As the Sculpting Community project was underway outdoors, Krasl Art Center invited guests of all ages and abilities to participate and enjoy a unique, fun, and playful atmosphere that was far from business-as-usual!
Summertime in the Galleries encouraged visitors to explore aspects of KAC’s new grounds by participating in collaborative art projects, examining sculpture, and reflecting on themselves and public spaces. KAC’s newly designed grounds feature the stunning sculpture Rising Crossing Tides by world-renowned artist Richard Hunt. Before the sculpture was installed in the Fall of 2018, guests experienced its monumental scale and dynamic twists and turns in the galleries via a life-size silhouette. Guests were able to investigate and learn about how public sculptures are made and touch sculpture models on display!
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Since 1996, Krasl Art Center has been celebrating art and community with its Biennial Sculpture Invitational. The Biennial places large-scale contemporary sculpture outdoors throughout the cities of St. Joseph and Benton Harbor, Michigan – along the scenic waterfronts and parks, and integrated throughout urban and artist communities. This special exhibition shows the finest artworks by today’s public artists. It is accessible, engaging and fosters exploration of both fine art and its surroundings.
The 2018 Biennial Sculpture Invitational was supported by civic partnerships with the cities of St. Joseph and Benton Harbor, and cultural collaborations with the New Territory Arts Association and the Box Factory for the Arts.
Bill Boyce (Benton Harbor, MI)
Isaac Duncan, III (Chatanooga, TN)
Albert LaVergne (Paw Paw, MI)
KRASL’S COLLECTION JOINS THE BIENNIAL
As Krasl Art Center’s grounds were under construction summer 2018 as part of its Sculpting Community project, KAC’s permanent collection moved offsite and joined the Biennial Sculpture Invitational in the community. New surroundings for familiar artworks provided fresh contexts, encouraged seeing the works anew, and celebrated over 35 years of collecting sculpture.
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This exhibition was a tribute to the century-old handmade designs and patterns on textiles that originated in Indonesia and were copied and industrialized by Europeans and exported to Africa. Wandering Spirit: African Wax Prints traced the developmental pathway of the African wax print and told how these fabrics reflect the stories, dreams, and personalities of the people who wore them.
Batik is a Japanese word that refers to a traditional technique of wax-resist dyeing, in which a pattern is made on both sides of cotton fabric with warm liquid wax applied by a tjanting, a small brass cup with a spout. After the wax cools and solidifies, the cloth is dyed with a primary color and the wax is then removed, revealing the pattern where the wax had once been.
The success of the wax prints in Africa is driven by many factors, such as the culture, taste, and desires of African consumers. Clothing in Africa serves an important means of communication, sending secret messages and retelling local proverbs. Clothing also depicts a person’s social status and position, political convictions, ambition, marital status, ethnicity, age, sex, and group affiliations. The names and stories associated with the fabrics differ from country to country and region to region. One fabric may have different names in different countries, depending on the symbolism that the consumer can read in the fabric.
The history of the African wax print is a history paved along colonial trade routes and globalization in the post-colonial era. Though not originally African, these textiles have become ingrained in African culture and society, and loved and identified as their own.
The exhibition Wandering Spirit: African Wax Prints was curated by Dr. Gifty Benson and organized by ExhibitsUSA/Mid-America Arts Alliance, Kansas City, MO. микрозайм