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Lois Mailou Jones - 1905 - 1998
Sedalia, North Carolina - 1929
Southern / Modern - Rediscovering Southern Art from the First Half of the Twentieth Century - October 26, 2024 - February 2, 2025
The first exhibition to present a comprehensive survey of works by artists working in the American South in the first half of the 20th century
Created in collaboration with Georgia Museum of Art, the exhibition includes more than 100 paintings and works on paper by artists working in states below the Mason-Dixon line and as far west as those bordering the Mississippi River, as well as some artists living outside of the region who made significant bodies of work during visits.
Curated by the Mint’s Senior Curator of American Art Jonathan Stuhlman, PhD, and independent scholar Martha Severens, Southern/Modern: Rediscovering Southern Art From the First Half of the Twentieth Century takes a broad view of the South and is structured around key themes that traverse geographic regions, including time and place, race, family ties, and social struggles. It also takes a broad, inclusive view of the art of the region, incorporating the creativity and talent of women artists and artists of color across its various thematic sections to provide a fuller, richer, and more accurate overview of the artistic activity in the American South at the time.
"The names Jackson Pollock and Mark Rothko flash to mind when thinking about the U.S. as the modern art epicenter at mid-20th century. What do Zelda Fitzgerald of Montgomery, Alabama or Dusti Bongé of Biloxi have to do with that history? More than any art narrative has said until now. A rich book published in conjunction with the exhibit “Southern/Modern” makes the case that modernism flourished in the South despite less recognition then and systemic exclusion since. The volume’s cover is Bongé’s “Where the Shrimp Pickers Live,” a 1940 oil fed by Bongé’s rent-collecting job on the Biloxi Back Bay.
The South’s painting legacy is hardly the most crucial part of southern history now under hard examination. Our era is retelling—make that telling for the first time—the truth of slavery, white supremacy and labor exploitation in the region’s DNA. Yet who paints and what is painted are questions overlapping the general reckoning. The Southern/Modern project attempts and delivers answers.
Do I, a lifelong Mississippian, sound thin-skinned that southern artists were shortchanged? Well, I am, but it’s also true. Consider the famous 1949 proclamation by the American Wing curator of the Metropolitan Museum of Art: “Little of artistic merit was made south of Baltimore.” Southern/Modern counters that verdict.
True, there have been shows on individual modernist southern artists, but Southern/Modern is the first to examine the region’s strand as part of the national modern fabric. The exhibit of about 100 paintings and prints centers on southern works between 1913 and 1955.
This kind of project is not just a real-time event, although “The New York Times” named the “daring and revisionist” show a Critic’s Choice. The ambition of Southern/Modern is to establish a basis for future art scholarship. Shows, after all, formulate our understanding of art movements. The understanding of Impressionism coalesced with the 1863 Paris Salon des Refusés. Participation in the 1951 9th Street Art Exhibition qualified a painter for the New York School abstract expressionist canon.
The essays in “Southern/Modern” define modern with a big M and small one, according to Jonathan Stuhlman, senior curator of American art at the Mint Museum in Charlotte, North Carolina and co-editor of the book. As an art term, modern means presenting artists who are “moving away from realism and toward abstraction,” he writes. But this project also includes painters modern in the sense that they frankly depict life around them. Regionalism versus modern is a false choice."
msbookspage.wordpress.com/2024/05/06/southern-modern-redi...
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Harrison Redi-Mix, usine de Georgia au Vermont, mars 2015. Photo: Murray Markanen.
Harrison Redi-Mix, Georgia Vermont. March 2015. Photo: Murray Markanen.
$25.00
Mecum Gone Farmin' Auction
Mississippi Valley Fair Grounds
2815 Locust Street
Davenport, Iowa.
Scott County, USA.
November 11, 2016
From our new Quatrefoil Collection of Redi-Screens, the "Notre Dame" offers a sleek and modern interpretation of the gothic architectural style carved into wood panels encased in solid hardwood frames.
See the "Notre Dame" here: www.crestviewdoors.com/order/redi-screens/redi-screens-qu...
Celeste Poston's unbelievable home features the "Morocco" Redi-Screens, new from CrestviewDoors.com!
On Wednesday 13 May 2009, Redi Direko was hosting her talk show on 702 Talk Radio. During the show, she took ANC Youth League Spokesperson, Floyd Shivambo, to task. He was on record accusing DA leader, Helen Zille, of 'sleeping her way to the top'. He also suggested that the male members of her cabinet were her 'concubines'.
Shivambo phoned the station, outraged at being taken out of context, and demanding the right to reply, to explain what he meant.
Listen to the podcast for the full version of his incompetent idiocy. Or watch this animated summary to get a sense of what listeners and Direko had to go through. Here's the podcast link: is.gd/zKir.
I made the caricatures using ArtRage 2.5. I used Audacity to edit the audio down to an acceptable length of time. The animation was made using a closed beta version of CrazyTalk 6 (I was asked by the developers to be one of the beta testers of the software).
The music used in the end credit is by Antony Raijekov. It's released under a Creative Commons 'Attribution, Share-Alike' license.
The computer I'm working on is sponsored by Rectron South Africa. It's an Asus R1E tablet pc.
[UPDATE: The 'Making Things Blatantly Obvious' blog has a full transcript of the Redi vs Floyd 'debate': http://bit.ly/17DHgw.]
[UPDATE 2: This 'Redi vs Floyd' animation is featured on p13 of Issue 60 of the online weekly men's magazine, 'Milk': http://www.milkmag.co.za/milkmag/v01/issue60/index.php.]
[UPDATE 3 (4 June 2009):]
After a comment I received on my FaceBook-facing distribution of this video, I've re-thought Floyd Shivambu's role in this. Here's my analysis...
I sense that Floyd isn't as airheaded as he came across. My guess is that he got really riled by Redi, and got stuck in an anger groove that he couldn't easily shake himself out of.
I also suspect that he was given a directive from the ANC or the ANCYL to say nothing substantive about the matter. So he found what he thought was a good way of obfuscating the issue without putting his foot in it too badly.
Of course, his strategy was really kinda kak. Cos it blew up in his face.
The trouble with being a spokesperson is that you've GOT TO remain calm, cool, engaging. At ALL times. Even when you're being lambasted on live radio. And he did NOT crack that. He didn't even remotely crack it.
I don't know Floyd at all. I haven't come across his poetry. And I've never been to any performances of his. So I can't comment on him as a person. What I CAN comment on is that he CAME ACROSS as a cynical bully who got very peeved!
The trouble with politics is that what's being SAID is never the agenda. It's what's UNDER the words that needs to be excavated.
This little edit of mine is an attempt at exposing what I believe to be going on in South African politics...
Obfuscation. Derailment. Refusal to deal with the issue. Ad hominem attacks. Secrecy. Trial by insult.
Floyd achieved a hell of a lot in the interview. He has indelibly linked Helen Zille's name to the idea of her as an owner of concubines. Long after the LOGIC flaws of his arguments have been forgotten, the emotional undertow will remain.
South Africans now think of Helen Zille and male concubines as one concept.
So Floyd is nowhere near as idiotic or silly as he pretended to be.