Art and Environment in the New Deal and New Millennial South
by Teresa Parker Farris
In late spring 2016, Louisiana artist Monique Verdin arrived in the Netherlands for the annual shareholders’ meeting of Royal Dutch Shell armed with an impassioned message and a collection of her black-and-white photographs. The images, displayed as individual large-scale banners, revealed petrochemical plants looming over the wasted landscape, seasonal floods inundating impoverished neighborhoods, and denuded »
This series of over-sized tintypes is a rumination upon a relationship with a person and a city. Using metaphor, allegory, and the re-interpretation of a few facts, these images re-stage events and themes, and recreate certain atmospheres from a period of sixteen years. They are an idealized record of my relationship with my partner Brian »
The following works were included in the exhibition People Get Ready: Southern Lens at the Nasher Museum of Art at Duke University. The images coalesce around an untitled photograph from William Eggleston’s series The Democratic Forest. This photograph captures Eggleston’s “democratic” perspective that engaging imagery could be found in any subject at nearly every turn »
“My hope is that writing about how I found my way might help others who still search.” Attraction to the visual arts led me to defy my parents. My mother taught me to paint, but could not imagine me succeeding in a field where she had not. My father envisioned no future for a daughter »
Part of our Shutter series on southern photography, Grace Hale examines Sally Mann’s current exhibit at the National Gallery of Art, “A Thousand Crossings,” on view March 4–May 28, 2018. Beauty is everywhere in photographer Sally Mann’s exhibition A Thousand Crossings at the National Gallery of Art. In the first room of the show, her »
This feature is part of a series collaboration with the “50 for 50” project, an initiative of the North Carolina Arts Council in celebration of their 50th anniversary. Beverly McIver is an acclaimed contemporary visual artist from Greensboro, North Carolina. She received the Rome Prize Fellowship in 2017, and is currently on sabbatical from her »
This feature is part of a series collaboration with the “50 for 50” project, an initiative of the North Carolina Arts Council in celebration of their 50th anniversary. Debra Austin was nine years old when her first ballet instructor told her she didn’t have talent. Seven years later, she became the first African American woman »
This is the first installment of a new collaboration with the “50 for 50” project, an initiative of the North Carolina Arts Council in celebration of their 50th anniversary. You could say there’s something lost about William Ivey Long. Not because he wandered away from his native Seaboard, North Carolina, for a studio in New »
Emmet Gowin, “Here on Earth Now: Notes from the Field,” Pace/MacGill Gallery, September 28, 2017–January 27, 2018. Before cable television, video games, Netflix, and smartphones, insects filled the summers of southern childhoods. Remembering the pain of past stings, kids learned to watch for wasps’ nests in the poles of swing sets and chain link fences. »
Manifest is an ongoing project, a portfolio of nearly one hundred photographs of African American material culture held in public and private collections throughout the United States. These repositories have accumulated diaries, receipts for the purchase of humans, hair, a drum, a door, photographs, figurines, and other artifacts—some with great historical significance, some the commonplace, »
Loy Bowlin’s bejeweled dentures—a different color rhinestone on each tooth, two front teeth framed in gold—were a prelude to his creative output. Born on a cattle ranch in Franklin County, Mississippi, in 1909, Bowlin was a shade-tree mechanic and former used car salesman, who, upon retiring, took on a persona as McComb, Mississippi’s “Original Rhinestone »
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