Taking an interdisciplinary approach, Monée combines drawing, Photoshop, pigment, dye, weaving, and embroidery to execute her two dimensional work. Using personal narrative as a jumping point, the artist applies colorful and imagined imagery meant to overlay the lurking fear generated by the familiar and the concealed.
When the artist is producing scarves she prefers to draw from long-established methods of weaving, knitting, crochet, and embroidery. She is fond of nature and often employs organic motifs in each garment.
High-Wire Rescue / 2002 / Ink and marker on paper
The City of Portsmouth is seeking a qualified candidate to fill the position of assistant curator in the history division of the Department of Museums. The individual will work as part of a collections management team for the history division that includes the Lightship Portsmouth and the Naval Shipyard Museum. Work includes collection management, exhibition planning, program development, research, grant writing, training, public lectures and interaction with collectors, donors, scholars and the community.
Retablos are sophisticated folk art in the form of portable boxes filled with brightly colored figurines arranged into intricate narrative scenes. From the 16th to the 19th centuries, Retablos were carried through the mountains by Spanish priests as portable religious shrines for Catholic saints. Later, they were adapted by indigenous people to include their own deities and mythologies.
Nicario’s compositions depict religious, historical and everyday events. His hands move quickly and with confidence to fashion people, animals, and mythical figurines as he creates poignant scenes from a doughy mixture of boiled potato and gypsum powder. For his sculpting process, Nicario’s only tool is a small piece of wood resembling an enlarged toothpick.
Billie Ruth Sudduth is a widely acclaimed basketmaker living in the North Carolina mountains. Her works are in many public and private collections including the Smithsonian Institution’s Renwick Gallery; the Museum of Art and Design in New York; the Mint Museum of Art; Glaxo; and Bank of America. In 1997, she was named a North Carolina Living Treasure, the state’s highest honor for creative excellence in the field of crafts. She is the tenth recipient and the first female to receive the award.
Sudduth has received an Individual Visual Artist Grant, an Emerging Artist Grant and an Individual Visual Artist Fellowship from the North Carolina Arts Council. For five consecutive years, she was selected by Early American Homes for their “America’s 200 Best Craftsman” directory.
Sudduth’s baskets have been published in American Craft, Southern Accents, Colonial Homes, American Style, Southern Living, Home, the Smithsonian Magazine, Fiberarts, the Philadelphia Museum of Arts Member Magazine, Preservation, and The Crafts Report. Her work is included in Skilled Work, a publication of the Smithsonian Institution showcasing work in the Renwick Gallery’s permanent collection. Her work is frequently shown in newspapers and magazines across the United States. CBS Sunday Morning, PBS, Voice of America, and HGTV have also featured Sudduth and her baskets.
In addition to the United States, Sudduth’s baskets have been exhibited in museums and galleries in Germany and Denmark. She has exhibited at the Smithsonian Craft Show thirteen times. She is a member of the Southern Highland Craft Guild, Piedmont Craftsmen, and Carolina Designer Craftsmen.
Excerpt from the Folk Art Society of America
> Read the full article here
As a small child she was intrigued by the whittling she saw men doing, so her father gave her a pocketknife, and she soon ventured into distinctly unladylike territory.
“I started out making slingshots,” she said. “Well, you can take the same type forked stick and make a rooster out of it, and then you’ve got something.”
For many years, she continued making roosters, birds, and other hand-size creatures, giving them away or selling them for small change. She first received notice in 1973, in Worldwide Avon Collectors Magazine: “Minnie Adkins brought Avons and handmade items” [to the Worldwide Avon Collectors Show in Dayton].
Minnie’s recognition has come in part from her own work and in part from her activities championing the artistic abilities of others. Many other regional folk artists, including Tim Lewis, Linvel Barker and Jimmy Lewis, point to Minnie as the pivotal source of encouragement for their work and of introductions to the flow of collectors visiting Isonville.
Minnie’s art has extended well beyond wood sculpture to include paintings and, recently, collaboration on ceramic platters with her artist-cousin, Tess Little. Other collaborations include quilts made locally and limited-edition or one-of-a kind blown-glass vases, all decorated with her animal designs.
Come see some of Minnie Adkins creations at the Portsmouth Art & Cultural Center beginning February 1.