Weaving A Community With Our Stories

Weave Project
Scientists have proven the positive health benefits we receive when we journal or create art to express our life experiences, so the museum presents the perfect opportunity for the community to do both. The Kentucky Museum of Art and Craft, in partnership with The Little Loomhouse, present Weaving A Community With Our Stories, an interactive weaving project designed to initiate the discovery of personal stories that bind us together in hope and healing as a community. This project is in conjunction with the current exhibition The New Art of the Loom: Contemporary International Tapestry and is open to the Louisville community and museum visitors until January 25, 2015.
KMAC contacted local community organizations (Neighborhood House, Cabbage Patch Settlement House, Gilda’s Club, Youth Detention Services, ESL Newcomer’s Academy, The Healing Place, JCTC ESL Students and others) and asked the people they serve to create story cloths to be used as the warp or first layer of the community tapestry. Participants received hand-dyed blank story cloths upon which they wrote their personal stories through prose, poetry or drawings. The warp consists of 100 story cloths that are interwoven on a large standing loom built by YouthBuild Louisville and installed in the second floor gallery of the Museum.

KMAC Educator, Sarah McCartt-Jackson, said, “the Museum has made and enriched connections with many organizations and voices that otherwise might be unheard, marginalized, or misunderstood.” Mrs. McCartt-Jackson helped in facilitating the students from the English as a Second Language (ESL) Program at Jefferson Community & Technical College (JCTC), which provide a great example of these powerful stories:

“Coming to America is a big dream for many people but living is different reality.”

“The languages of the world wake me up every day! I love the sea. I am snow. My name is your name. I believe in music. One world, many voices”

“My name is Mohamed. I was born in Somalia and grown up in Kenya. Came to America in the age of 19 years. My English was very bad. Coming to the United States was very good opportunity for my family and I. The reason I go to school today is to get my social work degree!”

The Weft Phase of the project is crafted by weaving in additional story cloths from Museum visitors, which continues throughout The New Art of the Loom exhibit (January 25). Blank story cloths are available and located in the second floor gallery.

The Little Loomhouse

The mission of the Little Loomhouse is to promote the Lou Tate landmark home and center for textile art and education as a cultural destination through preservation of the three historic cabins and education of textile folk art for all ages. The Little Loomhouse is owned and operated by the Lou Tate Foundation.

KMAC Current Exhibition

The New Art of the Loom: Contemporary International Tapestry and Looming Local: Contemporary Kentucky Tapestry feature artists who explore a broad range of themes from cultural identity and formalism to storytelling and history through the labor-intensive process of weaving.

Art-Ed Goes Hi-Tech

Liz_new projector

It seems kind of fitting that on Election Day, KMAC’s Education Studio launched the inaugural use of a hi-tech tool that will help in teaching to the masses. Through the generous donations of the KMAC Board of Directors, the Education Department was able to purchase a much-needed document camera and projector. The Elmo TT-12i Interactive Document Camera System allows museum educators to demonstrate more complex art skills from a central demo table without having to spend valuable time demonstrating to each individual table. As we know, field trips are on a very strict schedule and educators must balance the tour, instruction, and make time carefully. Oh, and don’t forget about lunch! The Elmo, with its cute name and conjuring of that well known red Muppet, also has a built-in microphone and recording ability so the Ed team can prepare instruction videos in advance.

doc camera

Additionally, the Education Department was able to purchase a IN114a XGA 3000 Lumen DLP Projection System in order to use the document camera and to show videos, Power Point presentations, and interactive websites to enhance the art curriculum.  In ode to our forefathers, here’s to Life , Liberty and the pursuit of Art.

KMAC APPROVES THIS MESSAGE.   

A Special Thank You to Kat Lewis, Daniel Maye, Elizabeth Mays, and Mary Stone for their generous donations.

 

 

A Peaceful Lot

Completed labyrinth

I grew up in West Louisville. I dreamed of raising my family in the beautiful homes surrounding Chickasaw Park and Shawnee Park. I admired the African-American doctors, lawyers, and teachers who were the anchors of our community. I played with the children of my father’s friends, who, like my father, worked in Louisville’s numerous factories. Our parents hadn’t finished college, but the factory jobs they held at General Electric, Phillip Morris, Ford, DuPont, and Brown-Forman paid for the comfortable homes in thriving communities.

My life’s journey took me away from Louisville for almost two decades. Upon my return, the thriving neighborhoods of my youth had transformed into something unfamiliar. Small pockets of prosperity clung to the remnants of a thriving past. Abandoned and vacant properties seemed to be the norm. Entire blocks were marred with the blackened eyes of boarded over homes. They were more than a community eyesore. They negatively impacted the emotional and physical health of a community. The hopelessness associated with boarded up homes can lead to irresponsible choices. The worst of these choices leads to violence. The numerous teddy bear shrines dotting West Louisville serve as proof to this point.

I became concerned about the overabundance of vacant and abandoned properties in West Louisville. I had once lived in Chicago, a city known for its remarkable public art, and there I saw artists transform vacant spaces into inspiring community works of art. I felt public art could be a vehicle for change and growth in West Louisville too.

A friend, who assisted me in transforming a vacant apartment building in Louisville’s Parkland neighborhood into an artistic symbol of hope, heard of Mayor Greg Fischer’s Lots of Possibility Competition. Mayor Fischer was asking residents to submit creative ideas for reusing four lots owned by the city’s Landbank Authority. I founded the West Louisville Women’s Coalition (WLWC) with the help of KMAC board member Chenoweth Allen and local entrepreneur Robin Bray and submitted a proposal. WLWC is a diverse group of nine Louisville women with a mission to create and sustain artistic, peaceful spaces in West Louisville. Our Lots of Possibility proposal would transform a small vacant lot into a Meditation Labyrinth formed from hundreds of bricks painted with inspirational messages from the residents and community supporters of West Louisville. The Meditation Labyrinth was selected as one of the four winners in the competition. Shortly after the announcement, I started my new position at KMAC as an Art Educator and after hearing about the project, KMAC became a Peaceful Partner and provided an artist to assist with the project. After hundreds of volunteer hours, the Meditation Labyrinth, which will be named the Peace Labyrinth, is finally complete.

The Peace Labyrinth will be dedicated, Saturday, October 11, 2014 at 7:00 pm. The lot is located at 3831 Hale Ave, Louisville, KY 40216. The dedication will include a performance by the River City Drum Corps, a message from Mayor Greg Fischer, and a candlelit inaugural peace walk through the labyrinth. This is a free event and open to the public. This dedication ceremony marks the completion of the first step in transforming a vacant lot into an intergenerational community space for peace. It will host monthly peace walks, quarterly visual art activities, and other community programming.

Written by Ramona Lindsey, KMAC Art Educator

EXPO Chicago: A KMAC Donors’ Field Trip

Private Collector Tour

KMAC ‘s Donors Circle brought a hale and hearty group of 14 to EXPO Chicago a week and a half ago. We spent our days cruising the contemporary art offerings out on the Navy Pier. In the afternoon, we enjoyed Kentucky hospitality in the form of tastings of Old Forester provided by Brown-Forman happening at the KMAC booth, which featured selections from recent museum exhibitions: Denise Burge, Matthew Ronay, Elijah Pierce and more.

photo (98)

Outside the art fair, we had the opportunity to visit some outstanding private collections including those of Paul and De Gray, Gary Metzner and Scott Johnson, Richard and Ellen Sandor, and Susan Goodman and Rod Lubeznik.

On Friday, September 19th, Richard and Ellen Sandor impressed us with their extensive body of photography and related objects (over 2,000 pieces from the 1840s to the present) and awed with their encyclopedic knowledge of the contexts in which their historical images were conceived. I especially admired a photo of poet Marianne Moore in her tricorn hat/George Washington getup. The couple’s “Outsider Café”features well-known naïve and intuitive artists Lee Godie, Martin Ramirez, Sharon Scott, and Bill Traylor.

 

On Friday night, we attended gallery openings at Kavi Gupta’s two spaces. I particularly enjoyed watching a documentary that Mickalene Thomas created in memory of her mother, who many will recognize as the principal subject of her work. The film plays continuously in a family room setting, complete with wood paneling, a sofa, and coffee table. That night, Kavi Gupta graciously included us in a party at his place, where we mingled with art stars like Jessica Stockholder. Kavi put a picture of Martha Slaughter and Henry Heuser on Instagram!

photo (12)

On Saturday morning, we ventured to the Gold Coast—where we took in magnificent panoramic views of Lake Michigan at the home of Susan Goodman and Rod Lubeznik. Our group took note of a ceramic portrait bust by Klara Kristalova and a felt piece (resembling a Matisse paper cut-out) by William J. O’Brien. In the bathroom sits a humorous multi-media sculpture by Tokyo-based artist Ken Kagami.

On our final morning in Chicago, we stopped at the warehouse studio of Tony Tasset (husband of well-known Chicago painter Judy Ledgerwood) who manipulates quintessential American imagery in bold colors. He chooses to work in a vernacular of existing genres to communicate with simple signs. His egalitarian, open system of meaning resembles a love letter to 70s super graphic art (such as Robert Indiana).

photo (99)

We had an absolute blast in Chicago. And I am now rested enough to say that I enthusiastically anticipate the next Donors’ Circle trip—to New York City in March! I hope you can join us.

–Leslie Millar, KMAC Donor Circle Member

From Start to Finish: How A KMAC Artist Residency Works

CT-Mural

By Liz Richter, KMAC Art Educator

This spring, we had the pleasure of working with Coleridge-Taylor Montessori, one of two Montessori’s in JCPS, as a part of our scholastic artist in residency program here at KMAC. We collaborated with CTM Principal Yvette Stockwell and PTA member Kate Kolb to create a custom residency package with 4th and 5th grade students.  They expressed the vision to create something really memorable and impactful for the students.  From the time that I walked into the school, I had my eye on the big, empty brick walls that framed the entrance of the lobby.  I started researching collaborative clay mural techniques that worked well with elementary students and started sketching a “free form”mosaic approach, where hand-built circle shapes would make up the image.   After consulting with the PTA and principal, we chose a design inspired by their school logo, of a world surrounded by student portraits, and the words “Coleridge-Taylor Montessori.”

Over 175 students in 4-5th grade created a mural piece and coil pot and glazed both.  We started by learning about clay and discussing the process of ceramics. One class made coils on slabs, which formed all of the letters, another class made tile portraits, and five classes made the world pieces.  We decided on circle shapes for the water and leaf shapes for the earth.  Their art room, which was a communal space this year, was a dusty, happy mess (don’t worry, we cleaned it up!).  Some students had never used clay before, and were fascinated with the way the “texture tools” (odds and ends ranging from beads, to buttons, to small plastic sea creatures) created interesting embellishments to their tiles.

I purchased a nice variety of beautiful blues and greens for the land and water to create some variety in the design, and delegated colors to each table of students so that the variety was consistent.  Some students even created little extra texture shapes for us to use as filler.  With the help from Kate from the PTA, we were able to complete our projects in three sessions.  After the students had also made their coil pots and glazed them with their favorite colors, we packed up all the clay and headed back to the museum to fire them in our kilns.  I promised the students that they would get their beloved pots back as soon as we could, and I heard excited plans like “Mine is going to be a pencil holder!” and “I’m giving mine to my mom!”

Back at the museum, our education staff, volunteers and interns helped me sort, paint clear glaze, scrape and fire over 350 pieces.  Our art handler, Ben Cook cut the large wooden pieces that would become the backing for the mural.  Slowly but surely, the tiles came together to form what I had envisioned in my sketches.   After delivering their pots to the school, we started gluing the mural pieces to the backing.  I got excited seeing the earth shapes finally begin forming and could finally stop worrying about whether my mathematical planning was correct!  After delivering the completed mural to the school, I went back to see it installed.  Parents and students were coming in and out, and many stopped to see the new mural in its prime location.

CT-Mural

Coleridge-Taylor Montessori Mural

“This amazing mural reflects our Coleridge-Taylor Montessori spirit of collaboration and individuality.  Each piece was designed and created by an intermediate student.  Thanks to our artist-in-residence and PTA parents for helping to make this possible!” -Principal Yvette Stockwell

KMAC Educator Liz

KMAC Educator Liz Richter serving as Artist in Residence at Coleridge-Taylor Montessori in Louisville.

 

Pavilion Design Winner Announced for Centennial Festival of Riverboats Celebration

drift
In August 2013, an international design competition was initiated by Louisville-based design practice PART Studio LLC for a temporary festival pavilion to be utilized during the Centennial Festival of Riverboats in October 2014. The design competition garnered international attention, with entrants from 16 countries and twenty of the United States offering a unique survey of contemporary design trends from across the globe.  The proposed designs are exhibited in Current Affairs on the third floor Brown-Forman gallery at KMAC through June 29th.A jury of regional business and arts leaders selected the winning pavilion on June 14, 2014.  The winning entry, DRIFT, submitted by Brooklyn-based design practice stpmj will be built as a temporary and multipurpose pavilion to accommodate a variety of uses during the riverboat festival. Stpmj design team members Seung Teak Lee and Mi Jung Lim are both natives of Seoul, Korea. Each holds a Master of Architecture degree from the Harvard Graduate School of Design. Stpmj has an impressive track record with inventive design projects as evidenced by works such as Invisible Barn, a reflective structure proposed for the Socrates Sculpture Park in Queens, New York.116 Drift Winner

DRIFT proposes a triangular arrangement of eight foot diameter balloons that create a dynamic canopy over bourbon tastings, educational spaces for children and other groups. Jurors praised the project for its unexpected playfulness and relationship to historic river imagery. Jury member Rick Bell, a prominent Louisville historian, remarked that incorporating Louisville’s river history was a vital characteristic of the centennial celebration and one that required a unique expression. The design was interpreted by the panel of jurors as a type of inverted raft with romantic allusions to the journeys of Huckleberry Finn as well as the flatboats that once populated Louisville’s wharf in great numbers.The stpmj design team will receive a $2000 prize for their winning proposal, which will be fabricated locally for the Centennial Festival. The second place award of $1000 goes to Aaron Loomans of Milwaukee, WI for his entry, Paddle Flux.

110 Paddle Flux 2nd place
PEOPLE’S CHOICE PICK
First place in the People’s Choice voting goes to Centennial Paddlevillion, a collaboration between New York City based Metamechanics and Christian Duvernois Landscape/Gallery. Second place People’s Choice goes to Paddle Flux by Aaron Loomans.
112-  Centennial Paddlvillion Peoples choice winner
The Centennial Festival of Riverboats Pavilions is sponsored by Louisville’s sonaBLAST! Records.

The Waterfront Pavilion Competition jury: Rick Bell (Louisville Waterfront Historian), Karen Gillenwater (Curator, Carnegie Center for Art and History New Albany, IN), Augusta Brown Holland (Community Developer), Nat Irvin II, Strickler (Chair, University of Louisville College of Business),  Representative Joni Jenkins (Kentucky House District 44), Sarah Lyon (Photographer), Aldy Milliken (Director and Chief Curator, Kentucky Museum of Art and Craft), Gretchen Milliken (Associate Director of Advanced Planning, City of Louisville), Kulapat Yantrasast (Founder & Principal, wHY Architecture).

Current Affairs: Louisville Waterfront Pavilion Competition exhibition will be on view at KMAC through June 29th.

Carrying the Torch: Walter Early Sculptures

ImageDenise Furnish and Walter Early: Color Stories Installation View

This is the last weekend to check out the exhibition Denise Furnish and Walter Early: Color Stories. Here on the KMAC blog we have explored the processes, motivations and cultural implications behind Denise Furnish’s repurposed quilts, and now we take a deeper look into the salvaged and reshaped forms from sculptor Walter Early.

Walter Early arranges broken and displaced forms into new settings and new relationships. His work, A Day in May, was included in last summer’s 7 BORDERS exhibition here at KMAC. In that work he repositioned a set of tobacco sticks, removing them from the environment they are typically associated and presented them in the gallery, on a shelf, leaning against a wall. This was intended to give new context, form and meaning to this common tool for curing tobacco leaves. The sticks take on a vista like quality where a viewer can get a sense of looking into a forest or a line of tress along side a road. This idea of play in altering an object’s former meaning continues into Early’s recent sculpture made from clay, wood, MDF, and steel.

For the pieces on display at KMAC Early sourced his materials from fellow sculptors, who had thrown out some of their failed experiments intending for them to be melted down and destroyed. Taking his welding torch and working in a similar twentieth century modernist language as Anthony Caro and John Chamberlain, he manipulates the shape, color and volume of his metal castaways. Once the desired form is achieved he power coats the surfaces of his sculptures in bright, bold, monochromatic colors. Caro and Chamberlain are well known for pushing the formalist art boundaries of modernist sculpture. They are important in the context of Walter’s work as they both represent the shift that allowed for a broader range of materials and practices to be brought into the art discourse. Early furthers the objectives set forth by these artists, maintaining the relevance for the appropriation of found materials. Through a series of rigorous alterations Early presents anew these remnants from other artists, providing a narrative for the material as it moves from its previous state into its new form. After reworking the borrowed metal he reverses a pivotal move made by Caro, who famously removed sculpture from it’s plinth, and places the finished works onto pedestals, or in this case onto whitewashed pieces of furniture, reestablishing the previously abandoned forms as artworks, elevating them to a new domesticated status.

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