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

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.

The Mint Museum From Home is presented by Chase.

Art that reveres Native American culture and craft

Three works of art that remind us to revere Native American culture and craft

By Annie Carlano, Senior Curator of Craft, Design & Fashion, and Rebecca Elliot, Assistant Curator of Craft, Design & Fashion

Native American Heritage Day is celebrated the last Friday of November. Designated by President George W. Bush in 2008, it celebrates and recognizes the importance of Native Americans and their cultural heritage to our past, present, and future. Works of art by Native American artists encapsulate tradition, rich artistry, and stories that are passed down through generations. The Mint Museum’s Native Americas collection showcases works from Canada, the United States, Mexico, and Guatemala, from the nineteenth century to today. Objects from the Native Americas collection are on view at Mint Museum Randolph, as well as the Craft+Design galleries at Mint Museum Uptown. Following are three works of art by Native American artists that chronicle their roots, relationships, and environments.

Diego Romero 

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

 

This bowl is part of an ongoing series of ceramics and prints by Diego Romero that chronicles the adventures of the Chongo Brothers, named for a characteristic hairstyle of Navajo and Pueblo people, a bun gathered at the nape of the neckthe chongo. Romero’s ceramics are impeccably hand built with local clays from the hills of Northern New Mexico.

The strong graphic design is a combination of geometric motifs related to ancient Mimbres pottery, pop art and comic-strip aesthetics. Chronicling the societal injustice rampant on and off the reservation, Diego Romero sometimes softens these difficult narratives with his cartoonish style.

Trained at UCLA, his work is included in museums and private collections in the US and Europe. In 2019 Diego Romero received the Native Treasures Living Treasures Award, given to artists who have made outstanding contributions to indigenous arts and culture. 

Diego Romero ceramics are hand built with clay from the hills of Northern New Mexico. Courtesy of Museum of Indian Arts and Culture

Diego Romero’s bowl is on view at Mint Museum Randolph, in an installation featuring Pueblo ceramics from the Grice Collection. Experience more of Romero’s work through a virtual tour of his current solo exhibition at the Museum of Indian Arts and Culture, New Mexico, Diego Romero vs. The End of Art

 


Susan Point 

A collection of wooden circles surrounding a large disk with two fish carved into it
Susan Point (Canadian, Coast Salish [Musqueam First Nation], 1952–), Salmon Spawning Run, 2012, carved and painted Western red cedar. Project Ten Ten Ten commission. Museum Purchase: Funds provided by Fleur Bresler, Libba and Mike Gaither, Laura and Mike Grace, Betsy and Brian Wilder, Amy and Alfred Dawson, Aida and Greg Saul, Missy Luczak Smith and Doug Smith, Beth and Drew Quartapella, and Kim Blanding. 2012.107. Art © Susan Point 2012. Image © Mint Museum of Art, Inc. © Susan Point, 2012.

 

The round shape of Salmon Spawning Run is based on Susan Point’s well-established spindle whorl motif, which represents the Coast Salish, a First Nations tribe. For thousands of years salmon have sustained the Coast Salish people as the primary food source. As such, salmon are highly honored and respected. Symbolizing abundance, prosperity, renewal, and fertility, the fish and their eggs are depicted here in a composition that reminds us of the importance of clean water other sustainable resources to protect our natural environment. cedar from a tree trunk found on communal land, and painted the carved wood with natural pigments.  

Susan Point’s artwork symbolizes the natural resources that are central to life of the Coast Salish, a First Nations tribe. Image courtesy of the artist

One of a group of artists responsible for the resurgence of Coast Salish art and culture, her public art projects include works at Vancouver International Airport and the Museum of the American Indian, in Washington, D.C. She has received numerous awards including the Order of Canada, Queen Elizabeth II Diamond Jubilee Medal, and a British Columbia Lifetime Achievement Award. 

Salmon Spawning Run is a part of Project Ten Ten Ten and is a site-specific work on view in the Craft & Design galleries at Mint Museum Uptown. 


Tara Locklear 

Tara Locklear (United States), Bobble for Bob Necklace, circa 2017, walnut, laser cut plexiglass, recycled skateboards, costume jewelry, oxidized sterling silver, and other mixed media. Gift of Porter • Price Collection. 2019.93.117

 

Tara Locklear’s one-of a kind jewelery is inspired by her environments and includes repurposed elements, such as wooden skateboards. Image courtesy of the artist

Tara Locklear’s jewelry is inspired by urban environments and includes repurposed elements such as pieces of wooden skateboards. She made this necklace as a tribute to her jewelry professor and mentor, Robert Ebendorf, after his retirement from East Carolina University (ECU). Its materials range from ones she explored as a student there to ones she focuses on in her current practice. Locklear earned a BFA in Small Metals and Jewelry Design from ECU in 2012. She lives and works in Raleigh, North Carolina and is a member of the Lumbee Tribe. 

Voices heard: ‘Foragers’ underscores Mint’s ongoing commitment to women artists

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 80th 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.

5 things you may not know about artist Summer Wheat, plus a virtual tour of her Brooklyn studio

5 things you may not know about artist Summer Wheat, plus a virtual tour of her Brooklyn studio

One silverlining of being quarantined at home is the opportunity to see and share experiences that we might not normally be able to experience. Enter our favorite new video pastime: artist interviews and studio tours. Mint’s Chief Curator Jen Sudul Edwards, PhD, joined Brooklyn-based artist Summer Wheat in her studio for a bit of show-and-tell on her technique and processes.

Wheat’s painting With Side With Shoulder is part of the newest New Days, New Works exhibition, and her atrium installation Foragers will be on view throughout the fall. Here are a few fun facts that we learned during Wheat’s studio tour.

  • Summer Wheat is originally from Oklahoma City, OK, attended Savannah College of Art and Design, and has been living and working in Brooklyn, NY for the past 11 years.
  • She has created in many mediums, from painting and sculpture, to even making custom salt and pepper shakers. Wheat says that she “likes the idea of taking a drawing and making it something usable.”
  • Her creative process is two-fold: First, she always starts with a drawing, which she does alone and views this as an intimate space. Then she brings the drawing to the studio where she and her team make the ideas come to life.
  • Her installation on the windows of the Mint Museum Uptown’s atrium will be her third large-scale piece using this material, and reminds her of stained glass. “I wanted to start telling stories in this format,” says Wheat, who is excited to tell impactful stories through visuals, color, and dimension.
  • When the Mint opens, you’ll get to see not only Wheat’s atrium installation, but also her painted piece With Side With Shoulder that uses mesh in our newest exhibition New Days, New Works.

 

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