David Huffman, Hoop Dreams, 2007, color softground and spitbite aquatint etching; image courtesy of Paulson Fontaine Press, Berkeley, CA
There is no singular way to address the conversation of race and representation in contemporary art. Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press presents fourteen artists who capture the personal narratives and political discourses of African Americans across the country, reflecting a collective experience expressed in uniquely individual ways. This powerful exhibition of figurative and abstract artworks channels the poetics of human experience from past and present, and boldly presents ideas about history, identity, personal story, and spiritual inspiration.
~ Carrie Lederer, Curator ‘s Statement (excerpt)
Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press was organized by Carrie Lederer, Curator of Exhibitions, Bedford Gallery, Lesher Center for the Arts, Walnut Creek, CA.
Louisiana Bendolph (Gee’s Bend Quilter)
Mary Lee Bendolph (Gee’s Bend Quilter)
Loretta Bennett (Gee’s Bend Quilter)
Samuel Levi Jones
Kerry James Marshall
Loretta Pettway (Gee’s Bend Quilter)
Since 1996, the 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 exhibtion 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 is 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)
THE KRASL COLLECTION JOINS THE BIENNIAL
As the Krasl Art Center grounds are under construction this summer as part of its Sculpting Community project, the KAC permanent collection moves offsite and joins the Biennial Sculpture Invitational in the community. New surroundings for familiar artworks provide fresh contexts, encourage seeing the works anew and celebrates over 35 years of collecting sculpture.
As the Sculpting Community project is underway outdoors, the Krasl Art Center invites guests of all ages and abilities to participate and enjoy a unique, fun, and playful atmosphere that is far from business-as-usual!
Summertime in the Galleries encourages 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 will feature a stunning sculpture by world-renowned artist Richard Hunt. Before the sculpture is installed in this Fall, experience its monumental scale and dynamic twists and turns in the galleries via a life-size silhouette. Come investigate and learn about how public sculptures are made and touch sculpture models on display!
Exhibition Sponsor: The John DeVries Insurance Agency
While the Sculpting Community project is under construction on the KAC grounds this summer, campers will create their own exciting construction project in the artlab gallery. Using cardboard and make-do fasteners, campers will create buildings, structures, and vehicles that benefit communities of the future. Artist Keith Stevens will help campers work collaboratively and individually. Once the camp ends on June 30, visitors to KAC will have the opportunity to add their own futuristic cardboard creation to the collaborative installation.
Batik is a Javanese 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 is curated by Dr. Gifty Benson and organized by ExhibitsUSA/Mid-America Arts Alliance, Kansas City, MO.