Curator’s Pick: Baseball Pitcher by Ott and Brewer
Curator of Decorative Arts Brian Gallagher discusses this modeled sculpture of a baseball pitcher, made at the Trenton, New Jersey ceramics manufactory run by Joseph Ott and John Hart Brewer. In 1873, they hired the Canadian-born sculptor Isaac Broome to create a prototypical American work for their firm to display at the Centennial International Exposition that opened in Philadelphia, Pennsylvania, May 10, 1876. This sculpture is made of Parian, a type of porcelain that has more feldspar in its body than conventional porcelain and is fired at a lower temperature. These conditions give the Baseball Pitcher its ivory color and smooth, marble-like texture.
Curator’s Pick: Farol by Elaine de Kooning
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.
Curator’s Pick: Spectral Boundary by Tom Patti
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.
Curator’s Pick: Figures Eight by Doris Leeper
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.
Curator’s Pick: Autarchy by Formafantasma
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.
Curators’ Pick: Bracelets by Marcus Amerman
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.
Curators’ Pick: Weathervane by Brent Kington
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.
On the daily: 24 hours in the life of artist Lydia Thompson
By Liz Rothaus Bertrand
For Lydia Thompson, a working artist and professor of ceramics at UNC Charlotte, the past is always present. She is fascinated by “our abodes,” and how we interact with them. Inside these spaces, we carry our own stories, as well as those of former inhabitants and vestiges from our lives elsewhere. Thompson’s recent work focuses on issues such as forced displacement, gentrification, and what gets left behind when a home is abandoned.
“You can see the emotions of a structure when it starts to deteriorate, especially when it’s been abandoned,” Thompson says. “You can see layers and layers of cultures that lived in there.”
As Thompson wraps up a three-year term as UNC Charlotte’s chairperson of the department of art and art history, she’s also looking toward the future. After spending much of her career in leadership positions at universities throughout the United States, she is eager to return to a schedule with more time for teaching, studio work, and leading community workshops.
“I really love working with the community,” she says, “because the artwork just sits in the gallery and I want to bring it alive.”
While her weekdays have been mostly filled with administrative duties she finds time for studio work on the weekend. Take a look at a typical Saturday for the renowned ceramic artist, filled with her sketchbook, the kiln, and some thought provoking documentaries.
Lightly edited for brevity and clarity.
5 AM: I wake up and start my day with some personal reading. The books I’m reading are always centered around projects I’m working on. Books I’ve recently read include Feeding the Ghosts by Fred D’Aguiar, Root Shock by Mindy Thompson Fullilove, and The Warmth of Other Suns by Isabel Wilkerson.
6 AM: I check emails, maybe look at Instagram, and have two cups of coffee, followed by a full breakfast of pancakes or eggs. I reserve the yogurt and oatmeal for Monday through Friday. I keep a sketchbook nearby at all times. Because I don’t have a lot of time to work in the studio, I’m always making lists.
7:30 AM: I head down to my basement studio — I am happy to finally have a dedicated studio space — and open the kiln. Even though I know what the result is going to be, I love the anticipation. The excitement of seeing a fired piece never goes away.
Because slabs are heavy, I work on them while I have the most energy of the day. I spend a couple of hours focused rolling out and flipping slabs. I use a template and make a cardboard model before I actually cut anything out to be sure it’s going to work when I put it together.
While working, I usually put on the television show “Columbo” or listen to a podcast. I feel like detective Columbo is the underdog who is misunderstood. I think of myself and my career in terms of being misunderstood sometimes. People see me and never think I’m the director or the person in the leadership role at UNC Charlotte because I’m an African American woman. They’re always surprised when they find out who I am.
I also enjoy listening to podcasts. I love Brené Brown’s “Unlocking Us,” and “Business of HYPE,” with host Jeff Staple.
9:30 AM: If I have slabs set up, I start building the interior structure and putting the walls together. I start busting up things, making rubble so I can dip all of it in glaze and put it in the piece.
11:30 AM: It’s time to glaze. I look at the wooden bases and check the inventory of what needs to be done before setting up. I usually glaze my pieces three or four times.
Noon: I take a lunch break, which is usually leftovers — homemade pizza, maybe a salad or a tuna sandwich — and enjoy time in my backyard with a quick stretch and check on the garden my fiancé planted. We have green beans, tomatoes, cucumber, squash, lettuce, and green peppers.
1:30 PM: Back to the studio. I set up the piece a little more and then do some glazing. This takes time and can be tedious because I put masking tape where I want another color to appear. But it gives me the result I’m after. I glaze for an hour and a half and then let it dry.
2 PM: I get another cup of coffee that I don’t really need.
3 PM: I’m always working on two or three pieces at the same time, so it’s helpful to review where I am with projects. I go back to my sketchbook and then I repeat the cycle I began at the start of the day, except for the slab rolling.
Studio time is so important. It’s dedicated time to work and to review work you’ve done, especially the work that wasn’t successful. Even though you want to throw it in the trash, you’ve got to look at it and say, “Why did this not work?”
6 PM: It’s time to get dinner ready. We try to eat healthy, and I walk every day after dinner and sometimes in the morning, too. I also stretch. It helps to keep your body in tune, especially if you’re doing ceramics.
7:30 PM: My fiancé and I unwind watching movies, but I’m sketching all the time — at night, when I’m in bed or while I’m looking at the TV. I look through the sketches and pull out the ones I think will work.
We like to watch suspense, thriller, love stories, and futuristic movies. I love documentaries. With the Black Lives Matter movement in focus, I’ve been watching documentaries, such as Black Wall Street, Amend, Coded Bias, and I Am Not Your Negro about African American history. They’re tear jerkers for me because this is reality. I think we’ve come really far, but the only way we can change certain mentalities is to start when people are very young. It’s hard to understand unless you actually walk in someone else’s shoes. I just don’t want people’s eyes to roll when we continue to have these conversations because it really has impacted lives. The way you treat a certain group of people still has an impact on their life and where they are in this country. There’s just no way around it.
9:30 PM: I go to bed fairly early. By 9:30 or 10 o’clock, I’m out. I’m done.
Liz Rothaus Bertrand is a writer and editor based in Charlotte who is passionate about the arts.
Curators’ Pick: Untitled by Beauford Delaney
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.
Curators’ Pick: The Birth of Venus, after Botticelli (Pictures of Junk) by Vik Muniz
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.