This essay is part of our Shutter art and photography series. “Called to the Camera: Black American Studio Photographers” is on view at the New Orleans Museum of Art, September 16, 2022–January 8, 2023, and “The Photographs of Ralph Eugene Meatyard” at the Ogden Museum of Southern Art, October 1, 2022–January 15, 2023. Because we can make »
Embroidery: Threads and Stories from Alabama Chanin and the School of Making (Excerpt)
by Natalie Chanin
Natalie Chanin is the founder and head designer of Alabama Chanin, the 21-year-old company focused on sustainable design based in Florence, Alabama. Chanin’s latest book, Embroidery: Threads and Stories from Alabama Chanin and The School of Making (Abrams, October 2022) mixes lessons in sewing, design, and embroidery with her personal story and the evolution of »
“I use paint, ink and canvas, paper and other surfaces to visualize that which remains after my body moves to the sound of the music and of praise, to more fully consider residue—lingering—that escapes capture.” Learning about Life and love in the spiritual space of Blackpentecostalism, I was able to sense the world by paying »
On a September evening in 1934, Dr. J. Max Bond, the highest ranking African American official of the Tennessee Valley Authority, delivered an address to the Personnel Division Conference of the TVA. The federally owned TVA had launched the previous year, promising to bring social planning and electricity to the many rural and impoverished residents »
As part of Reckoning and Resilience: North Carolina Art Now, the Nasher Museum of Art recorded a conversation between artist Clarence Heyward, whose paintings are part of the show, and Tatiana McInnis, who teaches American Studies and Humanities at the North Carolina School of Science and Math in Durham, NC. This conversation has been edited and condensed »
Imagine the thrill. A letter drops through a mail slot, the phone rings, or your email pings. The message contains a beautiful proposition. Atlanta’s High Museum will give you a not unsubstantial amount of money. In return, you agree to make photographs in the South. Otherwise, you can do whatever you want, knowing that your »
A review of “The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse”
by Grace Elizabeth Hale
This is a review of “The Dirty South” at the VMFA where it originated and hung until September 6, 2021. The show is now on view at the Contemporary Art Museum, Houston, through February 6, 2022, and images in this feature are courtesy of that museum. Later, it will travel to Crystal Bridges Museum of »
It’s been more than eighty years since Doughten Cramer was a student at Black Mountain College. The school is long closed, the landscape has certainly changed. And yet, every time I set foot on Black Mountain College’s former Lake Eden campus, I share that same feeling. I become sensitive to everything. But despite the visceral »
Art provides a powerful historical archive through which we can see our lost environmental past. In 1915, the artist Romare Bearden left the South at the age of four; decades later, he rendered evocative depictions of the southern natural world. His paintings and collages capture the lush bounty of city gardens and the women who »
Amy Sherald and Deborah Roberts are friends, fellow southerners, and tremendously talented artists. Each in her own way makes work that is meaningful without being didactic and encourages thoughtful, critical consideration. What better people to talk with about the bounds of representation and the possibilities of portraiture? In January 2020, they caught up by phone »
“A drawing is sometimes confirmation to me that the shenanigans needed for a complex work are justified, a visual consideration of a much bigger action.” This selection of drawings and sketches represents thoughts, visions, and various objects and observations, conveying my diverse spectrum of engagements over a few decades. Consider some of them “best laid »
“We ride the waves of supply and demand on the banks of the Mississippi, furs and cypress, cotton and cane, oil and gas, corn and grain, coal and aluminum, commodities bought and sold, always en route, pushed up and down river.” They call it “Cancer Alley” because it’s got a reputation. The hundred-mile stretch between »