Danielle Burke

Danielle Burke
asheville, north carolina

Instagram: @dani.burke

 

 

 

 

 

 


Resiliency: (Part I of II): Linum usitatissimum
2016, Natural and deconstructed linen
Courtesy of the artist

My current work focuses on the Asheville area’s weaving history, processes, and ephemera. Through my studio practice and archival research, I hope to better understand the boundaries of authenticity, the role of craft within a traditional practice, the influence of landscapes on material culture, and the ways that textiles also act as texts. For the Linum usitatissimum series, I transcribed a segment of flax DNA for an 8 harness loom. This gene has been associated with flax’s resiliency during drought and environmental stress. Flax, once regionally grown, spun, and woven, produces the historically common cloth: linen. Using flax-linen yarn, this gene segment was woven in overshot, a technique used in traditional Appalachian coverlets. Thought of as an abstract landscape, Resiliency: (Part I of II): Linum usitatissimum presents one way the gene can be visualized and whose attributes can be examined.

Specifics on selected gene:
Organism : Linum usitatissimum
Transcript Name: Lus10013166 (primary)
Location: scaffold359:377647..378581 forward
Description : (1 of 10) K13464 – jasmonate ZIM domain-containing protein (JAZ)

Austin Ballard

Austin Ballard
charlotte, north carolina

Instagram: @austinballard

 

 

 

 

 

 


Ground Pine with Walnut on Lavender
2013, Ceramic, acrylic, dyed pine, walnut, mahogany
Courtesy of the artist

Through visceral, yet restrained handmade objects and installations, my work explores the influence domestic space, tradition, anxiety and loss have on our lived experiences.

Shuffling between households growing up, I adapted a precarious connection to the personal. Because of this, I’ve always been interested in how we arrange our living spaces. The objects and images we choose to surround ourselves with are often meant to facilitate a sense of intimacy. Often interpreted as passive and predictable, design and craft function to integrate disparate elements into a comfortable and harmonious space. My work toys with this idea as a formal strategy. Disarming the viewer in order to provoke deeper contradictions within the objects and the surrounding space.

Ground Pine with Walnut on Lavender uses balance, humor and modernist tropes to create precarious relationships between the objects and viewer. Where elaborately crafted shapes resonant of midcentury furniture compete with writhing earth formations resonant of a Chinese philosopher’s stone.

Amanda Britton

Amanda Britton
athens, georgia

Instagram: @abrittonstudio

 

 

 


July 1956
2018, Ephemera, woven remnants and resin
Courtesy of the artist

I titled July 1956 after a small handwritten letter I found dated with this inscription. The presentation, attaching to the wall with long hat pins, and the circular shapes of the poured resin reminded me of the clinical and scientific studies/slides. The details and the colors of the materials encased are reflective and saturated, reminding me of a quote by Sizeranne: “The truth of science is a truth of detail; the truth of art is a truth of ensemble.”

Ken West

Ken West
mableton, georgia

Instagram: @the_beauty_of_everyday_thangs

 

 

 

 

 

 


 

Father of Man
2018, Photograph printed on metallic paper
Courtesy of the artist

Fatherhood is a symptom of time. That time takes on a significance of its own when it’s cut short.

 

 

 

 


 

Black Boys Cry
2018, Photograph printed on metallic paper
Courtesy of the artist

Sometimes flowers sprout where we least expect them. Sometimes they are nurtured by tears.

Yvette Cummings

Yvette L. Cummings 
conway, south carolina

Instagram: @Yvettelcummings

 

 

 

 

 

 


The Old Fox
2018, Acrylic on canvas
Courtesy of the artist

My work has explored the idea of trauma, child sexual abuse, memory and becoming a survivor. The narratives present the delayed, uncontrolled and repetitive nature of a survivor’s response to trauma. Memory is continually replaced, recycled, and reorganized from the remains of childhood to the beginnings of self-awareness. Maturity brings a different perspective to trauma but seeing your children at the age you were when abused is a staggering moment. The Old Fox is someone with wisdom, insight, strength, power, history, and a beauty all her own that is not only in her past but now.

 


Burden
2019 Acrylic on canvas
Courtesy of the artist

Living in coastal South Carolina for the last 8 years has brought its share of hurricanes and flooding. I have watched my neighbors and friends discard the material items of their lives, witnessed the mold lines and stained walls of the receding black waters mark their movements out of homes. The evidence of these events are the tangible marks of history and trauma, but I am interested in what we can’t always see. Burden refers to the carrying of our history. Trauma leaves its “scars and residues” on the body as well as an internalization. The concept of transgenerational trauma, the idea that I have genetically passed my trauma on to my daughters, creates a greater burden that cannot be protected against. My experiences cannot be separated from who I am, my trauma informs my relationship with my children. I carry them forward in hopes to protect them from a similar fate.

Jan-Ru Wan

Jan-Ru Wan
chapel hill, north carolina

Instagram: @Janruone1

 

 

 

 

 

 


 

Hold Still & Still Holding
2017, Printed and dyed bandage gauze, ceramic spoons with red wax, dyed and waxed cotton string, toy soldiers, Chinese figurines, hair, and ice picker
Courtesy of the artist

This work relates to memory and our attempt to reconnect with or hang onto the past. I printed bandage gauze with layers of images from the culture of my upbringing in Taiwan. They were then woven into the shape of houses. Each house holds a ceramic spoon in the center, and my braided hair from 25 years ago rests in the center of the entire installation. I hope that the scale and non-static setting will captivate the audience, culminating in feelings of being pulled up but at the same time dragged down. In this work, the idea of space, time, and my own sense of being an Asian woman living in the South are all present.


Jan-Ru Wan recently displayed select pieces of her work at The Mint Museum in an exhibition, The Noise We Make, curated by Jonell Logan.

Chloé Rager

Chloé Rager
durham, north carolina

Instagram: @domeshots_

 

 

 

 

 

 


 

Blonde Winch
2019, Concrete, hair and brass plated chain
Courtesy of the artist

Blonde Winch is a sculptural installation that features a thick lock of blonde hair cast in concrete and looped around the hook of a large brass chain. The chain is typically attached to the ceiling of whatever room it is installed in, responding to the space and sometimes coming down to pool on the floor beside the concrete block. The block itself sways slightly in the air, hovering off the ground as if to suggest that the hair will break at any moment. Yet, the blonde hair, however weighted by the concrete block, continues to be more resilient than the viewer feels should be possible. This unbelieving endurance of the hair draws metaphoric conclusions between the impact of the built environment on bodies and our capability of perseverance. While the sculpture is not specifically gendered, the long blonde hair generally reads to viewers as part of a strong feminist statement, which, as it is my hair cast in the block, I am happy to embrace.

Major juried exhibition with $16,000 in cash prizes to open on Oct. 10

Major juried exhibition with $16,000 in cash prizes to open on Oct. 10 at The Mint Museum

Charlotte, NC (October 1, 2019): The Mint Museum is pleased to announce its upcoming presentation of Coined in the South, a major juried exhibition with $16,000 in cash prizes that will showcase some of the most innovative and emerging artists in the Southeast. Organized in partnership with the Young Affiliates of the Mint, the show will be on view from October 10, 2019 through February 16, 2020 in Mint Museum Uptown’s Level 4 Brand Special Exhibition Galleries.

Ken West. Black Boys Cry, 2018, metallic paper. Courtesy of the artist.

The purpose of the exhibition is simple: to bridge the gap between the museum, gallery and studio, and to present fresh and innovative works that have not yet been seen by a broader audience. Nearly 2,000 works of art were submitted for consideration; 65 were selected. The artists range in age from 23 years old to 82 years old, and hail from North Carolina, South Carolina, Georgia, Tennessee, and Virginia.

Unconfined to any aesthetic, the works of art are made from materials ranging from the traditional (oil on canvas and collage) to the decidedly untraditional. Consider one piece made from concrete, brass-plated chains, and human hair, or another made from steel saw dust, alpaca fur, and alligator skin. Some explore personal and familial histories, while others explore notions of place and identity. Some are gurative, others abstract. They evoke humor, tenderness, whimsy, and awe.

The 65 works were selected by jurors Adam Justice, Jonell Logan, and Marilyn Zapf—all well respected in uencers in the southeast’s art scene. On the night of the opening, Oct. 10, the jurors will announce the $10,000 Atrium Health Prize, and the Young Af liates of the Mint (better known as the YAMs), will award a $5,000 winner. Over the next few months, visitors will have the opportunity to vote in the gallery on the $1,000 “People’s Choice” award, which will be named at the end of the year.

“One of the roles of a museum is to reflect the pulse and energy of the artistic community where it resides,” says The Mint Museum’s President and CEO Todd A. Herman, PhD. “Coined in the South shines a spotlight on the quality, themes, and diversity of narratives that are being generated by artists in our own backyard.”

The name Coined in the South refers to both The Mint Museum’s origins as the first branch of the U.S. Mint, as well as to the act of inventing. Many of the artists have created works so unforgettable they’re in a class all their own.

Adrian Rhodes. Searching for Callisto (detail), 2018, woodcut print installation with dyed paper and sky chart wall collage. Courtesy of the artist.

This is the fourth juried exhibition put on by the YAMs, following on the successes of 80×80 (2016), Gendered (2017), and Mainframe (2018). These exhibitions revived a tradition of the museum—from the 1950s through the 1990s, the Mint hosted a number of juried shows, highlighting the work of talented local artists.

“When we sat down and cooked up the idea for 80×80, the Young Affiliates’ inaugural art show in 2016, we had no idea what would unfold,” says Lauren Harkey, former president of the YAMs and co-creator of the YAMs inaugural art show.

“We were instantly humbled by the response and energy our ‘little show that could’ created. And today, in its fourth iteration, it is a proud moment to see the YAMs partner with The Mint Museum and witness this show really grow up and into its own.”

Senior Curator of American Art Jonathan Stuhlman, PhD, served as the Mint’s curator of the show. Kaitlyn McElwee and Anna Hamer served as the YAMs art show co-chairs.

 

Coined in the South is generously sponsored by Atrium Health, with additional support from Cran ll Sumner & Hartzog LLP.

 


Interested in interviewing artists, show organizers, jurors, or anyone from the museum? Reach out to the Mint’s Director of Marketing & Communications, Caroline Portillo, at caroline.portillo@mintmuseum.org or call 704-337-2009.


About The Mint Museum

Established in 1936 as North Carolina’s rst art museum, The Mint Museum is a leading, innovative cultural institution and museum of international art and design. With two locations—Mint Museum Randolph in the heart of Eastover and Mint Museum Uptown on South Tryon Street—the Mint boasts one of the largest collections in the Southeast and is committed to engaging and inspiring members of the global community.

About the Young Affiliates of the Mint (YAMs)

The Young Af liates of the Mint (the “YAMs”) is a diverse group of young professionals promoting and supporting The Mint Museum through cultural engagement, social leadership, and fundraising events. Established in 1990, the YAMs are the premier social arts organization for young professionals in Charlotte. All proceeds raised by the YAMs sponsor free tours of The Mint Museum for local school students to inspire a new generation of artists, art enthusiasts, and leaders.


Artists selected for this year’s show:

Deighton Abrams (Seneca, SC)
Eleanor Annand (Penland, NC)
Yvette L. Cummings Arendt (Conway, SC)
Austin Ballard (Charlotte, NC)
Johannes Barfield (Winston-Salem, NC)
Ivana Milojevic Beck (Raleigh, NC)
Susan Brenner (Charlotte, NC)
Amanda Britton (Athens, GA)
Danielle Burke (Asheville, NC)
Thomas Campbell (Penland, NC)
Erin Canady (Durham, NC)
Micah Cash (Charlotte, NC)
Erin Castellan (Penrose, NC)
Kevin Cole (Fairburn, GA)
Sarah Elizabeth Cornejo (Carrboro, NC)
Travis Donovan (Banner Elk, NC)
Robert Fritsche (Huntersville, NC)
Riley Hammond (Richmond, VA)
Caroline Hatfield (Carrolton, TX (formerly Claiborne County, TN)
Donna Cooper Hurt (Charleston, SC)
Joyce Watkins King (Raleigh, NC)
Kenn Kotara (Asheville, NC)

Nathaniel Lancaster (Charlotte, NC)
Jasper Lee (Birmingham, AL)
Elizabeth Lide (Atlanta, GA)
Jackson Martin (Asheville, NC)
Rachel Meginnes (Bakersville, NC)
Chieko Murasugi (Chapel Hill, NC)
Claire Pope (Hickory, NC)
Chloé Rager (Durham, NC)
Adrian Rhodes (Hartsville, SC)
Kristi Ryba (Charleston, SC)
Katie St. Clair (Davidson, NC)
Tom Schmidt (Charlotte, NC)
MJ Sharp (Durham, NC)
Beverly Smith (Charlotte, NC)
Tema Stauffer (Johnson City, TN)
Denise Stewart-Sanabria (Knoxville, TN)
Stephanie Sutton (Buford, GA)
Harrison Walker (Athens, GA)
Jan-Ru Wan (Chapel Hill, NC)
Shane Ward (Chattanooga, TN)
Ken West (Mableton, GA)
Fletcher Williams, III (North Charleston, SC)
Stephanie J. Woods (Charlotte, NC)

Claire Pope

Claire Pope
hickory, north carolina

Instagram: @clairelarkinpope

 

 

 

 

 

 


 

Rain Collaboration
2018
Rain, watercolor, graphite, and acrylic on paper
Courtesy of the artist

Can an artist collaborate with Nature on a project? Does the very word “collaborate” imply a willingness to contribute? This work addresses these questions and raises further questions regarding our current relationship to Nature during this present Age of the Anthropocene. Last summer, while participating as Artist-in-Residence at the Burren College of Art in Ireland, I began a collaborative mixed media series with the rain. I painted an abstract watercolor on recycled paper based on the emotion of wonder that I felt while immersed in the region. While the painting was still wet, I set it out in the rain. After the work had dried, I painted lines derived from linear patterns from a found computer microchip. The result was a work which sought to call attention to the existential multiplicity of the present. That is, the need for both the holiness found in Nature and the need to find our place within a culture of hard lines, structure, technology, and progress.

Sarah Elizabeth Cornejo

Sarah Elizabeth Cornejo
carrboro, north carolina

Instagram: @s.e.cornejo

 

 

 

 

 

 


Halfies: Part 6: Malady
2019, Steel, saw dust, wood glue, alpaca fur, found recycled fur, coat sleeve, crystal points, rocks, alligator skin, epoxy, and acrylic paint
Courtesy of the artist


Halfies, Pt. 6: Malady is named for Jhumpa Lahiri’s collection of short stories, Interpreter of Maladies. sarahI look to Lahiri’s short stories and their characters which demonstrate taking in and experiencing the heartache of a foreign place, of petty dispute, of true adversity, of observed adversity, and the possibility to see it omniscient, understanding its origin as well as its future. Malady is made up of alpaca fur, decontextualized in its use from South America, where alpacas are used for function, to the US, where they are kept as exotic pets. The sculpture is also made up of parts of fur clothing found at thrift stores, pieces of a sleeve, never a full garment. In the use of both materials, the sculpture makes do with what is available, and fetishized connotations of both. The sculpture also appears as a hybrid between a mammal and a reptile with alligator skin encrusted around the eyes, mouth, parts of the head, and chest further subverting expectation and challenging what is human.