Opens October 16, 2020
Mint Museum Uptown
To celebrate Mint Museum Uptown’s tenth anniversary, In Vivid Color: Pushing the Boundaries of Perception in Contemporary Art brings together four innovative contemporary artists—Gisela Colon, Spencer Finch, Jennifer Steinkamp, and Summer Wheat—who create works celebrating the power of color and its transformative ability to permeate the space around us. Their work is juxtaposed with a selection of paintings and works on paper drawn primarily from The Mint Museum’s permanent collection that explore artists’ exploration of color in more traditional ways.
The exhibition uses color as an opportunity to investigate how people perceive a non-fixed reality: the ever-shifting environment in which we must discern the real from the illusionary. The installations by Wheat, Finch, Colon, and Steinkamp are highly experiential, creating an environment that will engage each viewer uniquely, determined by the personal nature of color perception. Despite this subjective element, audiences experience the immersive installations simultaneously, fostering a sense of communion: we are united while remaining apart. This dichotomy replicates the sensation many feel as the COVID-19 pandemic requires much of our human contact to be mediated by technology, the media used by Colon, Finch, and Steinkamp.
Suspended in this state of near-but-apart, the works of
In Vivid Color reminds us of the community in which we all belong, to which we all contribute.
Summer Wheat’s Foragers spans four stories and 3,720 square feet in Mint Museum Uptown’s Robert Haywood Morrison Atrium. A myriad of vibrant panels give the illusion of stained glass, and fills the atrium’s 96 windows and weave a story of the people and workforce that have made Charlotte a thriving metropolis.
In contrast to the grand scale of the initial four installations, the 11 paintings and works on paper in the adjacent gallery allow for more intimate considerations of color’s potency. Whether abstract or figurative, each composition allows for different investigations into how color intersects with the work’s subject and meaning, in addition to affecting the viewer’s space even when confined to a two-dimensional patch of wall.
In Vivid Color: Pushing the Boundaries of Perception in Contemporary Art is generously sponsored by Wells Fargo Private Bank and the Mint Museum Auxiliary
Additional generous individual support provided by Mary Anne (M.A.) Rogers, Ann and Michael Tarwater, and Mozelle DePass Griffith in loving memory of Edward Colville Griffith, Jr.
Special thanks to Bank of America for loans of art for the presentation of this Mint-organized show.
Drawing together nearly 100 works from the museum’s Modern & Contemporary Collection, Under Construction: Collage from The Mint Museum is the museum’s first exhibition to focus on this dynamic, engaging medium. This technique, in which materials from different sources are cut, torn, and layered to create new meanings and narratives, experienced a renaissance after World War II, due in large part to Charlotte native Romare Bearden, whose work plays a special role in this exhibition.
The exhibition will be open to Mint members only on Friday, November 30; it opens to the public on Saturday, December 1. A party celebrating the exhibition and featuring artists, lenders, donors, and Mint members is scheduled for January 31, 2019 – check mintmuseum.org/events for details.
Bearden has long had a special place at The Mint Museum, which maintains a gallery dedicated to his work at Mint Museum Uptown. In this special exhibition, he and his work serve as a point of departure to explore the medium for which he is best known.
“It was great fun pulling together Under Construction,” noted Dr. Jonathan Stuhlman, Senior Curator of American, Modern, and Contemporary Art. “This is the first time that the museum has examined this fascinating technique in depth in a special exhibition. It also was exciting to think about how the work of Romare Bearden (which is found throughout the exhibition) relates to that of so many other artists in the collection. Under Construction is filled with dynamic, thought-provoking objects that are sure to inspire and delight our visitors.”
Under Construction explores not only classic collages including those by Bearden, but also the wide range of ways in which the technique has inspired artists and impacted other forms of art, from painting and printmaking to photography and assemblage. Featuring more than 30 international artists, Under Construction will explore the growth and impact of the collage technique from the 1950s to the present. It will include more than a dozen works by Bearden, as well as examples by such notable artists as Sam Gilliam, Robert Motherwell, Tim Rollins and K.O.S., Shepard Fairey, Howardena Pindell, Robert Rauschenberg, and James Rosenquist.
Visitors will be able to discover how eight inventive contemporary artists have continued to mine the medium recent years in a section titled “New Directions.” Although drawn primarily from the rich holdings of The Mint Museum, this exhibition will also include special loans from private collections.
The exhibition is organized by The Mint Museum. Media partners are The Charlotte Observer, Pride Magazine, and Peachy.
Media and special guests are invited to preview the exhibition at 10 AM on Friday, November 30 at Mint Museum Uptown at Levine Center for the Arts, 500 South Tryon Street. Light refreshments will be served and interviews with the curator and select artists will be available. RSVP to firstname.lastname@example.org.
African-Print Fashion Now! A Story of Taste, Globalization, and Style introduces audiences to the dynamic traditions of African dress featuring colorful, boldly patterned printed cloth. The exhibition, opening to the public at Mint Museum Randolph October 7 following two days of Mint member previews, highlights the interplay between regional preferences and cosmopolitanism that has long flourished on the continent, while highlighting the expansiveness of 21st-century African-print fashion.
The exhibition will be open to Mint members on Friday, October 5 from 11 AM-6 PM and Saturday October 6 from 1-6 PM, and will open to the public on Sunday, October 7 from 1-5 PM. Two fashion designers with work featured in the exhibition, Titi Ademola and Alexis Temomanin, will be in Charlotte from Thursday through Sunday and are available for media interviews. Sunday’s event includes a public talk with both designers from 2-3 PM, free after museum admission. Public opening day also includes a drumming performance and a light reception with cash bar. Ademola, a Ghanian/Nigerian designer, is founder of the KIKI label, while Temomanin is the British-Ivorian founder of menswear brand Dent de Man.
African-Print Fashion Now!, organized by the Fowler Museum at UCLA, expands the Mint’s presentations of contemporary fashion into a broader cultural arena, and continues the Mint’s emphasis on presenting exhibitions that represent diverse voices and backgrounds. “This exhibition aligns with our mission to explore the meaning of fashion in a global 21st-century context,” said Annie Carlano, Senior Curator of Craft, Design, & Fashion at the Mint. “From the bold, dynamic cloth, to the inventive, sculptural silhouettes, the textiles and fashions in this exhibition have inspired and infiltrated Western fashion, art, music, and popular culture.”
“The Mint is honored to be one of three venues for this important exhibition, and very pleased to collaborate with the Fowler Museum, UCLA, for the first time,” said Dr. Todd Herman, PhD, President & CEO of the Mint. “Additionally, we are deeply grateful to Charlotte’s own Michael Gallis for his role in bringing this exhibition to our community.”
The works featured throughout the exhibition demonstrate the vital role that African-print has played in the expression of beauty, fashion, and heritage, while creating transcultural connections across Africa and into the larger world.
The exhibition is complemented by an interactive design studio created by the Mint’s Learning & Engagement team, offering visitors of all ages opportunities to design their own prints, experience African-print fabrics, and go on a scavenger hunt through the exhibition.
Four sections weaving multiple themes
The exhibition is organized into four sections: “It All Starts with Cloth,” “Portraits in Print,” “Regional Styles, Fashion Preferences,” and “New Directions.” Collectively, the installation includes dozens of tailored fashions, nearly 100 archival and contemporary cloths, approximately 20 black-and-white studio portrait photographs from the 1960s and 1970s, a series of runway videos, and several works by contemporary visual artists. Ensembles on view draw from the Fowler’s collections, private loans, and the extensive archives of the Dutch textile manufacturing company Vlisco.
Several themes weave their way throughout the exhibition, mimicking the cyclical nature of fashion trends and the ripple effects of politics and technology on the formation of identity. One theme is consumer agency, both in determining designs and patterns through purchasing power and by commissioning unique ensembles from seamstresses and tailors. Another theme is the theatrical power of fashion, and its ability to express individualism or collective solidarity, whether in a family portrait or Women’s Day Marches in communities across the continent. Finally, a link between imaging and fashion surfaces in each section of the exhibition. From formal portraiture to visual arts to ubiquitous African fashion calendars to street style photos shared by cell-phone, it is clear that representations of fashion have always been a nuanced form of communication.
Fashion subtly communicates about place, heritage, and belonging through such means as appropriation, pastiche, and revival. Throughout the exhibition, African-print fashions are considered to be creative responses to key historical moments and empowering projections about Africa’s future.
About the Exhibition
“It All Starts with Cloth” addresses the history of African-print textiles, originally inspired by batik or wax-resist cloth from Indonesia. A dense grid of more than 60 cloths manufactured in Europe, Africa, and Asia evokes the vibrating colors and designs stocked in open-air markets and cloth shops across the African continent. A visual timeline of production across these regions outlines the history of the cloth trade in West and Central Africa from the 1800s to the present. Archival photographs and dramatic film footage of the Vlisco factory in operation transport audiences to the production of cloth in the Netherlands.
“Portraits in Print” leaves behind the brightly colored world of African-print fashion and enters an intimate black-and-white space of memory. A gallery introduces four photographers from Africa’s “golden age” of black-and-white photography in the 1960s and 1970s: Francis K. Honny (Ghana, 1914–1998); Jacques Toussele (Cameroon, 1935–2017); Omar Ly (Senegal, 1943–2016); and Mory Bamba (b. Mali, 1949). Their photography studios in newly independent West African countries provided a platform for an ascending middle class to see themselves and be seen by one another. The portraits are indicative of a historical moment when local African-print ensemble styles gained new significance as expressions of national and Pan-African pride and identity.
“Regional Styles, Fashion Preferences” takes an in-depth look at localized contemporary African-print fashion whereby stylish dress is a feature of daily life. Ensembles on view from Cameroon, Côte d’Ivoire, Ghana, Nigeria, and Senegal reflect an array of styles, all of them customized and individually made to order. This section presents a case study from Kumasi, Ghana to illustrate the interactive commissioning process between seamstresses or tailors and their fashion-conscious clientele. The bold patterns of the cloth engineered with subtle and striking variations in style reveal the ingenuity and flair of regional designers.
“New Directions” bridges regional cultures with transnational art and fashion networks, beginning with African-print styles on global runways in Paris, New York, Dakar, and other cities. Designers in this section include Titi Ademola (b. London, based in Ghana), Ituen Bassey (b. Nigeria), Afua Dabanka (b. Germany, based in Ghana), Lisa Folawiyo (b. Nigeria), Adama Amanda Ndiaye (b. Democratic Republic of the Congo, based in Senegal), Alexis Temomanin (b. Côte d’Ivoire), Gilles Touré (b. Côte d’Ivoire), and Patricia Waota (b. Côte d’Ivoire). Ensembles on view feature full-length gowns and men’s blazers, metallic wax print, and architectural pleating and boning—all of which harmoniously marry the drape of the fabric with the strategic construction of print patterns for stunning results.
Juxtaposed with these glamorous designs are contemporary works by photographers and other visual artists who incorporate print-cloth imagery to convey evocative messages about heritage, hybridity, displacement, and aspiration.
Members of the media and invited special guests are invited to preview the exhibition from 5:30-7 PM on Thursday October 4 at Mint Museum Randolph, 2730 Randolph Road in Charlotte. Light refreshments, wine, and beer will be served. RSVP to Leigh.Dyer@mintmuseum.org.
The exhibition is accompanied by a fully illustrated volume generously funded by the R. L. Shep Endowment Fund at the Fowler Museum. The publication includes essays authored by exhibition co-curators Suzanne Gott, Kristyne S. Loughran, Betsy D. Quick, and Leslie W. Rabine with additional essays contributed by Kathleen Bickford Berzock, Boatema Boateng, M. Amah Edoh, Helen Elands, Anne Grosfilley, Karen Tranberg-Hansen, Helen Jennings, Sandra Klopper, Stephan F. Miescher, Hansi Momodu-Gordon, John Picton, Elisha P. Renne, Victoria L. Rovine, Ken Aïcha Sy, and Nina Sylvanus. It is on sale for $40 in both locations of the Mint Museum stores.
African-Print Fashion Now! A Story of Taste, Globalization, and Style is organized by the Fowler Museum at UCLA in association with Vlisco Netherlands B.V. It is guest curated by Suzanne Gott with Kristyne S. Loughran, Betsy D. Quick, and Leslie W. Rabine. In Charlotte, Annie Carlano, Senior Curator of Craft, Design, & Fashion, is the project curator. Major funding is provided by the National Endowment for the Arts with the additional support of R. L. Shep, DutchCulture, and Pasadena Art Alliance.
The exhibition is presented in Charlotte by PNC Financial Services with generous additional support from the Mint Museum Auxiliary, Wells Fargo Private Bank, and Moore & Van Allen.
ABOUT THE FOWLER MUSEUM
The Fowler Museum at UCLA explores global arts and cultures with an emphasis on works from Africa, Asia, the Pacific, and the Americas—past and present. The Fowler enhances understanding of world cultures through dynamic exhibitions, publications, and public programs, informed by interdisciplinary approaches and the perspectives of the cultures represented. Also featured is the work of international contemporary artists presented within the complex frameworks of politics, culture, and social action.
|Lekan Jeyifo and Walé Oyéjidé, Johannesburg 2081 A.D., Africa 2081 A.D. series, 2014; Digital print. Courtesy Ikiré Jones.|
On view through January 3, 2021 | Mint Museum Uptown
As we retreated to our homes in the midst of a global pandemic, perspectives changed and new views evolved. The usual became unusual. We saw familiar things with new eyes. New Days, New Works celebrates these renewed perspectives for objects that we surround ourselves with each day and never-before-seen works of art from The Mint Museum’s collections, including a number of gifts from individual and corporate donors.
More than 80 works of art — including photography and sculptures from international artists, vivid paintings, fashion accessories and stunning ceramics — evoke emotions and a new perspective for a new day.
The exhibition is a juxtaposition of color, material, time and place, from the recently acquired Arco by Puerto Rican artist Cristina Cordova to the strikingly colorful acrylic painting With Side, With Shoulder by Brooklyn-based artist Summer Wheat to Pilar Albarracín’s Ceiling of Offerings, a large-scale installation made up of hundreds of colorful flamenco dresses that hang from the ceiling.
New Days, New Works is organized by The Mint Museum and kicks off a year-long celebration of gifts in the Mint’s collections — American, contemporary, craft, design and fashion, and decorative arts — that represent the broad diversity of artwork that defines The Mint Museum.
Each object in New Days, New Works celebrates our relationships with individual donors, corporations, foundations and support groups that are all part of The Mint Museum community. We appreciate their generosity and the collection’s presence in our lives, even more after being away for so long.
You are part of our community, too, and we are profoundly grateful that you have joined us today. Welcome back.
CHARLOTTE DEBUTANTE CLUB
Established in 1950, the Charlotte Debutante Club immediately identified the Mint as the recipient of all its fundraising support that inaugural year and it has continued to contribute annually ever since. It has made numerous acquisitions possible, including the Leo Twiggs 2018 commission Conversation that memorialized the 2015 fatal shootings at Mother Emmanuel Church in Charleston, South Carolina. Most recently, they provided the funds to purchase this photograph by Ken West, the People’s Choice prize in the recent Coined in the South exhibition sponsored by another devoted Mint support group, The Young Affiliates of the Mint.
WELLS FARGO FOUNDATION WOMEN ARTISTS FUND
Through the years, the Wells Fargo Foundation has provided significant exhibition, acquisition, education and programming underwriting support for The Mint Museum. The Wells Fargo Foundation Women Artists Fund helps American museums acquire works by contemporary American female artists for their permanent collections. The Fund seeks to help change the inequitable representation of women artists in the collections of art museums. A Public Library of Science data survey of the permanent collections of 18 prominent art museums in the U.S. found that out of over 10,000 artists, 87% are male and only 13% are female. This work by contemporary American artist Summer Wheat was acquired with generous funding provided by the Wells Fargo Foundation Women Artists Fund.
Many nineteenth-century English potteries continued the practice of their eighteenth- century forebears by making salt-glazed, brown stoneware vessels for middle-class consumers. London-area potteries, such as those in Mortlake and Lambeth, specialized in “hunting” jugs and mugs, drinking vessels with applied, molded reliefs of stag hunts. Other potteries likewise used applied reliefs to decorate their wares. “Topers,” or drinkers, were a popular theme, especially on objects meant to hold alcohol; such vessels were often found in alehouses and inns. In the 1830s, stoneware potters in Derbyshire began molding gin flasks to represent popular heroes of the day. Many English potteries further embellished their wares by partially dipping them in a chocolate brown glaze. All these efforts heightened the visual appeal of these relatively simple and affordable stoneware forms.
The examples in this case are part of a 2019 gift to The Mint Museum from Nicholas Johnson, an avid British ceramics collector who lives in the Boston area. Born and raised in Devon, England, Johnson began collecting while studying psychology at University College, London and frequenting London’s street markets whenever he had a chance. He continued collecting in the decades that followed and even after he and his wife moved to the United States
CAROL COLE LEVIN
Artist and collector Carol Cole Levin lives in Greensboro in a home filled with feminist art: not just work made by women, but work that explores the specific political and personal struggles women across society face. Levin’s own art, working under the name Carol Cole, includes sculpture, works on paper, and installations that often incorporate stitching and crochet, techniques usually dismissed as “women’s work” to pass the time and keep idle hands busy; but Cole, like Bass, turns them into powerful weapons of critique and contemplation. As a philanthropist, Levin supports many national organizations, with a particular focus on UNC institutions, including the Weatherspoon Art Museum and the Ackland Art Museum, where she has also served on the board of directors.
LORNE LASSITER AND GARY FERRARO
Lorne Lassiter was the founder and owner of the Workout! Studios before transitioning into non-profit management as the Charlotte Project Director for the State Department program, Business for Russia. She has been the Executive Director of the Mayor’s International Cabinet and of the Mint Museum of Craft + Design (MMC+D) Founders’ Circle. She has served as Board Chairman for Charlotte Sister Cities, Vice Chair of the American Craft Council, and GreenHill for NC Board. Lassiter currently serves on several Advisory Boards. Gary Ferraro, Ph.D., a Professor Emeritus of Anthropology at UNC Charlotte, has been a Fulbright Scholar in Swaziland (1979–80) and the Czech Republic (2003) and has served twice as a visiting professor of anthropology in the Semester at Sea Program, an around-the-world floating university. The author of 26 editions of six anthropology textbooks, he has served on the Board of the Founders’ Circle of the MMC+D and STARworks, in Star, NC. The Ferraro-Lassiter collecting team has been fortunate that their careers have taken them around the world and into the studios and homes of many wonderful artists whose work gives them great joy and memories.
Carol Gorelick and her husband, Shelton, were enthusiastic and generous patrons of The Mint Museum for many years. They were founding members of the museum’s Crown Society and charter members of the Founders’ Circle, a Mint affiliate. Carol was an active member of the Delhom Service League, another Mint affiliate, as well as the Charlotte Ceramic Circle. She was also well known in Charlotte’s cultural community as a passionate, keen-eyed collector of contemporary craft, particularly North Carolina pottery. Perhaps less known is that before she developed this ceramics passion, she collected nineteenth-century majolica. In 2018, she donated her majolica collection to the Mint, examples of which are here on view.
Originating in England, majolica is earthenware that has been red once and then dipped in, or painted with, thick colored lead glazes and then red again. The palette often includes bright jewel tones, like ruby red, emerald green, and sapphire blue. The objects themselves are typically molded, with shapes often deriving from naturalistic forms, but utilized in wildly inventive ways—like a sh-shaped ewer, for instance. Herbert Minton (1793–1858) introduced his majolica at the 1851 Great Exhibition in London, and the acclaim it received led eventually to other firms, both in England and America, producing their own versions.
The Star Gallery is a place for students from around Charlotte to have their works displayed in The Mint Museum. The works presented rotate periodically to correspond with the themes present in our current special exhibitions and our permanent collection.
BURN YOUR ASSUMPTIONS | Spring-Summer 2020
Inspired by the Immersed In Light: Studio Drift at the Mint exhibition, Hough High School students worked to create pieces that explored the relationship between humanity, nature, and technology. Creating a dialogue about the in and out of body conversations we have with these relationships was our main focus. Throughout the work you can see that students worked with many materials, both tangible and digital. These works are from Katherine Allen’s Visual Art Honors and AP classes as well as Justin Pierce’s Media Arts Honors and AP classes.