Jill at Hyperallergic (in addition to Joan) calls our attention to an exhibition at The Met celebrates the work of this self-taught artist, indigenous artist who neither exhibited nor profited from her work during her lifetime.
#marysully

Jill at Hyperallergic (in addition to Joan) calls our attention to an exhibition at The Met celebrates the work of this self-taught artist, indigenous artist who neither exhibited nor profited from her work during her lifetime.
#marysully

Julie at Hyperallergic reviews Weaving at Black Mountain College: Anni Albers, Trude Guermonprez, and Their Students (2023), by Michael Beggs and Julie J. Thomson. Many of these weavers were also covered in the Women of Bauhaus exhibit I saw and blogged about several years ago. Fiber arts are having a good year in 2024 as Julie points out. Other than a nice pic of a piece by Joan she is not the topic, you can look here and (literally) here at the Asheville Art Museum, one of NC’s many fine institutions.
#joanpotterloveless

Liza Roberts recently wrote (in Walter) about this Clemmons-based painter returned to his craft after a 30-year career in advertising.
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#frankcampion

In the (continuing) spirit of embracing one-word blog titles and contradictions, I call your attention to a word which means one’s sense of worth and which we also collectively use to point at an inflated feeling of pride in relation to others.
The word is on my mind because my internal sense of worth has been whip sawed a bit lately. I shared great news in my last post, in which I also mentioned that I’ve been in the process of searching for, but not yet acheiving, full time employment in my other profession (clean energy). While the reality is that input on my value from outside (either acceptance or rejection) does not change my worth full stop, and, is a pretty reductive binary anyway, the input certainly can and has bent my perception of the value I can provide. I feel privileged to be in a safe enough space in my life to recognize that a) while a choice between my work product and another’s is a binary, the reality of my relative value is almost certainly quite different, b) critical feedback presents an opportunity to grow and c) it is important to my wellbeing to remember “the wins” and invest in giving them attention at least equal to the time spent on b). As all of this relates to the Arts, I suggest you head over to Level Up Artists and check out their Artist Comparison Trap episode (#184).
For a lot of us the outcomes from November 5th are the 800 lb animal in the room lately. It’s not hard for me to imagine most of you, being Artists and Art lovers, lean (pretty far) to the left and view the outcome as a referendum on the worth of certain ideas and likely on those of us in this quadrant of the socio/political spectrum as individuals and groups. Ego gut-punch. I include myself in this while recognizing that I was not the target of the majority of the vitriol exhibited by the reactionaries among us. I also doubt I’d be the first person in your world to note that I’ve heard, read and seen evidence that the sense of worth felt by those leveling this valuation on a plurality, if not a majority, of their neighbors feel some feelings themselves about the worth they perceive they are being assigned in our society in 2024.
I’m dancing a bit with the intention of being objective about feelings (which aren’t usually based in reason) and definitely not making excuses for anyone. It’s probably too soon to talk about giving people grace for (I would say “rash”) decisions made from a place of fear. It’s not clear to me how to establish the trust needed for deep conversations when all of us- all. of.us.- are feeling so deeply wounded in our egos. I am trying to accept that the brashness and incivility (over-inflated outward projection of ego) is a sign of fear stemming from egos that are actually wounded, without internalizing said negative valuations as actually indicative of my worth. I’m dancing a little again, in my attempt to avoid diminishing anyone else’s right to feel how they feel (including rejecting grace and understanding entirely). The caustic version of all of this is it’s a fucking tragedy of the highest order that it seems like everyone is thinking “how dare you think you’re worth more than me.”
As I often do, I’ll end on the note that I didn’t intend this blog to be an answer or hypothesis. I’m stirring the pot by putting my thoughts down to collect them in one place in relation to each other, and hopefully make them work for me, and perhaps you, whoever you are- You. Have. Worth.
is an artist working in Boston and a Fine Arts Assistant Professor at Brandeis University. A through-line in her practice is the artist’s investigation into the ways that language is learned, shared, and adapted through processes of fragmentation and multiplicity. She was recently in Between Pixel and Pigment with Jacqueline and others.
#soniaalmeida

Meksin is a New York-based interdisciplinary artist working in painting, installation, public art and multiples. Born in the former Soviet Union, she immigrated to the United States with her family in 1989. Her work investigates parallels between the gendered conventions of painting, architecture and our bodies.
#leezameksin

is in Keep Feeling Fascination at High Noon Gallery with Tom and Ryan and Will and others.
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#jilllevine

Gallery C recently brought our attention (posthumously) to North Carolina Artist Anne Wall Thomas, a Southern artist with a Bauhaus Heart.
#annewallthomas
