Unfortunately, little of her work survives
Augusta Savage started sculpting as a child in the 1900s using what she could get her hands on: the clay that was part of the natural landscape in her hometown of Green Cove Springs, Florida. Eventually her talents took her far from the clay pits of the South. She joined the burgeoning arts scene of the Harlem Renaissancewhen her talents led her to New York.
Quilts tell the stories of our lives through their shapes, colors and textures. They hold a history of their makers as well as the people who care for them. They become sacred treasures.
One of the first photos you see in Renee Taylor’s delightful play about dieting is a black and white picture of her as a chubby kid in New York in the late 1940s. In hundreds of subsequent photos and videos, Taylor, the unforgettable mom of Fran Drescher in the hit TV series The Nanny, tells the story of her life and all the diets she has been on, real and crank, medical and fanciful. It’s about caloric food you can bake and a LOT of chocolate cake. CLICK TO CONTINUE
By Meilan Solly in Smithsonian.com
Harriet Tubman’s first act as a free woman was poignantly simple. As she later told biographer Sarah Bradford, after crossing the Pennsylvania state boundary line in September 1849, “I looked at my hands to see if I was the same person. There was such a glory over everything; the sun came like gold through the trees, and over the fields, and I felt like I was in Heaven.”
Penland is a national center for craft education dedicated to helping people live creative lives. Located in the Blue Ridge Mountains of North Carolina, Penland offers one-, two-, and eight-week workshops in books & paper, clay, drawing, glass, iron, metals, photography, printmaking and letterpress, textiles, and wood.
Mira Lehr in front of Creation (triptych), 2018
At the Jewish Museum of Florida-FIU for Art Basel Season
The Jewish Museum of Florida-FIU headlines Art Basel season with Mira Lehr: A Walk in the Garden featuring all new work created by the nationally renowned eco-feminist artist.
A look at three paintings from the cusp of the 20th century that make a powerful argument for beauty.
When in 2014 the Getty Museum acquired Édouard Manet’s “Jeanne (Spring)” (1881), it commissioned a three-lecture series and invited the art historian Richard Brettell to be the first speaker. He, in turn, has now expanded his published version of those discussions to deal also with two other late 19th-century paintings in the Getty collection, Paul Gauguin’s still life “Arii matamoe (La fin royale)” (1892) and Paul Cézanne’s “Young Italian Woman at a Table” (1895-1900).
As Brettell notes at the start of his book, On Modern Beauty: Three Paintings by Manet, Gauguin and Cézanne, both ‘modern’ and ‘beauty’ have become highly problematic concepts, in part because of the legitimate concerns of feminists and scholars dealing with gender and colonialism. Click here to continue
Shauna Caldwell, Appalachian State University graduate student and Appalachia Now! project intern, recently sat down with four artists whose work will be shown in the Museum’s opening exhibition Appalachia Now! An Interdisciplinary Survey of Contemporary Art in Southern Appalachia. Click the names to read more about Clarissa Sligh, Danielle Burke, Eleanor Annand, and Molly Sawyer!
Muralist and new mom Lauren Pallotta Stumberg walked past The Edge construction site every day while she and her son strolled through their Old Fourth Ward neighborhood. She eventually gathered the courage to cold call the apartment complex’s property manager and propose a mural for the nine-story wall facing Edgewood Avenue.
Jesse Beecher’s short film exploring the focus, exhilaration, beauty, and joy of creating in the studio. It speaks to the special character of workshop education at places like Penland.
Shot on the Penland campus during the summer of 2018.
By Jim Murphy in The Laurel of Asheville 2016
In the early 1970s, John Cram visited Asheville and says, “I fell in love with the place.” He moved here and found that Asheville was sitting squarely between the mountains and the doldrums. Beyond the town’s natural attractions, there was not a lot to love. And there was not a lot of demand for a 25-year-old holding a communications degree with a concentration in film. (John calls it “a bachelor’s degree in nothing.”) But just beneath that liberal arts background lurked the soul of an entrepreneur.
A Viral List of Hundreds of Opportunities for Artists, Compiled by One Person to Encourage Community
By Sarah Rose Sharp in Hyperallergic
Everest Pipkin has made public their “Big Artist Opportunities List” — a collection of over 400 opportunities for artists across the globe.
With the overwhelming reality that artists are expected to somehow maintain a practice, store and ship work, support their scene, self-promote, manage open accounts with galleries — all generally on spec, at least starting out — plus do whatever it takes to pay their bills, who has the time or bandwidth to keep track of opportunities to further one’s practice?
n 1971, pioneering feminist art historian Linda Nochlin penned the now-iconic essay “Why Have There Been No Great Women Artists?” – a powerful critique on the ways in which women had been excluded from art history. Nearly 50 years later, the stories of the remarkable women who did break boundaries to achieve artistic acclaim are just beginning to be told. This January, Sotheby’s celebrates trailblazing female artists from the 16th through the 19th centuries with The Female Triumphant, a group of exceptional works of art that will be offered in our Masters Week sales. In spite of extraordinary obstacles, talented artists such as Elisabeth-Louise Vigée Le Brun, Fede Galizia, Michaelina Wautier and Elizabeth Gardner Bouguereau paved the way for future generations of artists everywhere. Below, four expert voices discuss how these artists changed painting forever. Click to continue
OUR VISION To transform lives through art.
OUR MISSION To engage, enlighten, and inspire individuals and enrich community through dynamic experiences in American art of the 20th and 21st centuries.
By Moira Macdonald at Seattle Times
The Nobel Prize-winning writer Toni Morrison has a voice like a warm blanket, and it spreads across the documentary “Toni Morrison: The Pieces I Am” irresistibly; when it’s over, you feel like a beloved friend has left the room. In Timothy Greenfield-Sanders’ film, Morrison is seated squarely facing the camera and speaking to it, while the other voices in the film – friends, fellow writers, critics, academics – are shot at a more traditional angle. The result is an intimate directness, a sense of a genuine conversation.
“Children need art and stories and poems and music as much as they need love and food and fresh air and play. “
Children need art and stories and poems and music as much as they need love and food and fresh air and play. If you don’t give a child food, the damage quickly becomes visible. If you don’t let a child have fresh air and play, the damage is also visible, but not so quickly. If you don’t give a child love, the damage might not be seen for some years, but it’s permanent.
( Photo from the 2018 RADfest)
History of the Public Art Program
Starting in the 1970s, people began to notice that Asheville had very little public art compared to other cities around the country. As an outgrowth of the Streetscapes program, the Urban Trail Committee was formed in 1992 to develop a walking art trail highlighting historically important architecture, people and events within downtown Asheville. The Urban Trail became an Asheville treasure and helped show citizens what public art could do for our community. In November of 1998, a group of eighteen concerned citizens came together to form the Public Art Working Group. Many meetings and a great deal of research later, City Council adopted the City’s first Public Art Policy. A newly established Public Art Board started meeting in May of 2000.
- THINGS TO DO
- EVENTS CALENDAR
- WHO WE ARE
- BUSINESS DIRECTORY