schlafly, who used conservative politics for personal gain, and to preserve things just as they were. (Sidenote: Casting and costume is spot on). —Michele Huggins, communications and media relations project manager

Another must-watch: Watchmen series (free on HBO June 19-21 to celebrate Juneteenth)[/vc_column_text][/vc_column][/vc_row][cs_divider][vc_row][vc_column][vc_column_text]

codelisten.org

Code Listen

I’ve been thinking about Gerhard Richter’s quote, “Art is the highest form of hope.” I recently came across the work of Shaw Pong Liu, an artist/musician from Boston. She uses music and performance to encourage healing and dialogue around violence, racism, and police practices. Code Listen is a collaboration with the Boston Police Department, teen artists, family members of homicide victims, and local musicians. Her work breaks down barriers, builds trust, opens conversation, and gives hope to all human beings. —Maggie Burgin, public programs coordinator

Code Listen Police-Youth Music-Dialogue Workshops 2016 (excerpt) 

Code Listen: Music for Healing and Dialogue 2018 (excerpt)

Another must-watch: 13th

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James Baldwin and William F. Buckley Debate

If you’ve never seen the famous James Baldwin v. William F. Buckley debate from 1965, do yourself a favor and watch it here on YouTube. In the highly publicized debate held at the Cambridge Union, Baldwin—a renowned African-American writer and orator—faced off against Buckley, a white symbol of wealth and prosperity known to most at the time as the founder of modern American conservatism. In the debate, Buckley downplayed systemic racism, arguing that the black community itself was largely to blame for its lack of economic growth, while Baldwin argued that “the American Dream is at the expense of the American Negro.” Fifty-five years later, their words are prescient, and the debate will undoubtedly leave you with a lot to think about—and some chills. Baldwin’s performance is masterful. —Caroline Portillo, director of marketing and communications

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Celebrating Juneteenth with community discussions, music, storytelling and more

We are entering a new age in our country, where many are opening their eyes, affirming that #BlackLivesMatter, and educating themselves on the still very current issues of racism in America. With these conversations has come the recognition and awareness of Juneteenth. On June 19, 1865, Major General Gordon Granger brought news to Galveston, Texas that the war had ended and that the enslaved were free. This news was delivered two years after the Emancipation Proclamation, and symbolizes the news finally reaching the whole country.

In honor of Juneteenth, and the continued work that is needed to end systemic racism in America, cultural organizations and community groups across Charlotte are hosting programs from block parties and food drives to panels and family days. We encourage everyone to join virtually or in-person (with social distancing, of course), and let the history, creativity, and celebration inspire you to continue learning and doing the work to put an end to racism in our country. 

June 19

The 23rd annual Juneteenth Festival of the Carolinas will be held June 19-21 from 10 AM to 8 PM at House of Africa in Plaza Midwood. Attendees can expect a multi-cultural celebration filled with drum circles, local vendors, performances, as well as an open mic. The event is free, and social distancing measures will be honored.

Levine Museum of the New South is hosting a virtual Juneteenth celebration for families from 9 AM to 5 PM. The festivities can be accessed via the museum’s Facebook and Youtube channel, and will feature spoken word, storytelling, history, and music. Visit the website to view the schedule of performances and talks. 

Charlotte Mecklenburg Library invites ages 12 and older to the virtual Engage 2020: Juneteenth Lunch and Learn noon to 1:30 PM. Learn more about the past, present, and future of civic engagement. Special guest Elisha Minter will reflect on Juneteenth celebrations in Charlotte. Register with a valid email address and the meeting link will be sent a few hours before the program begins.

The Harvey B. Gantt Center for African-American Arts + Culture is hosting an art workshop with artist and educator Alicia L. McDaniel from 3-4 PM, This event is free and people of all ages are encouraged to participate. For more information on supplies or how to join in, visit the Gantt’s website. 

Charlotte Ballet is offering free admission to its regularly scheduled intersession classes (different classes taking place at 3 and 4 PM) and ask that participants donate money that they would have spent on attending the class to an organization that is doing work to advance racial equality in Charlotte or nationwide. More information and class schedules can be found on the Charlotte Ballet website.

From 5-8 PM, the Coalition for a New South is hosting a food truck rally at Hornets Nest Park on Beatties Ford Road. The socially distanced event will be filled with food, music, and speakers. It also serves as a space to remember victims of police brutality and an event to call participants to anti-racist action. More details and park location can be found on the Facebook event page for the gathering. 

June 20

SEAS University, Unitymarkets, and Riziki Zafira together are hosting a Juneteenth Social Distance Community Celebration, filled with community vendors, live entertainment, give-aways, and more. The family-friendly event takes place from noon to 4 PM, and then transitions into a day party for adults from 4-8 PM. The event is free, and more information can be found on the event Facebook page.[/vc_column_text][/vc_column][/vc_row]

5 works of art selected for Interactive CLT augmented reality series

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6 art books that raise the curtain for black artists, racism and protest

As society grapples with unrest around racism and protest, books about black artists and black history shine a spotlight on the struggles and accomplishments of black Americans throughout history. These six books, and many others, are available at Mint Museum Store uptown.

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Hip Hop Raised Me by DJ Semtex

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30 Americans: Rubell Museum

30 Americans showcases works by many of the most important African American artists of the last three decades. The artwork focuses on issues of racial, sexual, and historical identity in contemporary culture while exploring the powerful influence of artistic legacy and community across generations. Since the 1960s, Miami’s Rubell family has collected the works of the most relevant contemporary African American artists as an integral part of their broader mission to collect the most interesting art of our time, which is showcased in the book. (Rubell Family Collection, $45).

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Jill Freedman: Resurrection City, 1968

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Kehinde Wiley: A New Republic

Filled with reproductions of Kehinde Wiley’s bold, colorful and monumental work, this book encompasses the artist’s various series of paintings as well as his sculptural work, which boldly explore ideas about race, power, and tradition. Celebrated for his classically styled paintings that depict African American men in heroic poses, Kehinde Wiley is among the expanding ranks of prominent black artists who are reworking art history and questioning its depictions of people of color. This volume surveys Wiley’s career from 2001 to the present. It includes early portraits of the men Wiley observed on Harlem’s streets, and which laid the foundation for his acclaimed reworkings of Old Master paintings in which he replaces historical subjects with young African American men in contemporary attire: puffy jackets, sneakers, hoodies, and baseball caps. (Prestel, $49.95).

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Messages from Home: The Art of Leo Twiggs (Signed Copy)

Foreword from book by William U. Eiland : “In the middle of one of the interminable brouhahas over the Confederate Battle Flag here in the South, I heard of an African-American artist who was using the symbol in innovative ways, painting it in batik to invest it with new meaning. Leo Twiggs’ flags are no paeans to a lost cause, no emblems even of a mythic past. They are, however, in the language of contemporary criticism, ‘comments’ on society through ‘appropriation.’ In this case, theoretical cliché comes close to truth. Twiggs, with gentle but unswerving irony, takes the flag and claims it as part of his Southern heritage. Tattered, disappearing almost, the standard about which so much controversy has been generated becomes in Twiggs’ hand an ambiguous metaphor of unresolved conflict and shared history. Such images on color-infused fabric not only mock the flag as a talisman losing its power, but also present a symbol that in its very mutability and degradation is strangely current, yet jarringly discomfiting in an era when the nation has a black president. In addition to the Civil War, it calls to mind for Twiggs the suffering of slaves, the turmoil of Reconstruction, the indignity of Jim Crow, the promise of the Civil Rights era and its aftermath, when this piece of cloth, venerated by some, reviled by others, continues to inspire argument and dissent. Twiggs transforms the image through shaping a new iconography for it, one in which he finds the possibility, albeit remote, of accord. Twiggs’ art, thus, even with the most explosive of subjects, is intensely personal but never strident. Through depictions of the violence of hurricanes, the complexity of race relations, the romance of Southern rivers, and the bonds of family, he weaves his experiences into a coherent, but occasionally elusive narrative. (Cecil Williams Photography/Publishing / Claflin University Press, $82).[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_column_text]

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“I think art has the ability [to], if not cure or heal, at least enlighten, slap you in the head, wake you up,” —artist Joyce J. Scott

Franco Moschino (Italian, 1950–94), Moschino LLC (1983–). “In Love We Trust Jacket,” 1989, wool and mixed media. Museum Purchase: Funds provided by Deidre and Clay Grubb. 2015.20.4

Art has been created as a response to social unrest and inequality throughout history. It also can serve as a catalyst for hard conversations about racism, the need for cultural understanding and the challenges before us regarding unity and justice. Following are eight curator selections of artwork in the Mint collection that were created in response to violence, racism and cultural disparities that challenge our society.

Wedgwood (Staffordshire, England), William Hackwood, modeler (British, circa 1757–1839). “Society for the Abolition of the Slave Trade Medallion,” designed in 1787, jasperware, silver. Delhom Collection. 1965.48.85

This medallion depicts an enslaved black African man, down on one knee with his arms and ankles in chains. Around the medallion’s edge is the inscription, “AM I NOT A MAN AND A BROTHER?” Josiah Wedgwood first produced this in 1787, the same year that the Society for the Abolition of the Slave Trade was founded in London.  Wedgwood joined the society and paid for all the other members to receive a medallion at his expense. See more from Josiah Wedgwood in the gallery tours of Classic Black: Black Basalt Sculpture of Josiah Wedgwood and His Contemporaries. —Brian Gallagher, Curator of Decorative Arts

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Augusta Savage (American, 1892-1962). “Gamin,” circa 1930, painted plaster. Museum purchase with funds provided by the Mint Museum Auxiliary. 2008.58

Throughout her career, Augusta Savage fought against racism and sexism as she strove to learn her craft. She constantly strove to uplift children and aspiring artists, first at her Savage School of Arts and Crafts, and later as the founding director of the Harlem Community Arts Center. While some of her portraits celebrated leaders in the African American Community, such as W.E.B. Dubois and Marcus Garvey, other, like Gamin—one of her most popular works—found dignity and hope in the children struggling for survival on the streets of her Harlem neighborhood. —Jonathan Stuhlman, Ph.D., Senior Curator of American Art

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Joyce J. Scott (American, 1948–). “Hunger,” 1991, hand-beaded glass, thread, photographs, plastic. Gift of the Friends of the Mint. 1992.23. © Joyce J. Scott, 1991

Born, raised, and based in Baltimore, Maryland, African American artist Joyce J. Scott confronts racism, sexism, classism, and other issues head-on in art made in a range of media. Her 1991 necklace Hunger addresses famine in Africa—a persistent problem in the 1980s and early 1990s—and white complicity in it. Hand-beaded skeletons and photographs of malnourished children are juxtaposed with a large white face that seems to look away, ignoring their suffering. Hunger is on view at Mint Museum Uptown. In the words of Joyce J. Scott, “I think art has the ability [to], if not cure or heal, at least enlighten, slap you in the head, wake you up.” —Rebecca Elliot, Assistant Curator of Craft, Design and Fashion

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Leo Twiggs. (American, 1934–). “Conversation, 2018,” batik on linen. Museum purchase with funds from the Charlotte Debutante Club. 2018.44

In 2016 The Mint Museum exhibited Dr. Leo Twiggs’ powerful cycle of nine paintings created as a tribute to those who lost their lives in the shooting at Mother Emanuel Church in Charleston, South Carolina. In this series, Dr. Twiggs sought to inspire reflection, redemption, and ultimately, healing. The museum commissioned this painting following its presentation of that exhibition. Conversation was inspired by comments that visitors left for Dr. Twiggs during the exhibition. As the artist has noted, “Since the Mother Emanuel paintings were used at every exhibit venue as a catalyst to create conversations about race and culture, I was inspired to do a painting I call Conversation.” While art can sometimes be an escape from current events, it can also inspire us to have difficult but necessary discussions with those who think differently than we do. —Jonathan Stuhlman, Ph.D., Senior Curator of American Art

Nick Cave (American, 1959–). “Soundsuit,” 2007, fabricated, beaded, and sequined body suit, metal armature, metal Victorian flowers. Museum Purchase: Founders’ Circle Annual Cause. 2009.19.1A-OOOOO. © Nick Cave

 

Nick Cave’s first Soundsuit was created in 1992 as a direct response to the shocking event of the brutal beating of Rodney King by 4 Los Angeles police officers and the riots there that followed. As a black man, Cave felt the injustice of racial profiling, recognizing that society dismissed and discarded African-Americans. He began collecting twigs, discarded objects he found at the railroad tracks, textiles and objects from flea markets and thrift shops, undervalued and unwanted things. Such materials became costumes complete with headdresses and masks to conceal the identity of the wearer. A “secondary skin” that disguises race, gender, and class,” the Mint’s Soundsuit is made up of a rainbow of multicultural embroideries and knitting, and a chandelier from a junk shop in Indiana. —Annie Carlano, Senior Curator of Craft, Design & Fashion[/vc_column_text][/vc_column][/vc_row][cs_divider][vc_row][vc_column][vc_column_text]

Franco Moschino (Italian, 1950–94), Moschino LLC (1983–). “In Love We Trust Jacket,” 1989, wool and mixed media. Museum Purchase: Funds provided by Deidre and Clay Grubb. 2015.20.4

Best known for his fine tailoring and irreverent fashion designs that often included provocative quotes, Franco Moschino created his eponymous couture and ready wear company at the height of the HIV/AIDS epidemic in Europe, where gay men afflicted with the virus were often ostracized and ridiculed by society. Working within the more conservative fashion industry in Milan, Moschino was dubbed the “enfant terrible” for his extreme creativity and use of clothing as communication for his personal politics and humanitarian causes. In Love We Trust, is a jacket that illustrates the designer’s compassion, with an image of a cow as a symbol of his support of animal rights, and the words and red heart needing no explanation. The year before his death he founded a hospice for children with AIDS. —Annie Carlano, Senior Curator of Craft, Design & Fashion

Barbara Pennington (American, 1932–2013). “Selma,” 1965, oil on canvas. Museum purchase with funds provided by Peggy and Bob Culbertson, the Romare Bearden Society, Sally and Russell Robinson, Mary Lou and Jim Babb, and a gift of the Moreland Family. 2014.79

This remarkable painting was created in response to the heart-wrenching events that unfolded in Selma, Alabama, in the spring of 1965. Barbara Pennington, an Alabama native, was training in New York at the time of the Selma marches and attacks. The events unfolding in her home state inspired her to create this monumental canvas. Likely drawing upon images that appeared in the mass media, Pennington wove together various parts of the narrative into a gut-wrenching scene that remains a powerful, moving representation of these tragic events—and the ways in which they can unify people from all walks of life to come together to demand change—more than 50 years later. —Jonathan Stuhlman, Ph.D., Senior Curator of American Art

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

Cochiti artist Diego Romero, based in Santa Fe, New Mexico, combines the graphic influences of ancient Mimbres pottery and 20th-century American comic books on his illustrated pots that comment on life as a contemporary Native American, including challenging social issues such as alcoholism and poverty. Seen here are his recurring characters the Chongo Brothers, inspired by the mythical Mimbres hero twins, but also by the artist’s childhood with his brother Mateo; chongo, a traditional bun hairstyle, became a nickname for the two boys. This bowl is on view at Mint Museum Randolph. —Rebecca Elliot, Assistant Curator of Craft, Design and Fashion

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From war-torn Colombia to the Mint: how one staffer found her home away from home at the museum

[/vc_column_text][vc_column_text]We at the Mint were so excited about International Museum Day this Monday, May 18 that we decided to unroll a week of content for it. And how better to round out the week than to tell the story of this year’s theme—diversity—than through the story of one of the Mint’s crown jewels: Kurma Murrain. [/vc_column_text][vc_single_image image=”27713″ img_size=”large” alignment=”center”][vc_column_text]A native of Colombia, South America, Murrain joined the Mint team as community programs coordinator in 2018, where she (alongside Rubie Britt-Height, director of community relations) helps organize some of the museum’s most dynamic programming catering to the region’s international audience and anyone who wants a taste of the world outside Charlotte. Murrain is also an award-winning poet, a talented performer (she was part of The Vagina Monologues at Queens University of Charlotte in 2016), and always ready with an easy laugh.

Here’s Murrain’s story, as told to Caroline Portillo. Lightly edited for brevity and clarity.[/vc_column_text][vc_separator][vc_column_text]I grew up in Bogota, Colombia, in the mountains. I was always writing something — I started with little poems for my mom about how much I loved her. Then in my early teen years at school, I always wanted to share what I was writing with my friends. The teachers noticed and started calling on me to read my poems: in the classroom, on Mother’s Day, on Teacher’s Day. When I was taking physics in high school, I was so bad at it. Failing miserably, and there was no way I was going to pass that class. Then one day my physics teacher came in the classroom, after having read a poem I’d posted on the bulletin board at school. He said, “You don’t need to study physics. You have a talent. I’ll give you a passing grade.” [/vc_column_text][vc_single_image image=”38217″ img_size=”full” add_caption=”yes” alignment=”center”][vc_column_text]Escobar, narcos and ‘a good place to be’ 

We watch a lot of American TV and movies in Colombia. I grew up poor, and to watch those TV shows, I thought everybody in the United States lived an abundant life, and had beautiful houses. Plus, in my country, there was a lot of racism. My brother and I were usually the only black students in the school,  and we were bullied because we were black. I didn’t see that on the TV shows in the United States, so I thought, “that’s a good place to be.” 

I was also living in Colombia during the time of Pablo Escobar and the narco war. I experienced so many horrendous things. They were killing everybody—journalists, artists, important people from the government. They were kidnapping and putting car bombs everywhere. So, yes, I was dreaming about the United States, but I also had another motivation to get out of there.

[NOTE: I am happy to report that Colombia’s former president Juan Manuel Santos won the Nobel Prize for his efforts to bring the nation’s more than 50-year civil war to an end. Colombia is now a safer, more beautiful place.][/vc_column_text][vc_single_image image=”38216″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]In 1998, a coworker told me the YMCA was recruiting summer camp counselors from other countries. I was hired to work at a special needs camp in New Jersey for three months. I had my first experience in the United States and wanted to come back. I came back in 2000 to work at another special needs camp in the Catskills in New York. 

Afterward, I kept thinking “I want to go back, but I want to work in my field, education.” In Colombia, I was teaching English at several universities and teaching private classes at a bank, so my friend told me about a program called Visiting International Faculty, that hires teachers to come to the U.S. for three to five years. 

I called them and told them about my experience, and they said I was the perfect candidate except for one little thing: I needed to have had a drivers’ license for at least two years. I didn’t drive. So I started taking classes, got my license. This was the thing I’d been dreaming of my whole life, so I was like, “OK, it’s only two years.” 

I was 32 when I could finally apply to be a teacher in the US. I marked on my application that I wanted to work in California. That’s what I’d seen in the movies. But it was a school in Charlotte that wanted me, South Meck High School. And they wanted me to be there in two weeks. I had a mini panic attack, heart attack, and stroke at the same time. And when I saw the email, I said “Charlotte?” 

I even considered not going because I’d fallen in love. And this man was gorgeous. But when I told him, “Hey I got this email and I may go to Charlotte in two weeks,” he started laughing. I said, “What the heck?” 

And he said, “I’m laughing because my best friends live in Charlotte.” [/vc_column_text][vc_column_text]‘Like Disneyland’ 

It was amazing. The guy I was dating made introductions on email, and his friends said I could stay with them at their home off Carmel Road while I settled down. I didn’t even have a car, so they took me to school and picked me up in the afternoon. I taught English as a Second Language (ESL) at South Meck for three years. 

In 2005, one of the Spanish teachers, Mr. Lopez, told me there was a poetry contest at the Mint Museum. You didn’t have to sign up for anything. Just show up and read your poem. 

We went straight to the auditorium at Mint Museum Randolph. I didn’t win, but there were more contests at the Mint—four a year—and I won three consecutive times between 2005 and 2006.[/vc_column_text][vc_single_image image=”38220″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]I met Rubie Britt Height, the Mint’s director of community relations, in 2012. I was getting an award at the main library uptown and asked the audience if I could read a poem I’d written for my mother who had passed just three months earlier. After I read the poem, Rubie had her mouth open in awe. Then she started inviting me to events at the museum to read my poems, especially Mint to Move. Before everyone started dancing, I would read a poem. [/vc_column_text][vc_single_image image=”38223″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]In 2016, I went to teach English in China for a year. I love adventure. But even while I was there, Rubie asked me to send a video of a poem for the Mint’s Día de las Velitas (Day of the Candles)   celebration, a Colombian tradition, that December. And a few months later, she had an event at
the museum while I was visiting a cousin in Thailand, and she asked me to read a poem I wrote while I was in China. Because of the time difference, I got up at 5 AM to get ready to connect to Charlotte via Skype. 

When I came back to the U.S. I returned to teach Spanish at a school in South Carolina, but I wasn’t fulfilled. Then Rubie gave me a call. She said there was a position open at the Mint for a community programs coordinator and that I should apply. 

When they hired me on April 30, 2018, I was ecstatic. The Mint was the best place in the world. Like Disneyland. [/vc_column_text][vc_single_image image=”38224″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]

Called to be inspired

The Mint is the most beautiful place. It’s quiet. It calls you to meditate, to be inspired. And my coworkers are so kind. Before working at the Mint, I already had strong ties to the Latin community and the artistic community. I’d been on panels and shared poetry at places like Queens University and Johnson C. Smith University. But being at The Mint Museum now is a platform on which I can help others. [/vc_column_text][vc_column_text]It’s exciting to plan for them, to talk to the performers, to see them and see the reaction of the people. It makes me feel accomplished, too. After each event I think, “Wow, this was great. And I was part of it.” 

What I love about the Mint’s programming is I am able to see such a variety of artists, painters, musicians, dancers, poets. It’s such a great array. Every program is so unique and brings a different public. 

The Mint is a big part of the Latin community. At Mint Música & Poesía Café—a biannual event that features talented poets, dancers and musicians from the region— we’ve had a salsa dancer who’s now dancing at an academy in New York. We’ve had a cellist from Colombia play while a PowerPoint of photos from Colombian landscapes played. We’ve had a poet from Puerto Rico share a powerful story about his father. [/vc_column_text][vc_single_image image=”38222″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]Before I worked at the Mint and heard about Mint to Move—our bimonthly cultural dance night that regularly draws 300 to 400 people—I was like “We can dance at the museum? And there’s a DJ and sometimes a live band playing? Oh my gosh.” So I started bringing all my friends. 

Through Mint to Move, I’ve met black people from other Latin American areas and countries, such as Puerto Rico, Cuba. They understand the struggle. For instance, I teach with the Mint’s Grier Heights Youth Art Program on Wednesdays. The children think I’m black before I speak. And then once I speak, they just open their eyes and are like, “you’re not black.”[/vc_column_text][vc_column_text]“But, wait,” I ask them. “Why does that change?” I have to explain to them that slavery came to North America, but also to all parts of America: Central America, South America, the Carribbean. They don’t teach that at school.[/vc_column_text][vc_single_image image=”38221″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]It’s very touching to be able to see and experience artists who are from your country or any Latin American country. It’s like bringing a little bit of home to the community. And the language—to be able to listen to poetry or music in Spanish. The older people especially get so emotional when they can listen to their language and talk to people like me. It’s a great way to stay connected to their community and their country. 

Then I also work with people who just want to know more about Latin American culture. We had a group from UNC Charlotte and another at Johnson C. Smith University who started coming to Mint Música & Poesia Café and Mint to Move. They just love these events. Then there’s Bilingual Stories & Music, which draws Latin families, Asian families, African-American families, white families. And there are so many marriages with spouses from the U.S. who want to learn about their spouses’ cultures through our programs. It’s a beautiful connection they make because they have that special person next to them, and they’re experiencing the programs together. They can see through different eyes. And because of the Mint, I get to be a part of that.[/vc_column_text][/vc_column][/vc_row]

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. 

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6 common misconceptions about visiting The Mint Museum — and what to know instead

By Rubie Britt-Height and Michele Huggins

An art museum is a building that houses artworks, but moreover it’s a place for anyone in the community who enjoys viewing art to visit. Following are a few misconceptions debunked about visiting The Mint Museum.

Misconception: I have to dress up to visit The Mint Museum

Truth: Come as you are! Just like art is not one size fits all, neither is individual style. From casual T-shirts, jeans and sneakers to suits and ties, skirts or sweatshirts, it’s all good at the Mint.

Misconception: I have to know about art to visit the museum

Truth: You don’t have to know anything about art to visit the Mint. While learning about abstract paintings, fashion, ceramic art, furniture or hand-blown glass, we simply want guests to enjoy exploring the collections and galleries. Thanks to AVO Insights and the Arts & Science Council, we recently unrolled augmented reality into the museum galleries. By hovering your phone over select works of art, a video about the artwork appears. Until you can experience it in person, check out the videos by following @themintmuseum on Instagram.

Misconception: The Mint Museum is only uptown

Truth: The Mint Museum Uptown celebrates 10 years in October 2020 at Levine Center for the Arts on South Tryon Street, but Mint Museum Randolph is the original Mint Museum location, opening its doors 1936. Located at 2730 Randolph Road, Mint Museum Randolph houses Native American, Fashion, Decorative Arts, and Art of the Ancient Americas collections, in addition to the most recent exhibition Classic Black: The Basalt Sculptures of Josiah Wedgwood and His Contemporaries on view through Jan. 3, 2021. Modern and Contemporary Art, American Art, European Art, and Craft+Design collections fill the galleries at Mint Museum Uptown.

Misconception: All the art at The Mint Museum is old and stuffy

Truth: Collections at the Mint are diverse and recognize the talent of artists of all ages and backgrounds. Constellation CLT showcases artists throughout the city and region with installations rotating three times per year in four places at Mint Museum Uptown: in the entrance; at the foot of the atrium escalator; and on the landings of the Mezzanine and Level 4. 

Misconception: There’s nothing for my young children to do at the Mint

Truth: Through self-guided ARTventures scavenger hunts, and interactive play opportunities at the Lewis Family Gallery*, there’s something for the young ones at the Mint. Stroller tours are available for parents that want to enjoy art with little ones in tow. Plus there is a specially designated room for nursing mothers. At Mint Museum Randolph, children can run and play in the outdoor park, or plan a picnic under a giant shade tree near the rose garden before touring the galleries.

*Due to many touch points, the Lewis Family Gallery will remain closed after the museum re-opens while we implement safety precautions during COVID-19.

Misconception: You have to be a member to visit

Truth: Single-day admission tickets are available, and museum admission is free Wednesday from 5-9 p.m. at each museum location. Live at the Mint events are free to the public and feature local musicians and performing artists, as well as artist discussions. Check the calendar for the event schedule. Membership does, however, have benefits. From special events to discounts on programming, see if a membership is right for you.[/vc_column_text][/vc_column][/vc_row]

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Connecting communities through cultural initiatives

By Rubie Britt-Height, director of community relations

From free, live events to educational engagement with youth, the Mint strives to make art accessible for all community members. Following are just a few of the programs dedicated to welcoming community to explore collections at The Mint Museum.

Grier Heights Community Youth Arts Program

The Grier Heights Community Youth Arts Program guides youth grades 4-12 via art education and artist-led projects  in a weekly after school program in the Grier Heights community located across from Mint Museum Randolph. To date over 500 youth have engaged in Grier Height’s unique and intriguing art activities that encourage self-esteem, respect, wise decision-making, critical thinking, and learning that greatness is measured by service. Participants are mentored by a team of community leaders and accomplished artists-educators.

Participants express themselves through art modules on writing, drawing, quilting, and portraiture as they learn about etiquette, financial and cultural literacy, dental and personal hygiene. Participants also visit both Mint locations to view the Mint’s collection and exhibitions, engage in art activities, attend theatrical and music productions at the Blumenthal and the Mint, take spring break trips to the State Capitol, Governor’s Mansion, and State Buildings, and visit city parks and highlights.

A group from the Grier Heights Community Youth Arts Program visits Raleigh.

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Latino Programming

Programs attract both the Latin American community and everyone interested in Latin culture take place at the Mint all year around. Programs like Mint to Move, Bilingual Stories and Music, and Con a de Arte welcome a host of audiences including families, young adults, professionals, adults, and artists.

Mint to Move Cultural Dance Night

One of the hottest events in town held on one of the best dance floors in Charlotte, Mint to Move Cultural Dance Night invites participants to put on their dancing shoes and experience Latin, African and Caribbean music and dance. Based on the artwork May I Have This Dance by Sheila Hicks, the cultural program unites the community on the dance floor with veteran DJ Carols Lebron mixing a repertoire of international music, including Afro-House, Afro-Cuban, and Latin-American dance rhythms. Guests enjoy free dance lessons from local dance companies like Oneaka Dance Company, and Rumbao Dance Company, and samba, salsa, bachata, cha cha, line dance, and step to other dance forms relative to various global communities.

Bilingual Stories and Music

Children age 6 and younger and their families enjoy coming to Mint Randolph for bilingual stories in Spanish and English. And it’s all free! Bilingual Stories and Music allows kids and their caregivers to learn Spanish with musical instruments, puppets, toys and games and songs featuring the musical team, Criss Cross Mango Sauce.

Bilingual Stories with Criss Cross Mangosauce members Ana Lucía Divins and Irania Macías-Patterson.

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Mint Musica’ and Poesia

Mint Música and Poesía Café is a bi-annual program that features talented poets, dancers, and musicians from Charlotte’s Latin community. The program celebrates Hispanic Heritage Month with performing artists like Alma de la Luna and the NC Brazilian Dancers. It also ties in with the Latin American artwork in the collection and special exhibitions.

Mint Música & Poesía Café. Dancer Sarah Stafford & Cellist Victoria Yepes McLaughlin.

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ArtSí – Con A de Arte (A is for Art)

Through a close relationship with the local Latino arts community, The Mint Museum provides support for the Con A de Arte (A is for Art) event as part of a partnership with ArtSí Charlotte.

Con A de Arte is an annual event that aims to showcase the work of local artists from the Latin American community in the Charlotte area through presentations modeled after the TED Conferences, which include visual art presentations, and performances by musicians, dancers, poets, and actors.

Con A de Arte (far right, piece by Nico Amortegui).

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Virtual Programming

Implementing live recordings of community programs has opened a new audience for the Mint. Record viewership has given access to the Mint as it continues to reach more diverse audiences. Live presentations shown on the Mint website include:

• Requiem for Mother Emanuel: From Tragedy to Triumph with Dr. Leo Twiggs
• African Dancing and Drumming with the Oneaka Dance Company
• Pre-Charlotte Jazz Festival: Jazzin’ on the Terrace with The Juke Joint, featuring Vocalist Nicci Canada, Spoken Word Artist Quentin Talley, and Visual Artist & Live Painter Curtis King

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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

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One of the recipient families shows off the bag that can be filled with groceries from nearby Food Lion store No. 971.

The Mint supports a donor’s desire to give back

By Rubie Britt-Height, Director of Community Relations

The Mint Museum recently provided over $2,000 in gift cards and reusable Food Lion grocery bags to families in need during the COVID-19 pandemic. Funded by an anonymous donor and Food Lion Stores, the cards were given to families of the students of the museum’s 16-year old Grier Heights Community Youth Arts Program, and to members in the west Charlotte community.

A generous gift of $1,500 was given by an anonymous donor to purchase 50 Food Lion cards in denominations of $35, $25, and $20 at the north Wendover Road Food Lion store near the Grier Heights community. The Mint shared the effort with Millette Granville, vice president of talent, diversity and inclusion, learning and organizational development for Food Lion, a U.S. division of Zaandam-based Royal Ahold Delhaize Group. The company quickly responded with an additional $500 in $25 gift cards, two cases of reusable tote bags to help the family recipients, and facilitation with store No. 971 to process the cards.

Each family received a tote bag, gift card, and note from the Mint Museum.

“As a child, I grew up in similar challenging yet overcoming circumstances in a Charlotte housing project. I want to give back, and see that the students and families have access to having their temporal needs met, as well as to education and memorable experiences,” wrote the anonymous donor. “You all are doing good community work at the museum and I knew you could successfully facilitate our desire to help families who are trying to hold it together.”

The donations not only helped the Grier Heights community, it supported families of the McCrorey YMCA after-school program and citizens temporarily displaced at two YMCA camps in west Charlotte.  Thirty bags and cards were delivered to the McCrorey YMCA, led by Executive Director Dena Jones, a former Mint docent and student of retired Mint master art teacher Rita Schumaker. Jones noted the great need of families there and those displaced.” These 30 cards and bags will be a blessing to them all, and we appreciate it. Hunger is real, even in Charlotte,” Jones says.

The Mint’s program teen team leader Alex Brown and her mother, Stacey Price Brown, PhD, president of the Grier Heights Community Improvement Organization, have deep roots in the community. They delivered the 43 bags to families during Mother’s Day weekend.

Mint Museum Community Youth Arts Program teen leader Alex Brown delivers a Food Lion tote bag and gift card to a family.

“The Grier Heights community embraces four core values: self-sufficiency, education, empowerment and family! Through our partnership with the Mint Museum you empower our families to educate themselves about their history, their cultures and their health so that they can be model citizens of self-sufficiency for themselves, their families and their communities. Through this COVID-19 pandemic, you have not stopped honoring our community’s core values by sharing care packages, Food Lion gift cards and inspiring messages to empower and educate our families to stay safe and healthy,” Brown says. “We are very thankful for partnerships and neighbors like you who have invested in our community for over 15 years, and the return on your investment has produced many youth and families who are healthier individuals mentally, physically and emotionally so that they, collectively, can go into our society making it a more livable, equitable and just place.”

Dr. Stacey Price Brown, president of the Grier Heights Community Improvement Association, gets ready to deliver 43 Food Lion tote bags and gift cards within the community.

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Paul Bartlett (American, 1881–1965). Ogunquit Morning (Morning Conclave), 1925, oil on canvas. The Harry and Mary Dalton Collection. 1990.72.1

6 works of art that celebrate motherhood

Motherhood has inspired art and artists throughout the ages with themes of guidance, love and protection. On the cusp of Mother’s Day, Mint curators Jen Sudul Edwards, PhD, Jonathan Stuhlman, PhD and Brian Gallagher spotlight pieces in the Mint’s collection that give a nod to the beauty of motherhood.

 

Patricia Piccinini (Australian, 1965- ). Big Mother, 2005, silicone, fiberglass, leather, and human hair. Gift of the Tony Podesta Collection. 2014.75.18. © Patricia Piccinini, 2005

Big Mother

Australian artist Patricia Piccinini was inspired to create Big Mother after watching a documentary on baboons that included the passionate intensity with which a mother would grieve the loss of a child. The parallels between species instantly became evident to her and as with all of her work, she sought to unite the gap between living forms with a bridge of compassion, recognizing that new scientific innovations are breaking down those barriers, as well.

Piccinini has described Big Mother in this way: “She encapsulates what it means to be human today, how we define our humanness, and the ethics and the advocation of new medical technologies like genetic engineering. She also embodies that amazing push-pull of difference. We can recognize her, but she is something else, which is strange for us. … In the end, what the work is really about, is how important it is to maintain the distinction between animals and ourselves and how fragile that distinction really is.” —Jen Sudul Edwards, PhD, Chief Curator and Curator of Contemporary Art

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Ridolfi Ghirlandaio (Italian, 1483-1561) Madonna and Child with Four Saints, circa 1515, oil on canvas. Gift of Mr. Samuel H. Kress. 1943.2

Madonna and Child with Four Saints

Every culture has images celebrating the unique bond between mother and child and such images became a staple of Christian iconography, as well. Medieval and early Renaissance representations tended toward a formal Mary who served as a support for a wise Christ, small in size, but mature in face. In the High Renaissance when Ridolfi Ghirlandaio painted, the Catholic church sought to portray a more empathetic, relatable Holy Family. Images of Mary and Christ softened, moving from ornate thrones to verdant fields and from stiff poses to loving embraces. The four apostles make the religious connotations immediately clear, but if they were removed, the mother and child could be a maternal image from any time, any place: a mother adjusting her weight to accommodate a squirming infant who reaches inquisitively for an object nearby, watching his movements with a gentle love. —Jen Sudul Edwards, PhD, Chief Curator and Curator of Contemporary Art

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George W. Bellows (American, 1882–1925). Mother and Children, 1916, Japan paper. Gift of the Friends of the Mint on the Occasion of its 20th Anniversary (1965-1985). 1985.48.1

Mother and Children

Although George Bellows made a name for himself with paintings and drawings that showed the grittiness of urban life, he also produced more tender images, like this one. Mother and Children depicts the artist’s wife Emma and their children, Anne and Jean, relaxing outside under a striped awning. —Jonathan Stuhlman, PhD, Senior Curator of American Art

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Paul Bartlett (American, 1881–1965). Ogunquit Morning (Morning Conclave), 1925, oil on canvas. The Harry and Mary Dalton Collection. 1990.72.1

Ogunquit Morning

This sun-filled scene, created at an artist’s colony in Ogunquit, Maine, nearly a century ago, features three women and three young children enjoying a sun-drenched morning by the sea. —Jonathan Stuhlman, PhD, Senior Curator of American Art

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Wedgwood. Staffordshire, England, 1759–present; Teapot, circa 1785–1790, stoneware (jasperware). Museum Purchase: Funds provided by the Wedgwood Society of Washington DC. 2018.5.1a-b

Wedgwood Teapot

The figures in relief on this jasperware teapot include a mother and her children as they approach a tripod table supporting a basket filled with fruit. The scene was designed by Elizabeth Upton, Lady Templetown (1747–1823), as part of her Domestic Employment series, and it was modeled in three-dimensional form by William Hackwood, a talented sculptor at the Wedgwood factory. —Brian Gallagher, Curator of Decorative Arts

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Turner. Staffordshire, England, circa 1760–1829; Bough Pot, circa 1800, stoneware (black basalt). Collection of Lucie and Bob Reichner

Bough Pot

The relief decoration on one side of this bough pot—on view in the Classic Black: Basalt Sculptures of Josiah Wedgwood and His Contemporaries exhibition—features the Roman goddess Venus balancing her son Cupid on her right foot. Known as Sportive Love, the relief was designed by Elizabeth Upton, Lady Templetown (1747–1823), a talented, amateur artist who sold her designs to various Staffordshire potteries. —Brian Gallagher, Curator of Decorative Arts

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Stéphane Dunoyer Pâte de Verre jewelry. Small Moon Ring, $120; Mother and Child Necklace Round, $128; Mother and Child Necklace Blue/Green, $108; Bee Necklace. $148.

12 gifts hand selected for Mother’s Day

Give the moms in your life something thoughtful for Mother’s Day from the Mint Museum Store. Shopping by appointment is now available by calling the store at 704-337-2061, or direct message @mintmuseumshops on Instagram or email hannah.snyder@mintmuseum.org to shop these items or others. Items can be picked up curbside at Mint Museum Uptown or shipped direct to any address in the United States. The store is open to fulfill orders Monday through Friday, 10:30 AM-1:30 PM.

Below are 12 items hand selected by Mint Museum Store staff members as favorites to celebrate Mom. Bundle a bunch and send something extra special to celebrate the first lady in your life.

 

Emperor’s Brocade Triangle Bag, $36.

 

Weathered boot vases, $6 each.

 

Duchess Peony Lafco New York Candle, $62.

 

Dolly Parton Pitcher by Local Dean and Martin Pottery, $198.

 

Leather journals with marbled edges, small, $46/large $56.

 

Butterfly necklace, on sale for $49 (original price $98).

 

Colorful journals, $12 each.

 

Hand blown glass heart by local artist Joe Grant, $38.

 

Laurent Guillot lucite jewelry with real flower petals, pendant $260; almond shaped earrings; $150; and elegance ring $150.

 

Queen Bee Letter Opener, $16; Queen Bee Pocket Mirror, $8; Queen Bee Pillbox, $12.

 

Etched Mercury Glass Votive (Large), $18.

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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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14 pro tips to take your best snapshots while sheltering at home and beyond

“Always try to have something to make a picture within arms reach. Moments happen quickly. The camera on your phone is probably your best bet,” says Logan Cyrus. Photo by Logan Cyrus

As we continue to make sense of our reality, many are taking notes, and finding other ways to document their daily experiences. Snapshots of day-to-day adventures at home and front porch photo sessions are ways to capture life during a pandemic that we aren’t soon to forget.

Capture the Moment

Look for context

“Think about your pictures as lasting documents of how things were in this very surreal moment in all of our lives,” says Logan Cyrus, a photojournalist based in Charlotte whose work has published in The New York Times, Washington Post and The Wall Street Journal. “Try not to stage things.”

No need to social distance when snapping pictures in the backyard. Move in. Photo by Micah Cash

Get a close-up

While we’re practicing social distancing in our communities, we don’t have to do that in our backyards, says N.C.-based visual artist Micah Cash, whose installation Waffle House Vistas was featured in The Mint’s Coined in the South exhibition. “Get close to your subject and remove wasted space in your images. If I’m photographing a tomato plant, then I need to get close to it. Same with an image of my son watering the garden: The camera needs to be close enough to show that he is the subject. Don’t crop it later. Zoom with your feet and get close,” he says.

Close-ups are particular great when photographing children. “Get the camera on their level or lower, and in their space,” says commercial photographer Adam Whitlow who owns Latch Creative. “You never know what they’re going to do next, and if you are too far away the moment won’t have the same impact.”

Sneak a snapshot

Capture a truly candid moment by snapping a picture when your subject isn’t looking or is busy doing something, suggests Kim Hutchinson, whose work has been featured at various galleries in the city. “Go abstract. Not every image has to be crisp and perfectly balanced. Find joy in imperfection,” she says.

Use mixed lighting sources, and capture moments of life at home during a pandemic. Photo by Kim Hutchinson

Still life is real life

Humans and pets aren’t the only interesting subjects to photograph. Consider a still photo set up of spring flowers, pandemic puzzle projects, or new recipes simmering on the stove.

“Spring brings an abundance of color and life. Try macro photography and put together arrangements of items that capture your story now. Play with different backgrounds and moody light to create drama,” Whitlow says.[/vc_column_text][/vc_column][/vc_row][vc_row repeat=”repeat-x” position=”50% 100%” background=”https://mintmuseumold.wpengine.com/wp-content/uploads/2020/10/DiamondPatternFade-Website.png”][vc_column][vc_column_text]

Not all photos have to be of the happiest moments. Capture real feelings in real time. Photo by Logan Cyrus

Think about the “why”

Are you a parent? Is your child in the middle of a temper tantrum? Maybe that’s a good time to make a picture, Cyrus says. “We want to remember the fun of writing inspiring messages on a sidewalk with chalk but we also want to remember the difficulty of being at our homes all day and how we managed to get through it.”

The best photos aren’t posed

Make a game of it, says Elly Kinne, CEO and lead photographer for Weddings by BlueSky. “Play with your child, pup or catch your spouse in a laugh. When you see a beautiful moment, take that photo.”

“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

Think Outside the Frame

Find a new angle

Break away from the convenient eye-level camera angle says Jeff Cravotta, owner of Cravotta Photography and one of the talents behind Charlotte Ballet’s beautiful photography. “Lay down on the ground to either have an ant’s-eye view or look up to your subject, climb up someplace high to look down at your subject,” he says.

Take a shot from a unique angle to capture motion and a different perspective. Photo by Jeff Cravotta

Be aware of what’s in the background

Don’t want that trash can in the background? Move it or move yourself, advises UNC Charlotte associate professor of photography Aspen Hochhalter.  “Make sure everything that’s included in your viewfinder or on your screen is something you want in your photo. You have ultimate control of what is included in your frame, all you need to do is notice the details in your scene.”

A background can be something unconventional. This photo was taken by a dumpster. Photo by Richard Israel

Look for the novel and unexpected

“The photo (above) was taken at a dumpster,” says wedding and portrait photographer Richard Israel. Look for unusual locations and let the reflective colors soak onto your subject.”

Keep your subject in open shade for flattering light, and use as small an aperture as possible or portrait mode on your phone for that out of focus background, he says.

The Right Light

Embrace the “magic hours”

The first hour of the day and the last hour of the day are the best opportunities for photography,” Hutchinson says. “This is due to the lower angle of the light and how it is filtered through the atmosphere and the environment. If you can manage to shoot either earlier or later in the day you will get better results with natural light.”

Harsh midday sun isn’t flattering and is difficult to control, Whitlow says. “Try to find a shady spot or position for your subject so the sun is behind them, and use your flash to light their faces.” If you feel like adding other techniques, find some white foam core or poster board and try to bounce light back into your subject or use a thin white fabric to diffuse harsh sun, he says.

Don’t be afraid to play with exposure

Many photographers prefer to put their subjects in shade, so that the lighting is more balanced. If you usually shoot at 200 ISO in sunlight, try shooting at 400 ISO in the shade, says music and event photographer Daniel Coston.

If your subject is in the sun and they look too bright, just drag your exposure down before you take the photo, Kinne says. “On an iphone, just click on your subject on your screen, a bar will show up, drag the exposure up or down depending on the look you are going for.” 

What about lighting inside?

“Window light, window light, window light,” says wedding photographer Casey Hendrickson. But not directly hitting your subjects. “I always like to photograph at a 90-degree angle to my subject when shooting inside to have the proper depth and shadows, but also ensure that colors remain true.” If the light is too harsh, and shadows are too contrasted, try placing sheer white/ivory curtains over the window to diffuse the light, she says.

Technical Tips

Use the grid on your camera to help compose a photo. Photo by Micah Cash

Let the grid be a guide

Use the grid setting on your camera to compose your image according to the rule of thirds, says Cash. “When turned on, you can line the subject matter onto one of the intersections or along one of the lines to make a more natural and balanced photograph. But feel free to break this rule when you want an image to be more formal, jarring, or stark. Knowing the rule allows you to break it creatively when your image needs it.”

Create motion and try time-lapse

“For many people, time is practically standing still. Time-lapse can provide that much needed assurance that life is still moving forward,” Whitlow says. Find a scene that has repetitive action and is evolving within the frame. “This could be as simple as someone perpetually throwing a ball to the dog or the endless stream of walkers and bikers on your street. Set your camera on a tripod or stabilize it somehow and be patient.”

Israel suggests creating a sense of motion by panning the camera with your subject.

Using a flash is good if you are in a room with very little light, or just want to get that perfect posed photo. Photo by Daniel Coston

Flash or no flash?

Using a flash is good if you are in a room with very little light, or just want to get that perfect posed photo of a group of people. However, using a flash can seem a bit much to some people and kids, Coston warns.

“Look up your camera’s ISO setting, take it off of the auto setting, and increase the ISO to 800 or 1600 if you are indoors. This way, you can take photos without a flash, and there will be less motion in the photos,” he says. “Whatever you are into, whether it’s your family, job, travel or everyday life, it all means a lot to you. If you want to document it, you should. No matter how good or bad of a photographer that you think you are. It’s your eyes through whichever camera you have with you, even if that’s just your phone.”[/vc_column_text][vc_empty_space][vc_separator][vc_empty_space][vc_column_text]

The Mint Museum From Home is Presented By Chase.

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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

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The Mint Museum celebrates the life of Dr. Francis Robicsek, a pioneering heart surgeon, art collector and Renaissance man

It is with heavy—yet grateful—hearts that The Mint Museum recognizes and celebrates the life and legacy of Dr. Francis Robicsek, who passed away peacefully at his Charlotte home on April 3, at the age of 94.

Robicsek was best known for being a world-renowned heart surgeon who performed some of Charlotte’s first open-heart operations. Over his 64-year career, he performed the city’s first heart transplant, founded the Sanger Clinic (now Atrium Health Sanger Heart & Vascular Institute), and was known for his steady hand — and improvisation — in some extraordinary situations. (Consider this: On New Year’s Eve in 1964, when a fellow doctor’s heart stopped on a hospital elevator, Robicsek proceeded to cut the man’s chest open with suture scissors, massage the heart, and then shock it back into rhythm with the cord from a table lamp.)

But the doctor who fled Soviet control in his native country of Hungary in 1956 with his six-months-pregnant wife, Lilly, was also a student of the world. Robicsek saw beauty in the old and was an avid art collector who generously helped establish, grow and develop the Mint’s pre-Columbian, Spanish Colonial, and European painting collections. Many of the works of art are on display in Mint Museum Randolph’s Lilly and Francis Robicsek Galleries.

“I only had the pleasure of meeting Dr. Robicsek once, but he was a figure who had an aura of well-deserved respect, almost reverence,” says Mint President and CEO Todd. A Herman, PhD. “And if you paid attention, he had a sense of humor that those willing to see past the aura would appreciate—with a twinkle in his eye and a slight rise to the edges of his mouth.”

Robicsek became interested in archaeology in the 1960s. “I have never enjoyed a vacation where you just go and sit around, and I have never enjoyed walking around a golf course,” Robicsek wrote in the 2008 book Pioneers of Cardiac Surgery, by Dr. William S. Stoney. “I have always needed an excuse or a reason for going from A to B.”

So it was auspicious when Robicsek saw an ad in the Annals of Thoracic Surgery for a hospital in Honduras that needed a surgeon with experience in tuberculosis surgery. Robicsek began spending summer vacations there. And when the hospital could only handle one thoracotomy per day, he spent his downtime “prowling around the ruins.”[/vc_column_text][vc_single_image image=”37473″ img_size=”large” alignment=”center”][vc_column_text]For decades, Robicsek worked to expand healthcare facilities and operations in Central American countries, including Honduras, Guatemala, Nicaragua, Belize and El Salvador. He helped build pediatric and neonatal intensive care units, and he raised money to take pieces of equipment deemed obsolete by U.S. standards and have them refurbished and shipped to Central America, where he’d also train staff how to use them. Then, whenever possible, Robicsek would change out of his scrubs, pull out his camera, and go exploring.

Of course, he couldn’t have done it without Lilly. A medical doctor herself—she did two residencies in pathology and pediatrics—Lilly retired from medicine to help raise the four children and afford her husband the opportunity to work, study and travel around the world, often with Lilly by his side.[/vc_column_text][vc_single_image image=”37474″ img_size=”large” alignment=”center”][vc_column_text]Dorie Reents-Budet, PhD—a former visiting curator for native art of the Americas at the Mint—spent years working with Robicsek and exploring his vast collection. But they first met in 1982 when Robicsek attended the Maya Hieroglyphic Workshop at the University of Texas at Austin. Reents-Budet was a graduate student at the time and was helping put on the workshop

The crowd was an insular group of art history and anthropology scholars from the U.S. and Canada. Reents-Budet, eager to make sure all attendees felt welcome, offered to drive Robicsek to all of the after-hours workshop cocktail parties, to introduce him to her professors. “It was memorable getting him to fold up those long legs so he could fit in my 1967 Nova,” she says.

Robicsek authored five books on Mayan culture and art, and just as he was a pioneer in the medical field, he was also an early adopter in the field of art history. He was publishing books on pre-Columbian art long before the National Gallery of Art even recognized it as art and not just a facet of anthropology, says Reents-Budet.

To Robicsek, she adds, these works were equally as poignant as any Grecian ceramic, Egyptian artifact, or Renaissance painting.[/vc_column_text][vc_single_image image=”37469″ img_size=”large” alignment=”center”][vc_column_text]Michael Tarwater, formerly the president and CEO of Carolinas Healthcare System, first met Robicsek in June 1981. Tarwater was a vice president at the time and part of his purview included overseeing the hospital’s cath lab, where doctors studied the heart. He and Robicsek became fast friends, and for a period of about 15 years, Tarwater and his wife, Ann, would travel the world with Robicsek and Lilly—from Romania, where the ancient monasteries are painted with exquisite Biblical scenes, to Antigua, Guatemala, home of the world’s largest Easter celebration.

“To the very end, he had this beautiful youthful curiosity about life that you just wanted to tap into,” says Ann Tarwater, one of the Mint’s Board of Trustees. “He wanted to show you the world.”

That sense of curiosity didn’t wane after Robicsek retired in 1998. If anything, it picked up. “He was an inventor, an innovator, a scientist, a scholar, a humanitarian,” says Michael Tarwater. “And,” he added, “a prankster.”

In the mid-1980s, Carolinas Medical Center experienced a few power failures, which always caused a scramble, Tarwater said. A few days after one, the hospital administration announced to staff that they’d found the problem and resolved it. Afterward, Robicsek stopped by Tarwater’s office for a quick chat.

Minutes after Robicsek left, Tarwater saw the power go out yet again. “The first thing you think about are all the people in the operating room, all the things we rely on, all the people on ventilators,” he said.

Frantic, Tarwater raced out of his office. That’s when he realized that the power outage was isolated. The mischievous Robicsek had found the circuit breaker for just the administrative offices and flipped the switch.[/vc_column_text][vc_single_image image=”37472″ img_size=”large” alignment=”center”][vc_column_text]Francis and Lilly Robicsek took every opportunity to travel with their children—Steven, Susanne, John and Frances—and later with their five grandchildren. They instilled a love of art, music and culture in all of them.

Robicsek’s daughter Frances Furr, the youngest of the four children, studied art history in college and went on to be an art teacher, a member of the Delhom Service League, and a docent at the Mint.

Furr recalls the time when, as a lover of North Carolina ceramics, she took her father to Seagrove to view the pottery. “In that thick Hungarian accent, he said, ‘There aren’t any cracks in it. I don’t like it,’” Furr recalls, laughing.

He later recanted, she says, but his premise remained: There was beauty and value in old things. Whether traveling the world with family and friends or simply browsing a flea market or art gallery with his children, Robicsek espoused the power of learning about the past, of finding beauty in artifacts.

Two weeks before her wedding day, 27 years ago, Robicsek took Furr to the jungles of Mexico, where he was on a mission to photograph Mayan ruins. There were no hot showers, they slept in hammocks, and she remembers looking out the back of a truck and realizing they weren’t on a road. But then they arrived at the most amazing old mounds in the middle of nowhere.

“I love how he taught me to see life through the lens of culture and art,” says Furr. “And that I’m very grateful for.”

We at the Mint are also grateful to Robicsek and his family for sharing the life and legacy of the remarkable doctor, buried in his scrubs, who saved lives and championed art in equal measure.

Sincerely,

Todd A. Herman, PhD
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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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Spring cleaning during shelter-in-place? Here are tips for preserving all your favorite things, from photos to clothes to important documents

Spring cleaning is taking on a whole new meaning while we’re all cooped up and social distancing inside. Whether you’re cleaning out your closets or that pesky home office, here are some tips from the Mint’s Library & Archives team on how to preserve the stuff you actually want to keep.

1. Always opt for cardboard storage bins

Contrary to what you see on the stocked shelves at the Container Store, cardboard boxes are usually better than plastic bins for storage. Why? Plastic bins can breed mold since they can seal in moisture. (Pro tip: You know those little packets in new shoe boxes? Those absorb moisture. Hang on them to use to throw in plastic storage bins. Just make sure to keep them away from pets and kids!)

2. With cherished papers, skip the paper clips, staples

From kids artwork on the fridge to awards and certificates, it can be hard to know how to best store our cherished paper possessions. For starters, paper is best kept flat. You’ll want to make sure you papers are unfolded and laid flat for storage. If possible, storing in acid-free file folders will help with preservation (these can be easily ordered online if you don’t have any on hand). You’ll also want to remove any paper clips or staples, as these can rust and ruin your papers. Finally, if your item is too large for a folder, rolling it up will always be better than folding.

3. Embrace acid-free paper with photo albums and scrapbooks

Photo albums and scrapbooks are another tricky item to know how to preserve. The first question here: Is everything glued down? If so, just leave it. The photos can be damaged by trying to remove them. You can add sheets of acid free paper between the pages to help prevent acid from the album pages to migrate and deteriorate your mementos. To save a few bucks, check your printer paper if you have any because it might just be acid free. Put the album in a box for extra protection.

4. Here’s how long you should keep tax and loan docs

Most of us have—but don’t want to admit to—a stack of miscellaneous papers in our homes that seem important and probably shouldn’t be thrown away. But knowing when to actually throw away that tax return or bank statement from three years ago can feel really overwhelming. As a rule of thumb, you should plan to keep tax returns for seven years, loan documents until the loan is paid off, and any one-time documents like social security cards and birth certificates forever, according to Consumer Reports.

5. With clothes and fabric, pack flat and wrap strategically

Well, Joan Crawford was right. No wire hangers! Wood, plastic, or padded hangers are a much better choice to preserve your garments. When saving older garments, they should be packed flat and wrapped in acid-free tissue. Quilts and other fabrics should be handled gently and with care, stored in a cool, dry location, and avoid any cleaning or washing if the fabrics are antiques or may have monetary or sentimental value. Read this article from the National Archives for more quilt and fabric preservation tips.

6. Embrace vampire tendencies

Whether you are storing paper, photos, or clothing, keep them out of the sun and away from heat sources to prevent fading and damage. In addition to light sources, keep your valuables away from sources of moisture or water to avoid mold. Keep away from pipes as well, as they can burst and water damage your items. Garages and basements are not the best places for storage; try keeping cherished items stored inside the house where there is more temperature control instead.

We on the Library & Archives team at the Mint know a thing or two about preservation, but this is just a primer. There are loads of online resources for every type of item you can think of. One of our favorite trusted sources is the North Carolina Preservation Consortium; the Mint is a member![/vc_column_text][/vc_column][/vc_row]

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