Tradition Innovation: American Masterpieces of Southern Craft and Traditional Art    
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Relationship to Place

Southern traditional artists often craft their work out of local materials such as white oak, sweetgrass, river cane, red clay or swamp cedar, requiring knowledge of their natural surroundings.

Long before the weaving, carving or boat building begins, the traditional artist must locate, select and prepare their materials. For many, this is the most demanding part of the process. In traditional basketry, a weaver's mastery


Quotes

“I just wouldn’t want to live nowhere else. To me, this is where it’s at.”

- Minnie Adkins


“I actually get excited when I see honeysuckle-draped fences and layers of kudzu covering the trees. Mother Nature never sleeps.”

- Clay Burnette

is often determined by his or her knowledge of their materials, whether it be white oak, sweetgrass or river cane; while carvers, boatbuilders and luthiers may choose wood according to the potential for artistic inspiration — its grain, color or texture — or local availability.


Contemporary craft artists recognize how the Southern landscape and the imprint of “place” have a profound effect on their lives. At the same time they often connect to an international community of makers. The Internet, travel, education, and professional associations make their sense of community broad and deep, but not bounded by geography. Many were drawn to the South to teach or study and have stayed because of the rich cultural, educational and natural environment. Others grew up in the South. Still others live in Florida, which they view ironically as the “deep North.” In general, the contemporary work in this exhibition reaches across time and geography, expressing a keen sense of respect and value for the cultures of others. Freedom to work where they like, learning opportunities, and the desire to live among communities of artists have had a strong influence on the evolving landscape of Southern contemporary craftspeople.

 
Artists
  Minnie Adkins   Alice R. Ballard
  George Berry   Clay Burnette
  Herbert J. Dixon   Keith Felder
  Yvonne Grovner   Charles “Jean” Horner
  Virgil Ledford   Shawne Major
  Brian Nettles   Mary Jane Prater
  Harvey Sadow   Bonnie Seeman
  Kimberly Sotelo   Leona Waddel
  Carol Welch      
           
Richard Ritter...

...an artist in the Cultural Practice Gallery, on Relationship to Place in his work:

“I first came to North Carolina to Penland School [of Crafts] to be a student in 1970. I moved here to be a resident artist in 1971. I have lived here 36 years, longer than I lived in my home state of Michigan.”

“Penland brought me to North Carolina. I love the slow and peaceful pace in the mountains. I have time to reflect on my surroundings. One of the reasons that we stayed in the mountains was because I knew that it would be a wonderful place to raise my children, among good honest people, in a place of great beauty.”

“I love the land here. I garden, and I like to dig in the soil. I am curious about what animal rips bark off the tree in my back yard, I wonder at the way the bark fell in strips to the ground and the patterns it made. As I wander about my small farm I see patterns everywhere… I have been doodling these patterns as long as I can remember.”

“I do not feel that there is a difference in contemporary crafts being made in the south from work being made in other parts of the country. I do think that country people are resourceful people wherever they may be. They are more likely to find a way to solve a problem themselves than to drive 50 miles to purchase a part or have something repaired.”


Curators Jean McLaughlin, Contemporary Craft and Kathleen Mundell, Traditional Arts, selected the artists and provided conceptual direction and text for each gallery.
 
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