Curator’s Take The forms Virginia Scotchie creates for her Object Maker Series are abstract yet reminiscent of useful, functional objects. The familiar shapes draw the
Curator’s Take This week, we celebrate Eva Zeisel on November 13—which would have been her 114th birthday—by sharing with you some of her work in
Docent’s Take This painting makes me recall a line from Thomas Gray’s 18th-century English poem which reads “Far from the madding crowd…” which was the
Curator’s Take Petroglyph I is a large oil on canvas by Joseph Fiore (1925–2008), who was a student at Black Mountain College in the summer
Whitfield Lovell’s multimedia works like One of These Days combine four distinct elements. First, he hand-draws a realistic, life-sized portrait inspired by antique photographs of
In 1946 Elaine Schmitt Urbain was living, working, and making as a student at Black Mountain College (BMC) alongside faculty, students, and staff from diverse
Curator’s take Harvey’s work encompassed both the secular and the religious worlds. This untitled mask is an example of the former category. Much of her
Curator’s Take Catlett was dedicated to depicting the African American experience and to forming interracial alliances, and she created art to influence popular opinion. Although
Since our reopening, I’ve spent more time in the galleries and have enjoyed watching our visitors enthusiastically interact with the works in A Telling Instinct:
A CURATOR’S TAKE These works from Joyce Tenneson’s Transformations series contain a feeling of staging, as though the figures are waiting for the curtain to
