Coined in the South: 2022

Coined in the South: 2022

March 26–July 3, 2022

 

The Young Affiliates of the Mint, in collaboration with The Mint Museum, presents  Coined in the South: 2022. This juried exhibition, highlighting artists from across the Southeast, will be on view March 26, 2022-July 3, 2022 at Mint Museum Uptown.

Works selected for Coined in the South: 2022

(hover over each image to view artist and read more about the work)

Jurors for Coined in the South: 2022

Special thanks for your time and effort in helping us build this show.

Hallie Ringle

HALLIE RINGLE
Curator of Contemporary Art
Birmingham Museum of Art

Lydia Thompson

LYDIA THOMPSON
Mixed-Media Sculptor and Professor of Art
Art & Art History Department

UNC Charlotte

Ken West

KEN WEST
Photographer, Digital Experience Designer
& Winner of the Inaugural
Coined in the South People’s Choice Award

Coined in the South: 2022  Presented by

Generous Individual Support Provided by:

Kelley Brackett
Abigail Buckner
Michelle Cottrell
Katie Harrington
Chelsey Lance
Patwin Lawrence

Mary Anna & Brian Marley
Kaitlyn McElwee & Thomas Marley
Kate Mattox
Josh Mensinger
Jasmyne Mundy
Satie Munn

Claudia Pascual
Chelsea Ravitch
Amorette & Preston Reid
Hannah & Juan Rios
Sharon Scarborough
Julia & Virginia Wooten

Thank You to Our Media Partner:

Charlotte Magazine

In Vivid Color: Pushing the Boundaries of Perception in Contemporary Art

October 16, 2020-February 28, 2021
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.

Spencer Finch (American, 1962–). Sunset, South Texas (detail), 6/21/03, 2003, fluorescent lights, filters. Courtesy of the artist.

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.

Jennifer Steinkamp, Daisy Bell, 2008. Video installation. Dimensions variable. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London. Photo by Robert Wedemeyer.

Suspended in this state of near-but-apart, the works of
In Vivid Color remind 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.

Peter Halley (American, 1953–). Six Prisons, 2004, acrylic, fluorescent acrylic, and Roll-a-Tex on canvas. Gift of Ginger Kemp in honor of Mark Richard Leach. 2004.67
T.J. eddy (American, 1945–). Oh Say Do You See, 2008, acrylic on canvas. Museum Purchase: Exchange Funds from the gifts of Dr. and Mrs. Francis Robicsek, Mr. and Mrs. Elliott J. Neal, Charles McMurray, and Mrs. L. L. McMurray. 2008.65. © T.J. Redd Ry
Donald Sultan (American, 1951–). Aqua Poppies Dec 10, 2002, 2002, enamel, flocking, tar, spackle, tile, Masonite. Museum Purchase:  Charlotte Garden Club Fund and Exchange Funds from the Gift of Harry and Mary Dalton. 2003.90A-F. © Donald Sultan, 2002
Julian Stanczak (American, 1928–2017). Summer Inspite of Blue, 1967, acrylic on canvas. Gift of Bruce and Margo Evans. 2001.8. © Julian Stanczak

Interested in learning more?

Visit the In Vivid Color Resources page or the Mintwiki for In Vivid Color. Mintwiki is provided by The Mint Museum Library

In Vivid Color: Pushing the Boundaries of Perception in Contemporary Art is generously sponsored by Wells Fargo Private Bank and the Mint Museum Auxiliary

Wells fargo square logo
Mint Museum Auxiliary logo

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.

Fashion Reimagined: Themes & Variations 1760-Now

Fashion Reimagined

Fashion Reimagined: Themes & Variations 1760 – Now

 Mint Museum Uptown
December 10, 2022 – July 2, 2023

Fashion Reimaginedfeatures 50 outstanding examples of fashionable dress drawn entirely from the permanent collection of The Mint Museum, in celebration of the 50th anniversary of the fashion collection’s founding in 1972 by the Mint Museum Auxiliary. Encompassing a wide range of attire, the exhibition includes men’s and women’s fashions from 1760 to 2022 and is divided into three thematic sections: minimalism, pattern and decoration, and the body reimagined.

Ranging from court suits to street wear, highlights include an English 18th-century sack back gown, two rare 18th-century  English men’s suits, early 19th-century printed cotton dresses, wedding dresses from the mid- and last quarter of the 19th century, as well as a rare 1928 wedding ensemble by Roman fashion artist Maria Monaci Gallenga, a very rare early 20th-century Ispahan mantle by Paul Poiret, an unusual mid-20th-century Black Narcissus dress by American designer James Galanos, several examples of 1960s and ’70s mod and hippie chic style, and trenchant contemporary fashions by Giorgio Armani, Romeo Gigli, Zandra Rhodes, Anna Sui, Yohji Yamamoto, Walé Oyéjidé forIkiré Jones,AnamikaKhanna, and Iris van Herpen, among others.

The exhibition offers a fascinating look at innovative contemporary dress and the persistence of historic and cultural attitudes towards silhouettes, surface design, and corporeal beauty.

Fashion Reimagined will be accompanied by a sumptuously illustrated catalog with contributions by Annie Carlano, senior curator of craft, design, and fashion at The Mint Museum; Ellen C. Walker Show, director of library and archives at The Mint Museum; Lauren D. Whitley, teacher and senior curator of fashion and textile arts at Boston Museum of Fine Art; and fashion designer Anna Sui.

The Cole Family: A Dynasty of North Carolina Potters

The Cole Family: A Dynasty of North Carolina Potters

Mint Museum Randolph
May 5, 2022-Ongoing

From crocks, jars, and jugs to pitchers, candleholders, and vases, “turning pots” is one of the oldest and richest craft traditions in North Carolina. For more than 200 years, members of the Cole family have been potting in central North CarolinaRandolph, Moore, Lee, and Montgomery counties. Six generations of Coles, and no fewer than 18 individuals, are represented in The Mint Museum’s permanent collection. More than 60 highlights of their wares are included in the installation The Cole Family: A Dynasty of North Carolina Potters.

One reason for its long-term success is that making pottery has so often been a family tradition in the state. Fathers taught the art of forming, glazing, and firing clay objects to their sons, and in later generations also to daughters, who in turn taught their children, and so on through the decades. These family dynasties not only helped to keep the potting craft alive, but ensured continuity in techniques and craftsmanship, as well as introduced artistic innovations in succeeding generations.

The Cole Family: A Dynasty of North Carolina Potters presents a visual history of “turned pots” and the family that helped turn North Carolina into one of America’s centers for handmade, traditional pottery. 

Diedrick Brackens: ark of bulrushes

Diedrick Brackens: ark of bulrushes

 Mint Museum Randolph
July 16-December 11, 2022

Brackens2

Introduction:

ark of bulrushes presents a new series by Los Angeles-based artist Diedrick Brackens including large-scale weavings and premiering the artist’s first woven sculptures. Known for making colorful textiles about African American and queer histories, Brackens has developed a process of combining the tactility of yarn with the ethos of storytelling. For this exhibition, the artworks tell timeless narratives about emancipation and remediation through pattern, body, and the power of craft.

Brackens’ deeply colored weavings pull imagery from 19th century Freedom Quilts—used to communicate with enslaved people traveling along the Underground Railroad—and star constellations that have been used to navigate the external world and internal psyche for thousands of years. The central focus of Brackens’ artwork always returns to the Black body represented in form or implied in absence. Intertwined with the patterns are dynamic human figures mimicking animals associated with constellations. This positioning aligns the body within the cosmic proportions of the universe, inferring empowerment of the individual and of a people.

The sculptural basket boats in this exhibition take different forms that reference the human body in communion with nature. The ark is Brackens’ sculptural prototype of a boat that he hopes to float on the Mississippi River. Made with enough room for a passenger to sit upright or lie down, the body and boat can float and bob down the river as one. The floating of reed basket boats is significant in legends of deliverance, including the biblical story of the exodus of the Israelites where an “ark of bulrushes” carried the infant Moses up the Nile River. Taking its name from this story, ark of bulrushes gestures to craft itself as a form of mythology—the passing on of tradition, technique, and narrative. Brackens practices textile craft with unique vision and perspective, spinning new definitions of what it means to live today.

Organized by Scottsdale Museum of Contemporary Art and curated by Lauren R. O’Connell, curator of contemporary art. Support provided by The S. Rex and Joan Lewis Foundation and The Andy Warhol Foundation for the Visual Arts.

American Made: Paintings and Sculpture from the DeMell Jacobsen Collection

American Made: Painting and Sculpture from the DeMell Jacobsen Collection

 Mint Museum Uptown
September 10-December 24, 2022

The DeMell Jacobsen Collection is one of the finest privately held collections of American art in the United States. Although works from the collection can be found on loan to museums across the country, this exhibition marks the first time works from the collection have been brought together to be viewed together in one exhibition. American Made will include more than 100 highlights of the foundation’s paintings and sculptures.

The exhibition will feature approximately 100 paintings and eight sculptures presented in thematic sections that showcase American art with a focus on painting from the late 18th century through the mid-20th century. Featured artists include Benjamin West, Sarah Miriam Peale, Thomas Cole, John Singer Sargent, Mary Cassatt, Charles Ethan Porter, Robert Henri, Loïs Maillou Jones, and Charles Alston. Viewers will experience everything from precise academic realism to impressionism, cubism, and abstraction through portraiture, still life, landscip

American Made was curated by Todd Herman, PhD, president and CEO of The Mint Museum; Kevin Sharp, director of the Dixon Gallery and Gardens; and Jonathan Stuhlman, PhD, senior curator of American art at The Mint Museum. 

Elsie WaggPlay at Dark (Westminster Street., Madison Park)A View of Niagara Falls

Star Gallery

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.

Katherine Allen’s Visual Art Honors and AP classes

Justin Pierce’s Media Arts Honors and AP classes

porcelain Yucca plant with long stem coming out of the middle.

Michael Sherrill Retrospective

Michael Sherrill Retrospective

In his delicately rendered sculptures Michael Sherrill seeks to elicit a sense of wonder from viewers, and to make them see things fresh.

Read More

Lydia Thompson: Travelers

Constellation CLT logo

Lydia Thompson: Travelers

May 13, 2022 – September 4, 2022

Watchers #3 (detail), 2021; paper, insulation board and paint
Watchers #2 (detail), 2022; paper, insulation board and paint.

About The Artist

Mixed-media sculptor Lydia Thompson has traveled the world, working in such geographically diverse places as Nigeria, Denmark, and Canada. She trained as a ceramic artist with a bachelor’s degree in fine art from Ohio State University and a master’s degree in fine art from the renowned Alfred University. She has both taught and led university departments throughout the country, most recently at UNC Charlotte. The majority of her work is ceramic, but she also creates sculpture out of paper and mixed media.

In any material, a common thread through her work is the exploration of how we imbue objects with meanings and power and how places—both the landscape and the culture it contains—define who we are. Because she has traveled extensively, she also recognizes the variety of meaning a single image can hold, sometimes provoking diverse interpretations even to members of the same family. Her work explores a person’s relationship to the culture in which they find themselves, presenting identity as distinct from environments while remaining a product of their surroundings. As part of her research, Lydia Thompson seeks to immerse herself in a region’s art and architecture, teasing out its roots of color, line, and design. Taking those elements fundamental to visual language, she creates objects that are both micro and macro in their association: they distinctly speak to her own history and heritage as an African American woman in the United States, while also linking to universal associations of place and culture.

By extension, her work explores the responsibilities people hold to places: as witnesses, as citizens, as storytellers, as revolutionaries. As an artist, Thompson encodes these messages into the objects that she makes, but in turn, she searches for meaning in the objects she finds. What stories can be found in a figurine passed down from grandmother to granddaughter? What dynamics resonate in a West African ceremonial mask that can also be found in a Noh theater mask?

“Change is inevitable, but people fuse themselves into the situation. Things start disintegrating around them and now, they are part of the rubble.” —Lydia Thompson

Constellation CLT  is designed to connect visitors of The Mint Museum with the universe of talent in the local community.

Now in its fourth year, Constellation CLT is an exhibition series designed to connect visitors to The Mint Museum with artists in our community, as well as activate the public spaces of the museum. The installations rotate three times per year and can be seen in five places at Mint Museum Uptown: at the foot of the atrium escalator; on the landings of the Mezzanine and 3rd levels; and in the Museum Store.

Constellation CLT is generously presented by:

Previous Installations