Inspired – Spring 2025

SPRING 2025

Annie Leibovitz See Annie Leibovitz’s iconic pictures from Rolling Stone, Vanity Fair, and Vogue, as well as daring new works.

MAKE YOUR BIG DAY A WORK OF ART. Whether it’s your wedding, rehearsal, anniversary, or a cocktail party to celebrate your birthday; our venues guarantee an experience in a setting your guests will never forget. mintmuseum.org/rent-the-museum

Wyeth Augustine Photography @wyethaugustine

FROM THE PRESIDENT & CEO

As we begin another year, it is helpful to affirm the Mint’s role in the Charlotte community as a safe place to share thoughts and have conversations about various topics addressed in the works of art. The museum is a rare venue for intergenerational social interaction, as well a respite for mind and body. It is an educational space that teaches critical thinking, creativity, positive selfexpression, problem-solving, and empathy, as well as social studies, geography, history, political science, communications, math, and science. In short, the arts are a building block for a strong society and an educated population. I want to thank you, our members, supporters, ambassadors, and particularly the staff for supporting the Mint’s mission and continuing to focus on the positive impact we can have on our community.

It has been an exhilarating start to 2025 at the Mint, with even more excitement on the horizon. ANNIE LEIBOVITZ / WORK opens April 27 at Mint Museum Uptown. The exhibition brings together a compelling mix of new and rarely seen photographs alongside some of the most iconic portraits of artists, musicians, politicians, athletes, and cultural figures captured throughout the past five decades.

Following the loan of two paintings by Mark Rothko in 2022, our relationship with the National Gallery of Art continues. We are excited to host three masterpieces from the National Gallery as part of its “Across the Nation” initiative. Works by renowned artists Edgar Degas, Georgia O’Keeffe, and Alma Thomas will be on view at Mint Museum Uptown later this spring, offering the local and regional community the rare opportunity to experience these national treasures up close.

Make sure you visit our Randolph Road location. In April, Mexican photographer Maya Goded will visit Mint Museum Randolph for a conversation about her works featured in Women of Land and Smoke: Photographs by Graciela Iturbide and Maya Goded. Additionally, our African Art galleries at Mint Museum Randolph have recently re-opened with new objects on view and a deeper exploration of the history of ownership of the works on display.

On view through April 27, 2025 Mint Museum Uptown at Levine Center for the Arts

Everything we do is rooted in our mission to connect with the community. We understand that the art experience is personal, and we actively seek feedback from our visitors to improve their museum experience to ensure every visit is welcoming and meaningful. We are glad you are part of this journey and look forward to welcoming you to the museum. Please encourage friends, neighbors, and family members to visit and join!

Sincerely,

Coined in the South is generously presented by Atrium Health Foundation and is organized by Young Affiliates of the Mint and The Mint Museum. Individual sponsorship is kindly provided by Lauren Harkey. The Mint Museum is supported, in part, by the City of Charlotte and the North Carolina Arts Council. IMAGE: Kelly Ladd (Casselberry, FL, 1977–). Thank You, Universe (detail), 2024, acid-free paper on canvas. Courtesy of the artist.

Todd A. Herman, PhD, president and CEO mintmuseum.org

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OUR TEAM EDITOR Michele Huggins

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CREATIVE DIRECTION & GRAPHIC DESIGN Stephanie Lepore GRAPHIC DESIGNER David Lewandowski CONTRIBUTORS Alejo Benedetti Hailey Black Annie Carlano

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Hillary Cooper Jen Sudul Edwards, PhD Kitty Hall Lisa Homann, PhD

TABLE OF CONTENTS 5 | ARTIST ANECDOTES

23 | DOCENT SPOTLIGHT

Artful goods as carefully curated as the works that inspired them.

Susan Catterall shares rewarding moments from her time as a Mint docent and volunteer.

10 | ARTIST BEHIND THE ART

Page Leggett Margaret Mauldin Kurma Murrain Alexandra Olivares Alice Ross Ellen Show Hannah Snyder Jonathan Stuhlman, PhD

Self-taught filmmaker, photographer, and visual artist DaRemen J. on making time for his art.

42 | AFFILIATES IN ACTION

Valeria Vazquez

A review of the Mint affiliate groups’ events and activities.

Jennifer Winford

12 | UPCOMING EVENTS

43 | EVENTS AT THE MINT

Mark your calendar for not-to-miss Mint events.

Snapshots from recent events, exhibition openings, and more.

14 | NOTEWORTHY

46 | CROWN SOCIETY PATRONS

Notable mentions, awards, and recognition of Mint people, projects, and programs.

15 | 11 REASONS TO LOVE THE MINT RIGHT NOW

From dynamic programming to artist conversations and exhibitions, there’s a lot to love about the Mint.

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49 | CURATOR’S PICK

ON THE COVER Annie Leibovitz, Self Portrait (detail), Brooklyn, New York, 2017. Photo courtesy of the artist © Annie Leibovitz.

RIGHT: Graciela Iturbide (Mexican, 1942–). Mater Immaculata, Xochimilco, México (detail), 1974, gelatin silver print. Museum purchase with funds from Allen Blevins and Armando Aispuro and Charles W. Beam Accessions Endowment.

Connect with the Mint @themintmuseum

FEATURES 24 | THE 12TH ANNUAL COVETED COUTURE GALA

Celebrate the opening of ANNIE LEIBOVITZ / WORK at the Mint’s largest fundraiser of the year.

25 | WHO WE ARE

An interview with legendary photographer Annie Leibovitz.

28 | MASTERPIECES FROM THE NATIONAL GALLERY TRAVEL TO THE MINT

Three national treasures arrive at Mint Museum Uptown.

29 | COLLIDOSCOPE: DE LA TORRE BROTHERS RETR0-PERSPECTIVE

Artists Einar and Jamex de la Torre latest exhibition eschews chronology and is more like a party than a survey.

32 | FRESH WORKS AND DIALOGUES IN AFRICAN ART

After a multiyear transformation, the African galleries reopen at Mint Museum Randolph with a spotlight on provenance.

35 | WOMEN OF LAND AND SMOKE: PHOTOGRAPHS

BY GRACIELA ITURBIDE AND MAYA GODED

Poignant photography from two of Mexico’s most renowned female photographers.

37 | COINED IN THE SOUTH

A bold celebration of Southern art and artists on view at Mint Museum Uptown.

39 | LISTENING TO YOU AND WHY IT MATTERS

How using visitor research helps to build relationships with you, our visitor.

40 | ENDURING LEGACIES

Honoring devoted supporters and advocates of the Mint and arts community.

mintmuseum.org

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THANK YOU TO OUR SPONSORS Southern/Modern was generously presented in Charlotte

by Wells Fargo and the Dowd Foundation. Individual sponsorship is kindly provided by Julie Boldt and Dhruv Yadav, Lucy and Hooper Hardison, Posey and Mark Mealy, and Rocky and Curtis Trenkelbach. Grant support for this exhibition has been generously provided by the Henry Luce Foundation, the Terra Foundation for American Art, the Andrew Wyeth Foundation for American Art, the National Endowment for the Arts, and the Betsy and Alfred Brand Fund at The Mint Museum.

Ever Present: Romare Bearden & Music is generously presented in Charlotte by J.P. Morgan Private Bank.

MISSION Welcoming all to be inspired and transformed through the power of art and creativity.

The Mint Museum is dedicated to

The Mint Museum’s 2025 Coveted Couture Gala is generously presented by Regions, BlackArch, and Society Awards.

leadership in collecting, exhibiting, conserving, researching, publishing, interpreting, and sharing art and design from around the world. These commitments are central to the museum’s core values of leadership, integrity, inclusiveness, knowledge,

The Mint Museum’s Party in the Park is generously presented by Principal Foundation.

stewardship, and innovation, promoting understanding of and respect for diverse peoples and cultures.

Las Mujeres de Tierra y Humo: Las Fotographías de Graciela Iturbide + Maya Goded (Women of Land and Smoke: Photographs by Graciela Iturbide and Maya Goded) is generously presented by Bank of America with additional support from the Mint Museum Auxiliary and Campania Fine Moulding. Individual support is kindly provided by Allen Blevins and Armando Aispuro, and Betsy Rosen and Liam Stokes.

Support for Student Tours is provided by the Mint Museum Auxiliary and Young Affiliates of the Mint.

VISION Wednesday Night Live is generously presented

by Bank of America.

The Mint Museum seeks to continuously enhance lives and

Coined in the South is generously presented by Atrium Health Foundation and is organized by Young Affiliates of the Mint and The Mint Museum. Individual sponsorship is kindly provided by Lauren Harkey.

create a more empathetic world by Free Wednesday Evenings are generously sponsored by Publix Super Market Charities and the Mint Museum Auxiliary.

ensuring access and by engaging communities in a meaningful, lifelong relationship with art and design.

The following core values

ANNIE LEIBOVITZ / WORK is generously presented in Charlotte by Truist. Individual sponsorship is kindly provided

by Jennifer and Alex Bauer, Mary and Walter Beaver, Hillary and Fairfax Cooper, Laura and Mike Grace, Jill and Mark Kelly, Noelle and Mark Mahoney, Staci and Jeff Mills, Mary and Dick Payne, Beth and Drew Quartapella, Mary Anne (M.A.) Rogers, Kati and Chris Small, Leigh-ann and Martin Sprock, and Ann and Michael Tarwater. ANNIE LEIBOVITZ / WORK is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas.

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The Grier Heights Program is financially supported by the Mint Museum Auxiliary and Arts and Science Council

guide The Mint Museum’s activity, internally and externally: Accountability, Collaboration, Diversity and Inclusivity,

The Mint Museum is supported, in part, by the City of Charlotte and the North Carolina Arts Council.

Education and Intellectual Rigor, Innovation and Excellence, Community and Welcoming

Artist Anecdotes Artisan and avante-garde goods as carefully curated as the works themselves. store.mintmuseum.org

Works by the artists referenced on the following pages will be on view at Mint Museum Uptown this spring and summer. See the works, then browse The Mint Museum Store for curated items inspired by the works.

Adam Eugene Photo | Product selection by Valeria Vazquez

mintmuseum.org

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Mickalene Thomas Afro Goddess AOP T-Shirt: $105. Double Aluminum Bar Necklace with Cord (Green and Blue): $120. Terrace Candle Holder (Blue): $28. Ronan Bag: $108. Boxed Notecard Assortment (Alma Thomas): $18.95.

Matisse’s Model Puzzle x Faith Ringgold: $58. Opal Blue Small Dogwood Vase – Ben Owen: $160. Art X Fashion: $45. Sea Salt: A Perfectly Seasoned Cookbook: $36. Race Stories: Essays on the Power of Images: $39.95. Painting The Plate: $39.99. Monet/Rothko: $45.

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Through color I have sought to concentrate on beauty and happiness in my painting rather than on man's inhumanity to man.

—Alma Thomas

Preview Autumn Drama by Alma Thomas on page 28.

Copper Green/Red Egg Vase – Ben Owen: $310. Liz Kelly Pottery Mug: $52.

Erin Janow Teapot: $210. William Morris Boche Tie: $68. Apple Wristlet: $18.

Georgia O’Keeffe (WOA): $21.95. Women Street Artists: $39.95. Kinfolk Table: $40.

Ellsworth Kelly (Hachette): $69.95.

My painting is what I have to give back to the world for what the world gives to me.

—Georgia O’Keefe

Preview Jack-in-Pulpit - No. 2 by Georgia O’Keeffe on page 28.

mintmuseum.org

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Musical Jewelry Box Town Musicians of Bremen: $32. Rosewood Bulba Scarf: $155. Powder Sunglasses (Zelia): $45.

Stone Paradise Satchel: $198. Essential Hair Bow: $10. Fly Away with Me Cuff: $110. Illumination Luxury Stationery Set (Blue): $52. The Story of Art Without Men: $45. The World at Night: $30.

A painting requires a little mystery, some vagueness, and some fantasy.

—Edgar Degas

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Preview Dancers Backstage by Edgar Degas on page 28.

I work from passion. I work from human movement.

—Ernie Barnes

Preview The Sugar Shack by Ernie Barnes on page 16.

Ernie Barnes Vintage Black Tee: $70.

BLOK PARTI Tote Kit-Tulip Print: $75.

Loving: A Photographic History of Men in Love: $70. Heliotropo 37: $55. Latin Fire: Otras Fotografias De Un Continente: $50.

Jim Whalen Mugs-Paradox: $58. Small Amphora: $12. Laccio 5x7 Marble-Edged Leather Journal: $ 54. Romare Bearden Journal: $18. Jazz Covers: $30.

mintmuseum.org

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ARTIST BEHIND THE ART

DaRemen J. ART IN THE SLOW LANE

BY PAGE LEGGETT

The muse doesn’t automatically appear before photographer/ videographer DaRemen J. He has to look — patiently — for inspiration. DaRemen J. doesn’t want his artistic practice to be rushed.

line and wait to be called. I have to wait for the idea to really strike a chord before I can all-the-way commit. I have to take my time.” DaRemen’s art is much more appealing than your typical visit to the DMV, though.

Occasionally, the Charlotte native will have an idea and immediately move on it, he says, but most of the time, it does take a lot of planning.

The mostly self-taught filmmaker/photographer/visual artist (he began in 2013 by shooting pictures on his phone) grew up in Charlotte, graduated from Butler High School and then went on to the Art Institute of Charlotte where he found he was good at photography. But he dropped out because he “wasn’t learning much.” Besides, he was working two jobs at the time and had little time for studies. He found experience to be a better teacher. And it has worked out well.

And that takes time.

I think critically before I execute. It’s a very spiritual thing, I guess, with me. I’m always looking for meaning. Everything is in-depth with me. I have to make it mean something.

To explain just how slowly he likes to take things, he employs a metaphor familiar to most of us. “Before I even have a subject,” he says, “it’s like I have to sit in the DMV 10

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His work has been exhibited widely in Charlotte, including at the Mint. He was among artists featured in Local/Street curated by artist Carla Aaron-Lopez. At a Wednesday Night Live event, he was on hand to shoot guests’ portraits. And his portraits and short films will be showcased as part of the

Constellation CLT exhibition at Mint Museum Uptown opening March 14. His work has also been shown at the Gantt Center, The Light Factory, and Camp North End for the Durag Fest and Hunnid Dolla Art Fair.

Every picture tells a story DaRemen is both a fine art photographer and a commercial photographer, which can be a tough line to straddle. He describes his style as “Afro-surrealism.”

Clients seek him out for commercial work because, he says, his “nostalgic, dream-like and cinematic” aesthetic appeals to them. He also insists that his work — whether a still or moving image — tells a story.

“I’m always studying paintings, illustrations and comic books,” he says. “And I study them because I’m always looking for narratives. I want to see how other artists capture or tell a story in a single photo.”

Even his portraits — almost all of African Americans — aren’t just run-of-the-mill headshots. The viewer learns something about the subject, based on the setting in which they are photographed, what they are wearing, their facial expressions and the way they are posing. Some of his portraits look like high-fashion shoots; others are slice-of-life shots taken on city streets, under a fire escape, in front of a convenience store.

Even though DaRemen looks for a narrative when framing a shot or filming a scene, he doesn’t want viewers to have to work too hard to see the meaning he found in the work. Just stopping, even for a moment, to look is enough for him.

“I’m grateful to anyone who stops to look at my work. We all have such short attention spans today; everything is moving so fast. So, for anyone to stop, take a breath and look — I’m appreciative.”

Coming into his own The imagery is so distinctive, you wouldn’t guess that DaRemen ever doubted his talent or style. But when he was first starting out, he’d compare himself to other photographers and filmmakers. The search for his own approach and aesthetic is what he considers his biggest creative challenge.

“I used to feel I had to fit into a certain niche. It’s been important to my practice that I just come into my own.

Especially with the internet, there’s a lot of pressure to be as good as someone whose work you admire on social media. So, honing my skill and my style is probably my biggest hurdle.”

OPPOSITE: DaRemen J. (American, 1994–). Bluegreenteal (detail), 2024, digital photograph. Courtesy of the artist; ABOVE: duo lingo (detail), 2019, digital photograph. Courtesy of the artist.

Another challenge he is familiar with: “Making money at it is very hard.” DaRemen has done it in his hometown — a place where he’s “almost overwhelmed by how many talented people are here.” He appreciates how The Mint Museum elevates local artists by shining a spotlight on them.

“The Mint has opened the door for all types of art,” he says.

“They’re bringing a lot of attention to local artists. I never thought my work would be showcased in a museum — and it’s a big deal to be encouraged in that way.

Learn more about DaRemen J. — and see his work — on his Instagram page @1stkind.

Page Leggett is a Charlotte-based freelance writer. Her stories have appeared in The Charlotte Observer, The Biscuit, Charlotte magazine and many other regional publications.

DaRemen J. is the upcoming featured artist in the Mint’s Constellation CLT series. His work will be on view beginning March 14 at Mint Museum Uptown.

mintmuseum.org

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UPCOMING EVENTS

Bravo Pueblo

Party in the Park at Mint Museum Randolph

MARCH 5 WEDNESDAY Wednesday Night Live: Art Connections + Coined in the South Artist Panel Presented by Bank of America Mint Museum Uptown 5–9 PM; 7–8:15 PM panel discussion Free, cash bar

12 WEDNESDAY Community Read After Hours Affair Mint Museum Randolph 5:30–8 PM | Free Enjoy an evening of arts and entertainment, activities and food that celebrate the theme of Charlotte Mecklenburg Library’s Community Read signature title “Portrait of a Thief” by Grace D. Li. Learn more at cmlibrary.org.

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Join Joel Smeltzer, head of school and gallery programs, and a Mint docent for a guided slow-looking and a conversation about works on view in the exhibition Women of Land and Smoke.

30 SUNDAY Party in the Park Presented by Principal Foundation Mint Museum Randolph 1–5 PM | Free The first Party in the Park of the season kicks off at Mint Museum Randolph. Enjoy a festive afternoon with food trucks, live music, and a cash bar on the front terrace.

APRIL 2 WEDNESDAY Wednesday Night Live: cómo sostener el peso Presented by Bank of America Mint Museum Uptown 5–9 PM; 7–7:45 PM performance | Free, cash bar Enjoy a newly choreographed performance

by Mexico City choreographers Cesar Brodermann in collaboration with Santiago Sanchez, plus an opening solo, “Point Cloud II,” by Eric Mullis of Goodyear Arts.

Mint 2 Move at Mint Museum Uptown

4 FRIDAY Mint 2 Move Cultural Dance Night Mint Museum Uptown 7–11:30 PM | $11 members, $14 nonmembers Enjoy free dance lessons with Rumbao Latin Dance Company, DJ Carlos LeBron, live music, cultural vendors, live painters, and so much more. Cash bar. Galleries open until 9 PM. 26 SATURDAY Members-only preview of ANNIE LEIBOVITZ / WORK Mint Museum Uptown 11 AM–6 PM | Free for members Members can get the first glimpse of the exhibition ANNIE LEIBOVITZ / WORK before it opens to the public.

The landmark exhibition celebrates the iconic photographer’s illustrious career in an engaging dual format, with prints on paper complemented by cutting-edge digital tower displays. Read more about it on page 25.

Bravo Pueblo image: Sarah and Elias Photography/ @saelphoto

Couples are invited to spend time closelooking at art in the Coined in the South before joining a panel discussion at 7 PM with the Atrium Health Juror’s Choice Award winner Laura Tanner, Young Affiliates of the Mint Choice Award winner Ellie Rose, and the soon-to-be-announced People’s Choice awardee, along with the jurors who helped select the artists on view in this year’s Coined in the South biennial exhibition. Galleries open late.

19 WEDNESDAY Mindful Looking: Women of Land and Smoke Mint Museum Randolph 7–7:45 PM | Free

ONGOING

Yoga at the Mint Mint Museum Uptown Tuesdays, 5:15–6:15 PM Yoga on the Lawn Mint Museum Randolph Saturdays, 10–11 AM Free for members using code MINT21; $15 for nonmembers Participate in a one-hour yoga class with Dancing Lotus Yoga + Arts. Classes are free for Mint members using promo code MINT21 and $15 for nonmembers.

Registration is required. Register online at dancinglotusnc.com.

Coined in the South at Mint Museum Uptown

12th Annual Coveted Couture Gala and After Dark Party Presented by Regions, BlackArch, and Society Awards Mint Museum Randolph 6:30 PM–midnight | Pricing varies Celebrate the opening of ANNIE LEIBOVITZ / WORK at the Mint’s annual Coveted Couture Gala and After Dark Party. An elegant black-tie affair held under a beautifully adorned tent on the lawn of Mint Museum Randolph, guests will enjoy a cocktail hour, a seated dinner, live auction and paddle raise, and dancing, all crafted to create an unforgettable evening in celebration of the Mint’s vital role in the community and the arts. The Coveted Couture Gala After Dark Party kicks off at 9:30 PM. Tickets to the After Dark Party are $50 per person and include cocktails, light bites, and dancing. Get all the details at mintmuseum.org/gala.

29 TUESDAY Artist talk with Maya Goded Mint Museum Randolph 7–8:30 PM | Free In conjunction with the exhibition Women of Land and Smoke, internationally renowned photographer Maya Goded joins Jen Sudul Edwards, PhD, the Mint’s chief curator and curator of Contemporary Art for a discussion about relationships with her subjects and her career as a photographer.

MAY 7 WEDNESDAY Wednesday Night Live: Bravo Pueblo Presented by Bank of America Mint Museum Uptown 5–9 PM; 7–8 PM performance | Free, cash bar Charlotte’s revolutionary electro-pop trio take over the Morrison Atrium and galleries are open late.

ArtBreak Mint Museum Uptown Thursdays, noon–12:30 PM | Free Recharge midday visiting the museum galleries. Enjoy a guided tour on the third Thursday each month.

FREE ART KITS Visit Mint Museum Randolph the first Wednesday through Saturday in March and April, during museum hours, to pick up a fun all-ages project to create at home (while supplies last). Free Art Kits are supported by Mint Museum Auxiliary.

March 5-8 April 2-5

Events are subject to change. Pricing excludes tax. For our full calendar and most up-to-date information, visit mintmuseum.org/events or call 704.337.2000. mintmuseum.org

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Noteworthy AWARDS, ACCOLADES, AND NOTABLE MENTIONS

The magazine you are reading won silver in the 2024 Southeastern Museum Conference publication awards! That is just one of many awards the Mint’s marketing team took home for outstanding design work. Others include a silver medal for the 2023 Potters Market at the Mint campaign, and bronze medals for the Whitfield Lovell: Passages exhibition brochure and the Coveted Couture Gala invitation. The SEMC Publication Design Competition recognizes and rewards excellence in graphic design in Southeastern museum publications.

The Mint Museum took the Voters’ Choice title of Best Museum in the 2024 BOB Awards hosted by Charlotte magazine.

We are honored to be the Best of the Best with Charlotteans!

In December, over 30 of Western North Carolina’s most talented potters came to Charlotte to showcase and sell their work at the Western North Carolina Hurricane Relief Potters Market, while raising vital funds to support hurricane relief efforts.

Organized as a collaborative effort between The Mint Museum, Spruce Pine Potters Market, NC Pottery Center, Odyssey ClayWorks, Potters of Madison County, and Toe River Arts District, all participating potters were from areas impacted by Hurricane Helene who have suffered damage to their homes and/or studios and/or suffered lost income due to cancellation of other shows and events.

Community Engagement Coordinator Kurma Murrain was awarded Author of the Year at the 18th annual Queen City Awards for her book of poetry “Speak Louder.” The awards recognize the hard work, dedication and creativity of Charlotte-area performers and creatives and provide a platform to celebrate their successes.

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The goal of 1,000 attendees was far exceeded with 1,800 attendees. “At the end of the day, many potters were close to sold out. The potters consistently said this was one of their best sales ever, and as they tried to express what it meant to them, many were overcome with emotion,” says Vince Long, event coordinator and previous chairperson for Potters Market at the Mint.

REASONS TO LOVE THE MINT RIGHT NOW mintmuseum.org

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THE SUGAR SHACK IS A VIBE AT MINT MUSEUM UPTOWN Visitors to The Mint Museum have a unique opportunity to experience the electrifying energy of The Sugar Shack, which captures a lively night at the Durham Armory in 1952. Inspired by artist Ernie Barnes’s memory of sneaking into the armory as a young teen, the painting vibrates with movement and emotion, as dancers and musicians lose themselves in the joy of the moment. Barnes’s signature style of elongated, fluid figures set in motion brings the scene to life with unmatched vitality.

The original version of The Sugar Shack gained fame as the cover art for Marvin Gaye’s 1976 album “I Want You.” The version on view at the Mint was featured in the end 16

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credits of the groundbreaking sitcom “Good Times.” The painting became a cultural touchstone, representing the vibrancy and resilience of Black culture. On view through June 30 in the American galleries on Level 4 at Mint Museum Uptown. —Michele Huggins, associate director of marketing and communications

ABOVE: Ernie Barnes (American, 1938–2009). The Sugar Shack, 1976, acrylic on canvas. Collection of William O. Perkins, III and Lara Perkins.

L2024.90 © Ernie Barnes

ART AND HISTORY TELL A GREATER STORY TOGETHER The Mint Museum and the Charlotte Mecklenburg Library teamed up to tell a richer story in the exhibition Southern/Modern. The collaboration highlights how art and history intertwine to bring the past to life. Among the items featured were a banner from the Equal Suffrage League, a World War I helmet, and historic photographs of Johnson C. Smith University and Camp Greene.

To complement the unique items from the Carolina Room, the Mint’s archives provided treasured items from its own collection to illustrate how the Mint contributed to local history and reflected the trends of the early 20th century, including newspaper articles from the Mint’s 1936 opening, early exhibition catalogues, and documents that address segregation during the museum’s early days. —Jennifer Winford, librarian

ROMARE BEARDEN’S WORKS NEVER DISAPPOINT The newest rotation in the museum’s Romare Bearden gallery — Ever Present: Romare Bearden and Music — celebrates the artist’s love of and long engagement with music. From his earliest paintings to his final collages, music was a recurring theme in Romare Bearden’s art. This selection of more than a dozen examples of Bearden’s work, drawn entirely from The Mint Museum’s rich holdings, highlights some of the many ways he explored musical subjects in drawings, prints, and collages.

Music was a foundational part of Bearden’s life. His father, Howard, was a pianist and organist, and other members of his extended family had musical talents as well. A grand piano enlivened their apartment in Harlem, which was visited by a variety of musicians, including Fats Waller and Duke Ellington. Bearden likened the process of making art to that of playing jazz: “You do something, then you improvise,” he would say.

Many types of musical performances are featured in the installation, ranging from impromptu porch jam sessions to the immersive world of clubs and lounges. There is even an example of Bearden’s own talent as a composer in the sheet music and record for the hit song “Seabreeze” (1954) that he composed with Larry Douglas and Fred Norman. Visitors can scan a QR code and listen to the tune in the gallery. —Jonathan Stuhlman, PhD, senior curator of American Art mintmuseum.org

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WE NOW HAVE A ROSE B. SIMPSON WORK IN OUR COLLECTION One of the most visionary artists of our time, Rose B. Simpson has said that the making of her mixed-media works is a spiritual act, a healing process from centuries of colonial trauma and life in the post-colonial postmodern world. Once each sculpture leaves her studio, she believes it will find its intended home, a place that needs that specific work and the message it carries.

The Mint’s recent acquisition, Two Selves, is made of coiled red and yellow clay and is about duality. The two figures — an adult-sized armless character with firmly planted feet and a childlike creature with outstretched arms and restless legs — represent the difference between the centered and accepting state of being, and the frenetic and grasping state of doing. Both lie within us in an ongoing struggle for dominance. To protect the sculpture on its journey from her studio to its destination, Two Selves is adorned with talismanic jewelry.

Simpson is descended from generations of matriarchal ceramicists. Based in Santa Clara Pueblo, a Tewa tribal community in northern New Mexico, her works are in many museums, from the Guggenheim in New York to LACMA in Los Angeles, and she was part of the 2024 Whitney Biennial. In 2023, President Biden also appointed her to the board of the Institute of American Indian Arts. —Annie Carlano, senior curator of Craft, Design, and Fashion LEFT: Rose B. Simpson (American, Santa Clara Pueblo, Kha-’Po Owingeh, 1983–). Two Selves, 2023, ceramic, steel, grout, twine, and hide. Museum purchase: Funds provided by MMCDF Collections Council Acquisition Fund, Windgate Fund, Finish Line Fund, Charles W. Beam Accessions Endowment, and Laura and Mike Grace. 2024.24

WE GOT AN OFFICIAL PROCLAMATION FROM THE MAYOR At the opening of the December Mint 2 Move Cultural Dance Night, Saira Estrada, City of Charlotte language access and immigrant integration coordinator, delivered a proclamation from Mayor Vi Lyles for Día de las Velitas (Day of the Little Candles), a beloved Colombian tradition that marks the beginning of the Christmas season. The proclamation underscored the city’s commitment to celebrating cultural heritage and highlighted Colombian artist Ewin Gil as the pioneer of celebrating Candle’s Day in Charlotte for the past decade. It was a powerful reminder of the city’s efforts to promote inclusivity and cultural appreciation. —Kurma Murrain, community engagement coordinator

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Courtesy 9th grade student from Cannon School.

STUDENT ARTISTS ARE STARS The Mint Museum’s STAR Gallery plays a crucial role in fostering creativity and providing a platform for young STudent ARtists. The gallery highlights the artistic talents of local students, offering them a chance to have their work displayed in a museum setting. Last fall, the Cannon School in Concord, North Carolina visited the museum, then created art in their classrooms, and returned to celebrate the installation of their projects in the STAR Gallery.

Parents, friends, and family members joined their student artists in the gallery.

When students see their artwork exhibited, it validates their voices and ideas, helping them feel valued amongst their peers and within the larger community.

—Margaret Mauldin, assistant head of school and gallery tour

Describe what makes the South special to you:

“The warmth and kindness towards others and the willingness to work together to accomplish goals.”

“The warm autumn breeze; the rich Southern food; the lushness of your forests; the warmth of your people [very hospitable].”

TECHNOLOGY ENHANCES THE VISITOR EXPERIENCE Southern/Modern was the first exhibition to include a room, designed for both comfort and reflection, dedicated to interactives based on the exhibition. The first interactive was a click-through timeline that presented the journeys of nine featured artists. The flat screens flanked an extra-large map graphic that covered the back wall. Visitors could choose an artist and learn about where they lived and their career timeline.

The second interactive included response stations where visitors could reflect on the exhibition and respond to three different prompts by writing, drawing, or text-to-talk dictation on a screen. The three prompts were: “Describe what makes the South special to you,” “Share your experience of the South in three words,” and “Where is your favorite place in the South? Why?” Responses included thanking the Mint for a rewarding exhibition, names and depictions of family members, iconic Southern foods, classic landscapes and key locations in the South, and even support for residents of Western North Carolina after Hurricane Helene. —Hailey Black, multimedia strategy manager

“Each story and point of view is so interesting. Every piece is a new puzzle piece of how it is now or what it was like. I really like the art that had such hidden or open meanings. This is one of my favorite exhibits from The Mint Museum.”

Share your experience of the South in three words:

“Honest, complex, warm” “Learning, nature, change” “Best place ever” Where is your favorite place in the South?

“Mountains and sea, we are so lucky to have both.”

“John’s Island, S.C. Live oaks and moss and odor of brackish water.

Time moving slowly.”

“Charlotte in N.C., because it is a wonderful city full of art and always changing its vibes.”

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WE LOVE BIG IDEAS FROM THE NEXT GEN OF MUSEUM PROFESSIONALS UNC Charlotte Architecture students in the Exhibition Design course reimagined the display of objects from the Mint’s Art of Ancient Americas collection as part of their final course presentations. Students were charged with selecting an object from the Ancient Americas collection and designing an exhibition about the object. Their big ideas for innovative spaces and displays were informed by

research, in-gallery experiences at the Mint, and their collaborative creativity. In December, these projects were presented at Mint Museum Randolph to their peers, presentation jurors, and several Mint Museum staff members. We value the next generation of museum professionals and anticipate more wonderful opportunities to partner with Charlotte students. —MM

WE KNOW ART OF READING TOURS BRING LIFE TO WORDS ON A PAGE What do a giant Pacific octopus, a Depression-era artist, and Josiah Wedgwood have in common? They appear in books included in the Mint’s Art of Reading tour program. Art of Reading tours draw connections between art and literature and offer groups and individuals an opportunity to talk about the designated book while observing selected works that pair with time, place, and events featured in the books. The newest books to be included are “Remarkably Bright Creatures,” “The Trackers,” and “Red Brick, Black Mountain, White Clay.” Public Art of Reading tours occur several times a month on Sunday afternoons and Wednesday evenings. See the schedule of upcoming tours at mintmuseum.org/ events. Group tours are also offered upon request by contacting Kassidy Childs at kassidy.childs@mintmuseum.org. —Alice Ross, Mint Docent

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SHOPPING FROM YOUR SOFA JUST GOT BETTER We are thrilled to unveil our newly redesigned museum store website built with you in mind! From a sleek, modern look to improved functionality, every aspect has been upgraded to enhance your shopping experience. With a more intuitive layout, faster navigation, and a seamless checkout process, finding and purchasing your favorite items is effortless. Enjoy enhanced search features, detailed product descriptions, and a responsive design that looks great on any device. Plus, stay connected with new arrivals, special promotions, and member-exclusive offers.

Whether you’re searching for a unique keepsake, the perfect gift, or a piece of history to take home, our refreshed online store ensures a smoother and more enjoyable experience.

Visit the new Mint Museum Store website and experience the difference for yourself! —Hannah Snyder, director of retail operations

THE MINT MUSEUM’S HISTORY IS WOMEN’S HISTORY When The Mint Museum opened its doors on October 22, 1936, it was thanks to the efforts of a passionate sisterhood.

At the helm was Mary Myers Dwelle. Hailing from a family who made it their mission to advance culture in Charlotte, it was fitting that she was the driving force behind the creation of the first art museum in North Carolina. As Charlotte Woman’s Club art department chair, Dwelle organized art exhibitions and lectures that were eagerly attended. Recognizing the need to give the arts a permanent Charlotte home, sights were set on the historic-butcondemned U.S. Mint building on Tryon Street.

The task of transforming the Mint into an art museum was daunting until a passionate speech for saving the U.S. Mint building was presented in February 1933 at a luncheon hosted by Dwelle. The speech inspired a spontaneous donation, and a significant sum was given toward the purchase of the building for rebuilding on another site. The generosity was contagious. Within two days, the required funds were raised and paid to the demolition contractor.

A developer donated the Eastover neighborhood land on which Mint Museum Randolph sits today. Dwelle continued with her determination to establish the art

museum. She tirelessly wrote letters to government aid agencies from Raleigh to Washington, D.C. lobbying for reconstruction funds. She coordinated the rebuilding process, built relationships with other arts organizations, and garnered public support. The Mint Museum opened its doors three years later with an inaugural gala. Dwelle’s determined efforts made what seemed impossible, possible, and her devotion to the arts is the perfect way to celebrate Women’s History Month in March. —Ellen Show, director of library and archives

ABOVE (from left): Susie Van Landingham, Katherine Clark Pendleton Arrington, Mary Myers Dwelle, Sadie Burwell, October 1936. Image courtesy of The Mint Museum Archives. mintmuseum.org

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Having spent much of her career in law school and law firm libraries, Susan Catterall knew that she wanted to do something different when she retired. With an undergraduate degree in art history, she wanted to be more involved with arts. Thanks to a friend who was already a Mint Docent, she was introduced to Joel Smeltzer, head of school and gallery programs and docent liaison. She joined the Mint Docent program in 2017 and also volunteers in the library and archives department. Read on to learn more about her experience as a volunteer at the Mint.

How has volunteering at the Mint enriched your life?

My involvement at The Mint Museum has permitted me to fulfill my original goal of working in an art library. As a docent, I can share my passion for art and history with others. I have been fortunate to have formed firm friendships with other docents, especially with those in my entering class, and have learned much from seasoned docents and the enthusiasm of new docents. We inspire each other.

I am honored to have a behind-the-scenes glimpse of how long and hard a curator works in bringing an exhibition to life and to observe the support the library and archives department provides. I was privileged to assist in the processing of the Robert Ebendorf archives memorabilia for the exhibition Objects of Affection, and to have become better acquainted with Assistant Curator of Craft, Design, and Design Rebecca Elliot.

What is your favorite tour to give?

Some of my favorites include “The African American Experience Through Art,” “Learning to Look: Every Picture Tells a Story,” and the “Highlights Tour.”

Whenever I lead a tour, I feel as if I am encouraging individuals to appreciate and respond to different cultures and perspectives that are expressed through art. The Learning and Engagement team, especially Joel Smeltzer, Maggie Mauldin, and Kassidy Childs, are continually developing creative tours and improving processes. Docents add to the success of a tour, not only by being prepared, but through the ability to adjust and cater a tour to the audience.

What do you wish more people knew about volunteering at the Mint?

What I most wish that people know is that the docent corps is made of up of so many amazing and talented individuals.

We are artists, professors, art educators, teachers, writers, editors, actors, gardeners, lawyers, librarians, bilinguists and so much more. We learn from each other and enjoy sharing our experiences and engaging our audiences.

Several years ago, a docent colleague and I created an acronym based on the word “MINT” to illustrate museum manners and rules for school students. For me, the “T” stands for “teaching each other.” I tell students that I may know about the art within the museum, but I depend on them to teach me new aspects through their eyes and experiences.

I feel the same way about my docent colleagues.

Read more about Catterall’s experience as a Mint Docent at mintmuseum.org/blog.

Michele Huggins is associate director of marketing and communications at The Mint Museum.

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12TH ANNUAL COVETED COUTURE GALA AND OPENING CELEBRATION FOR ANNIE LEIBOVITZ / WORK The Mint Museum’s 2025 Coveted Couture Gala will mark a truly exceptional occasion as we celebrate the opening of ANNIE LEIBOVITZ / WORK, a landmark retrospective presenting the work of one of the most influential photographers of our time. For over five decades, Leibovitz’s iconic images have shaped the cultural narrative, gracing the pages of “Vanity Fair,” “Vogue,” “Rolling Stone,” and other major publications. This exhibition offers a compelling exploration of her extraordinary legacy, highlighting the profound cultural and artistic impact of her work.

Each year, the Coveted Couture Gala unites the Mint’s most valued supporters, including major donors, corporate leaders, civic and community advocates, museum patrons, and artists. As the museum’s largest annual fundraiser, this event generates critical contributions towards the Mint Annual Fund, supporting diverse exhibitions, educational outreach, community engagement, and the preservation of the museum’s permanent collection. The 2025 Coveted Couture Gala will be an elegant black-tie affair held under a beautifully adorned tent on the lawn of Mint Museum Randolph. Guests will enjoy a cocktail hour, a seated dinner, live auction and paddle raise, and dancing, all crafted to create an unforgettable evening in celebration of the Mint’s vital role in the community and the arts.

This special evening is being presented by Regions, BlackArch, and Society Awards ­­— loyal and generous corporate supporters of the museum. We are also proud to share that Truist is the presenting sponsor of the exhibition ANNIE LEIBOVITZ / WORK. The fabulous Beverly and Mark Ladley and Leigh-ann and Martin Sprock are serving as our gala co-chairs. Leigh-ann is a former Mint Museum Board of Trustees member and the Ladley’s and Sprock’s are both longterm, loyal Crown Society members. We are thrilled to have them at the helm and know they will plan a beautiful, festive, and “picture perfect” experience for all guests.

In addition to the magnificent evening planned, this year a new, amazing online silent auction has been assembled by our “Auction Angels” volunteer leaders Leslie Culbertson, Bobbie Sharrett, and Jenn Waugh. Whether you can attend the gala in person or not, you can support the Mint’s largest annual fundraiser by bidding on incredible items, including exclusive vacation packages from around the world. From golfing on some of the PGAs best private courses to visiting Sugar Beach, a Viceroy resort in St. Lucia, and a lot inbetween, there is more than ever to experience while also 24

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supporting The Mint Museum. The silent auction will open early April online at mintmuseum.org/gala. Be on the lookout, you don’t want to miss it!

We look forward to celebrating your arrival at the Coveted Couture Gala on Saturday, April 26, 2025 — the most fashion-forward, fun, and elegant event of the year. For ticket information, please email Lauren Hartnagel at lauren.hartnagel@mintmuseum.org.

Hillary Cooper is chief advancement officer at The Mint Museum.

Coveted Couture Gala After Dark Party The Coveted Couture Gala After Dark Party kicks off at 9:30 PM. Tickets to the After Dark Party are $50 per person and include cocktails, light bites, and dancing. Tickets available at mintmuseum.org/gala.

ABOVE (from left): Jo Ann Peer, Posey Mealy, Natalie Frazier Allen, Charlotte Wickham, and Jen Sudul Edwards, PhD.

WHO WE ARE WHO WE ARE AN INTERVIEW WITH ANNIE LEIBOVITZ

BY JONATHAN STUHLMAN, PHD

AN INTERVIEW WITH ANNIE LEIBOVITZ

BY ALEJO BENEDETTI

Annie Leibovitz chronicles popular culture like few other artists. She tells stories about who we are as a society through the portraits she makes of the influential people of our time. Some of these figures we recognize, and others maybe not so, yet for the artist, they reflect our collective culture in important ways. To celebrate her latest collection of work presented in ANNIE LEIBOVITZ / WORK, Alejo Benedetti, curator of Contemporary Art at Crystal Bridges Museum of American Art spoke with the acclaimed photographer about her work and creative process.

Alejo Benedetti: A visitor who walks through the

exhibition sees the way your work evolved, from the early black-and-white pictures to multiple digital images on screens. How much of the changes in style — over a 50year period — was defined by technology and how much by your own experience and cultural changes?

Annie Leibovitz: ANNIE LEIBOVITZ / WORK is an

installation. I was thinking about a young person who might be interested in becoming a photographer. I wanted to explain to them the journey I’ve taken with my work.

Many things have gone into it. Just living affects the work.

But the most important thing for me is a love of photography. Of storytelling through that medium. We’ve set up a reading room with books of the work of photographers who influenced me.

REVERSE: Annie Leibovitz. Winona LaDuke, Osage, Minnesota, 2019. Photo courtesy of the artist © Annie Leibovitz. ABOVE: Cindy Sherman, East Hampton, New York, 2022. Photo courtesy of the artist © Annie Leibovitz.

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Books are the main form I’ve used to show my own work. I make an edit of my pictures in book form every few years.

The latest pictures, on the screens, feel more cinematographic.

Technology definitely plays a part. I feel like I’m just uncovering the possibilities of digital and I’m enjoying it enormously. But I’ve never been a technical photographer.

I’ve never been interested in that. I’ve always been interested in content. It doesn’t matter to me what I use to tell a story. I want to have the latest equipment if I think it would make the work better.

AB: You create narratives through evocative associations

among different subjects. When does that process start for you?

AL: If you had told me that I would be putting my work on

big screens 50 years ago, I would have found it hard to believe. My love and respect for photography is so strong and based so much on tradition and the history of photography. The vast trove of my work intimidates even

me sometimes. But then the threads line up and something new and different comes out of the relationships between the photographs. The associations are there, sometimes visual and sometimes intellectual or historical.

The most important thing for me is a love of photography. Of storytelling through that medium. We’ve set up a reading room with books of the work of photographers who influenced me.

AB: You are most often identified as a portraitist. But you

have spoken about how important journalism is for you and how much you admire what many journalists do today. Do you wish you had been more directly involved in journalism?

AL: Journalists are doing the real work today. They are out

there in difficult places and situations. The front lines. I admire journalists. But I feel comfortable about the way my work has evolved. I try to integrate journalism into the portraits, but the work stands on the shoulders of traditional portraiture.

I made a conscious decision to stick with portraiture long ago. I didn’t want to dilute what I was doing. I wanted to concentrate on it and make the work better. This meant continuing to have a relationship with a magazine, for better or for worse, because popular culture was available through the magazine. I am able to continue making the portraits that I want to make and do what I’m doing.

AB: Some of your portraits are made in a studio, where the

lighting and other elements can be controlled, but most of them are made on location, sometimes in places that are difficult to get to and circumstances that are less than congenial. Why do you do this?

AL: I’m just not a studio photographer. I’m awkward in the

studio. In fact, I don’t light very well in a studio. I get by. But I would much rather be somewhere, anywhere else but a studio. I prefer to start at the subject’s home or somewhere that is meaningful to them. It’s a sort of an emotional tool. I prefer to have some atmosphere. There are qualities that you just can’t reproduce in a studio. Simple things.

I was working on a shoot in California a few months ago and there had been a tremendous amount of rain. When we were scouting for locations, we drove through farmlands and into a valley that was covered in long grass. The hills and the entire valley floor were a color green I’d never seen in my life. It was so arresting and calm and quiet there. A beautiful place to work.

AL: I have lined my studio with Homasote for years.

Inexpensive four-by-eight feet sheets of it. I use it as a bulletin board to work on assignments and construct books. Using it in the installation takes the viewer closer to the process. It’s a work in progress. My work has always been a work in progress. It seems to me also that the viewer can get into the content faster. I’m not sure when I’ll ever be ready to hang my work in frames.

AB: You’ve talked about the dramatic sequencing of

photographs on the screens as “choreography.” What drew you to that means of presentation?

AL: I started working with screens a few years ago, when I

was touring an installation of portraits of women. Just one or two screens at first. It was wonderful to see the images big. Then we had the opportunity to use even bigger screens and more of them. Since a lot of the new work is digital, it looks better on screens, with the light coming from behind.

If you have four or five screens going at once, it seems to me like a dance.

Alejo Benedetti is the associate curator of Contemporary Art at Crystal Bridges Museum of American Art. ANNIE LEIBOVITZ / WORK is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas where it was originally on view (September 16, 2023–January 29, 2024). The Mint Museum is the third venue for the exhibition. This article first appeared in the 2023 Crystal Bridges and the Momentary magazine.

ANNIE LEIBOVITZ / WORK will be on view April 27– August 31 at Mint Museum Uptown. The exhibition is generously presented in Charlotte by Truist.

AB: In the first part of the exhibition, the photographs are

attached to Homasote, a recycled building material that lends a very particular aesthetic to the show. Why Homasote?

ABOVE: Annie Leibovitz, Bruce Springsteen on tour, Paris, 2016.

Photo courtesy of the artist © Annie Leibovitz.

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MASTERPIECES FROM THE NATIONAL GALLERY OF ART TRAVEL TO THE MINT

BY MICHELE HUGGINS

An art milestone that promises to make waves across the Queen City will unfold this spring at the Mint. In early April, masterpieces from renowned artists Edgar Degas, Georgia O’Keefe, and Alma Thomas will be on view at Mint Museum Uptown. On loan from the National Gallery of Art’s permanent collection, this rare opportunity comes as part of the National Gallery’s “Across the Nation” initiative, a national effort to celebrate the United States’ 250th anniversary in 2026 by bringing art to communities across the country.

Works selected for the Mint are Dancers Backstage by Edgar Degas, Jack-in-Pulpit - No. 2 by Georgia O’Keefe, and Autumn Drama by Alma Thomas. Each offers context for a broader conversation about the visual exploration of the American experience from varied perspectives.

“This partnership is a remarkable opportunity for our community to experience firsthand some of the most celebrated works in the National Gallery’s collection,” says Todd Herman, PhD, president and CEO of The Mint Museum. “We are incredibly proud to be part of this national effort to bring art to communities across the country, and we look forward to welcoming visitors to experience these treasures from the National Gallery.”

“Across the Nation” aligns with the National Gallery’s longstanding mission to foster greater public engagement with art by expanding access to its collection. The initiative also serves as a catalyst for local dialogue and community engagement, with accompanying public programs designed to encourage deeper conversations about the role of art in shaping national identity.

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“These loans, which bring important works by artists not currently featured in our collection (Georgia O’Keeffe, Alma Thomas, and Edgar Degas) into dialogue with those that are a testament to the power of art to connect and inspire, particularly as we mark such a significant milestone in American history,” says Jonathan Stuhlman, PhD, senior curator of American Art at the Mint. “I am excited to be able to share them with our visitors for the next two years.”

Developed by the National Gallery of Art, the program aims to bring the museum’s exceptional collection directly to communities across the United States. The program will see select works of art travel to museums in Alaska, Colorado, Connecticut, Idaho, Iowa, Michigan, Nevada, North Carolina, Utah, and Washington. “‘Across the Nation’ is the manifestation of the National Gallery’s vision as the nation’s art museum,” says Kaywin Feldman, director of the National Gallery of Art. “We are so thrilled to bring some of the most excellent and beloved works from the nation’s collection directly into communities across the country as we commemorate the 250th anniversary of America.”

Michele Huggins is associate director of marketing and communications at The Mint Museum.

ABOVE (from left): Edgar Degas (French, 1834–1917). Dancers Backstage, 1876/1883, oil on canvas. National Gallery of Art, Ailsa Mellon Bruce Collection.

1970.17.25; Georgia O’Keeffe (American, 1887–1986). Jack-in-Pulpit - No. 2, 1930, oil on canvas. National Gallery of Art, Alfred Stieglitz Collection, Bequest of Georgia O’Keeffe. 1987.58.1; Alma Thomas (American, 1891–1978). Autumn Drama, c. 1969, acrylic on canvas. National Gallery of Art, Corcoran Collection, The Evans-Tibbs Collection, Gift of Thurlow Evans Tibbs, Jr. 2015.19.211

COLLIDOSCOPE: DE LA TORRE BROTHERS RETRO-PERSPECTIVE

BY ANNIE CARLANO

 Figure 1, Oxymodern (Aztec Calendar)

 Figure 2, Feminencia

Einar and Jamex de la Torre (born 1960 and 1963, respectively) have energized and expanded the notion of contemporary glass. The dynamic duo uses the performative nature of blown glass to express their views on binational identity, politics, religion, and pop culture.

For “the brothers,” as they are known, art making is an additive process and goes beyond glass. Their creations combine found appropriated objects with resin, laser-cut metal, and lenticular prints. Colorful and exuberant, neoBaroque, and over the top, the playfulness often masks an acerbic commentary on colonialism and corruption.

“The title of the exhibition mirrors the artists’ use of wordplay, alluding to the kaleidoscope-like quality of their works and the collision of imagery, themes, and references that comprise their artistic language,” says exhibition curator Selene Preciado. “The artists use critique layered with humor as a tool to unpack the tensions and contradictions of our postcolonial transcultural identity.”

Born in Guadalajara, Mexico, Einar and Jamex moved to California with their Danish-Mexican mother in 1972.

The culture shock wore off as they enjoyed the relative freedom and entrepreneurial spirit of their new home.

Experiments with lampworking led to a small business venture, and further study at California State University exposed them to a variety of art media and the collaborative 30

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nature of blown glass. Working together since the 1990s, they dismissed the minimalist trends of the art world to pursue a maximalist aesthetic, drawing on multicultural sources, religious imagery, “Flemish Surrealism” — the paintings of Bosch and Breughel — German Expressionism, and current events. In the last 15 years, the brothers have added photo-mural installations and lenticular prints to their repertoire, heightening viewers’ senses and asking each viewer to take a closer look.

A Retro-Perspective is their take on a traditional retrospective, which this is not. This exhibition eschews chronology and is more like a party than a survey.

Spanning a 30-year period, Collidoscope is organized into five sections: “Histerical Vignettes,” “Hybrid Dislocations,” “Systems and Cycles,” “Retracollage,” and “Other Works.”

Hybrid Dislocations Oxymodern (Aztec Calendar), in the section “Hybrid Dislocation,” is a mixed-media timepiece based on the design of the Mesoamerican Aztec sun or calendar stone and Asian mandalas, (figure 1, page 29). Depicted are eight dinner settings with human hearts sitting on a bed of mole sauce accompanied by Mexican bank note napkins. Four faces or characters are engaged in a game of dominos

surrounded by snuffed-out cigarettes and squished beer cans. The brothers are making fun of the ways in which modern man passes the time.

Also, from “Hybrid Dislocation” is Baja Kali, (figure 3).

This pyramid structure is named for Baja California, Mexico, where the brothers live part time, and the Buddhist goddess Kali. The goddess Kali is conceptually and visually blended with the Aztec goddess Coatlique, both representing Mother Earth and the life cycle, in the depiction at the top of the pyramid, where the blown glass and lampworked figures are born and devoured. An outstanding example of the brothers layered cultural narratives, Baja Kali was well received in bohemian California circles and rented to the Lollapolooza festival as a set design for their 1995 tour.

Histerical Vignettes “Histerical Vignettes” includes !2020! (figure 4), a work featuring a tattooed baby emperor who heralds in the new year. Conceived during COVID, the baby holds a remote, and the brothers ponder, who really has control of 2020.

After searching for the perfect baby doll, the brothers found this one and made a blown-glass head and headdress. The head is a nod to the sugar skulls given out during Dia de Muertos (Day of the Dead) and to the candy-like appearance of blown glass in general. Found trinkets decorate the bed frame and posts, and the clear dishes under the legs of the bed conceal bedbugs.

 Figure 3, Baja Kali

Figure 4, ¡2020! 

Systems and Cycles A lenticular print revealing two distinct scenes as one moves sideways, Feminencia, another made up word combining the Spanish for feminine and the Spanish for eminence, is a feminist work (figure 2, opposite page). A part of the “Systems and Cycles” section, it celebrates the strength and power of the female sex, both carnal and spiritual. Made after the brothers returned from an extensive European trip in 2020, one scene depicts a nervous King Leopold of Belgium (1790-1865) surrounded by female nudes depicted in French and Flemish paintings, including, at his feet, Gabrielle d’Estrées and one of her Sisters, 1575-1600, Musee du Louvre. Moving to the other side of the work, a second image appears: the sculpture of the Buddhist goddess White Tara, a gift of the Nepalese government to Mexico. Through the digital magic of photoshop the brothers layered images of Austrian churches and the Eiffel Tower to heighten the sensation of divine wisdom.

Annie Carlano is the exhibition curator and senior curator of Craft, Design, and Fashion at The Mint Museum.

Collidoscope: de la Torre Brothers RetroPerspective will be on view June 7–September 21 at Mint Museum Uptown.

REVERSE: Einar (Mexican, 1963–) and Jamex (Mexican, 1960–) de la Torre.

Oxymodern (Aztec Calendar) (detail), 2002, blown-glass, mixed-media wall installation, 120 x 120 x 12 in. Courtesy of the Cheech Marin Collection and Riverside Art Museum; OPPOSITE: Feminencia (detail), 2020, archival lenticular print with resin castings and waterjet-cut aluminum frame, 89 x 65 x 4 in. Courtesy of Koplin Del Rio Gallery; ABOVE (from top): Baja Kali (detail), 1995, blown-glass, lamp-worked glass and mixed-media sculpture, 87 x 45 x 17 in. Courtesy of Einar and Jamex de la Torre and Koplin Del Rio; ¡2020! (detail), 2020, mixed-media, blown-glass sculpture with resin casting, 33 x 22 x 14 in. Courtesy of Koplin Del Rio Gallery.

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EXPLORING NEW PERSPECTIVES: FRESH WORKS AND DIALOGUES IN AFRICAN ART FOLLOWING A MULTIYEAR TRANSFORMATION, THE AFRICAN GALLERIES REOPEN AT MINT MUSEUM RANDOLPH

BY JEN SUDUL EDWARDS, PHD

The Mint’s African gallery reinstallation has been over five years in the making. When I joined the Mint as chief curator in July 2019, I saw my first challenge as how to overhaul important spaces for which the Mint did not have a curator on staff. I had accumulated a decade of art history classes, none touched Mesoamerican or African art, reflecting the Western focus prevalent in graduate programs at the time.

Post-graduate school, I sat in on classes at The University of North Carolina at Charlotte led by associate professor of art history Lisa Homann, PhD, to fill gaps in my knowledge and because I was fascinated by the stories she told and challenges she faced in her field. All research involves a bit of spy work, but for Africanists, there is barely any thread to grasp in the complicated trail of making and ownership. When I joined the Mint, I knew

that she was the Africanist I would want to evaluate the work in the Mint’s existing African collection and guide the collection forward.

The transformed galleries reopened in February at Mint Museum Uptown. Homann combed the Mint’s files and assessed each work to develop the installation now on view. A notable new work is one commissioned from David Sanou, a Burkina Faso masquerade maker, that not only brings an exceptional work into the Mint’s collection but offers new ways to think about how museums can collect and display work historically handled by nonexperts (me included), but that remains essential for cross-cultural understanding.

The growth of the collection The Mint’s African Art collection began in 1975 with a few key pieces, including a rhinoceros-hide shield from the Bantu peoples and a granary door from the Senufo peoples. For many years, the museum relied on donors to shape the African Art collection. Early on, African works shared space with other collections at Mint Museum Randolph, which housed everything from Contemporary Art to Mesoamerican pieces.

As the collection grew, the focus on African art expanded.

During the tenure of curator Michael Whittington (19932003), new works were added. Though African art was not his area of expertise, he worked with scholars and focused on pieces that complemented the Mint’s broader collections, like ceramics, creating unexpected connections across time and cultures. Occasionally, exceptional pieces with detailed ownership records came available. A rich and beautiful example is the Hunter’s style Shirt, which has been on view almost continuously since its purchase in 1999. It serves as a focus of Homann’s new African gallery installation.

Around 2012, Michael Gallis, a UNC Charlotte professor, collector, and Mint Board of Trustee, encouraged the museum to deepen its commitment to African art. With

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his support, the installation expanded from one gallery to two and included new works from his and other private collections, either given or loaned to the museum. To prepare for the reinstallation, Gallis helped the Mint host a symposium, led by Herbert (Skip) Cole, PhD, from the University of California Santa Barbara, to discuss the importance of African art in museums and as a field of study. This resulted in the 2014 Mint publication “Art in the Many Africas,” along with new galleries installed by Cole.

As the field of African studies has exponentially grown over the last 10 years, and further attention to how Western (mis)perceptions have subjectively defined the field for centuries, the expectations around collecting and displaying works from Africa continue to change.

Homann explores this in her reinstallation, which draws from the Mint’s permanent collection; the private collection of Michael Gallis; and Asif Shaikh, a collector recently relocated to Charlotte. This is a fluid field and the Mint will continue to work with Homann and others to share reconsiderations and evaluations as they arise.

Jen Sudul Edwards, PhD, is chief curator and curator of Contemporary Art at The Mint Museum.

OPPOSITE: Unrecorded Artist (Possibly Nigeria or Benin). Yoruba style Cap for a Nobleman or Chief, possibly 20th century, fiber and beads. Gift of Sherwin Bash. 1977.36.13; RIGHT: Unrecorded Artist (Burkina Faso, Cote d’Ivoire, Guinea, Mali, or Senegal). Hunter’s style Shirt, probably 20th century, cloth, thread, leather, shells, metal, glass. Museum Purchase: Curator’s Circle for Pre-Columbian and African Art. Funds provided by Julie and Robert Bailey. 1999.8

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RECOGNIZING PROVENANCE IN THE AFRICAN GALLERIES

BY LISA HOMANN, PHD

Art isn’t created in isolation — it is shaped by the time, place, and people who bring it to life. That is why art historians rely on provenance, or the history of an object’s ownership, to better understand its story. Who made it? Why? How did it travel from its place of origin to a museum display?

When it comes to African art, provenance often poses unique challenges. Many museums in the United States only have records about ownership of a work of art in Europe or North America but lack information about African ownership.

Detailed African provenance is the exception rather than the rule. Many records are incomplete or based on speculation, creating ambiguity rather than understanding.

In curating The Mint Museum’s African Art galleries, the approach is intellectual honesty over authority. Without knowing the name of an individual artist, the term “Unrecorded Artist” is used rather than attributing a piece to an entire culture or region. If there’s uncertainty about a work’s origin, it is described by its style and words like “possibly” or “probably” to acknowledge the unknowns.

Without clear answers about who made a piece, or when, where, and why it was created, the focus is put on the types of objects rather than specific ones in the galleries. This approach explores the broader cultural and social roles the works played, recognizing their diverse styles, materials, and purposes.

Provenance spotlights To highlight the varying levels of provenance information, “provenance spotlights” are now dispersed in each section throughout the galleries. These spotlights share what we do know about an object’s history. The spotlights range from no data for a figural sculpture before it was donated to The Mint Museum (the most common possibility) to one showing scraps of paper found with a ceremonial hunter’s shirt that bear the names of several individuals (see image on page 33), offering clues as to who may have previously owned the work.

One particularly exciting spotlight is a Kimi Masquerade Ensemble, commissioned specifically for the Mint in 2024.

Artist David Sanou (and a bodymaker who requests anonymity) created the ensemble in Burkina Faso. Sanou chose the iconography and color palette of the entire ensemble and allowed me to document him carving the headpiece. It is a rare instance of an African work of art in an American museum with fully documented provenance.

My hope is that visitors will not only admire the imagination and virtuosity embodied by these works but also appreciate the honest approach to sharing what we know and what we don’t know about them as individual objects.

Lisa Homann, PhD, is an associate professor of art history at UNC Charlotte and the guest curator of the reinstallation of the African galleries at Mint Museum Randolph.

LEFT: Artist David Sanou working on the Kimi Masquerade Ensemble in Burkina Faso. The work was commissioned specifically for The Mint Museum.

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Spring 2025

WOMEN OF LAND AND SMOKE: PHOTOGRAPHS BY GRACIELA ITURBIDE AND MAYA GODED DOCUMENTING THE LIVES OF WOMEN STANDING IN THE SUN

BY JEN SUDUL EDWARDS, PHD

For the past three years, the Mint has been building a significant portfolio of works by Mexico City-based photographers Graciela Iturbide and Maya Goded. We have been working with Iturbide and Goded to select the images; the purchases were made possible through the significant contributions of Mint supporters Allen Blevins and Armando Aispuro, and Betsy Rosen and Liam Stokes, and additional support by Steven Firenze and David Holtzman. It has been a collaborative effort, reflecting the ethos of these artists as reflected in their practice and in the themes of their work.

The result: Iturbide and Goded have created revealing and poignant images that examine the intersection of contemporary life and centuries-long traditions throughout North and South America. Though a generation apart, both artists grew up in Mexico City and have documented

their home, as well as locations throughout the world. This exhibition presents their work in the Americas, from Los Angeles to Chile, and explores a common theme that has emerged from their projects — women as the consistent force holding and healing their communities. This is the story presented in the exhibition Women of Land and Smoke: Photographs by Graciela Iturbide and Maya Goded, presented by Bank of America, on view through August 10 at Mint Museum Randolph.

The last issue of Inspired introduced Maya Goded and her work. This issue focuses on Graciela Iturbide.

ABOVE: Graciela Iturbide (Mexican, 1942–). Mujer ángel, desierto de Sonora (detail), 1979, gelatin silver print. Museum purchase with funds from Allen Blevins and Armando Aispuro and Charles W. Beam Accessions Endowment.

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Graciela Iturbide Born in Mexico City in 1942, the oldest of 13 children, Iturbide grew up in a traditional Catholic home. Her life initially hewed to conventional expectations: she married by the time she was 20 and quickly had three children. Her path took a sharp turn after the death of her 6-year-old daughter.

To cope with the loss and the depression that followed, Iturbide enrolled to study film at Universidad Naciónal Autónoma de México. Her direction changed again when she met photographer Manual Alvarez Bravo, who convinced her to focus on photography, which until then, had been a hobby for her. In the five decades following that moment, Iturbide has compiled a profound body of work that explores the tension between life and the specter of death and how humans negotiate mortality.

I adore the ritual of photography: to go out with the camera to observe the most mythological aspects of people and then go into the darkness to develop the most symbolic images.

Alvarez Bravo’s artistic influence can be seen on Iturbide’s attention to the image’s structure, offering the audience a clear entry point, a balance in the setting and figure, a sharp distinction between light and dark. Iturbide’s distinctive voice evolved as she developed her approach to her subject matter.

Where most photographers had maintained a distance from the subject, Iturbide chose to self-consciously photograph subjects. Whether they are festival-goers, market-sellers, girls at their first communion, or birds swirling around a cactus, Iturbide’s presence is palpable. She spends time — weeks, months, sometimes decades — in an environment, establishing connections so that the photographs are not taken surreptitiously. Taking the time to build the relationships, the knowledge, and in turn, the photograph is an important lesson and legacy in Iturbide’s work.

“The ability to hold back and not make a photograph is indispensable in order to avoid transforming the camera into an instrument of aggression. This kind of waiting also ensures you’ll never be satisfied with a mediocre result: it teaches you to insist on the best and the most beautiful.”

Jen Sudul Edwards, PhD, is chief curator and curator of Contemporary Art at The Mint Museum.

ABOVE (clockwise from top): Graciela Iturbide (Mexican, 1942–). Carnaval, Tlaxcala (detail), 1974, gelatin silver print. Museum purchase with funds from Allen Blevins and Armando Aispuro and Charles W. Beam Accessions Endowment; Juchiteca con cerveza, 1984, gelatin silver print. Museum purchase with funds from Steven Firenze and David Holtzman; Sahuaro, desierto de Sonora (detail), 1979, gelatin silver print. Museum purchase with funds from Allen Blevins and Armando Aispuro and Charles W. Beam Accessions Endowment; Mater Immaculata, Xochimilco, México, 1974, gelatin silver print. Museum purchase with funds from Allen Blevins and Armando Aispuro and Charles W. Beam Accessions Endowment.

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Spring 2025

COINED IN THE SOUTH A BOLD CELEBRATION OF SOUTHERN ARTISTRY

BY MICHELE HUGGINS

In December, the Mint unveiled one of its most eagerly anticipated exhibitions — Coined in the South. The biennial, juried exhibition serves as a dynamic snapshot of the vast and varied artistic landscape spanning the Southern United States. With 49 artists selected to showcase their work, the exhibition is a captivating blend of vision, voice, and innovation that both challenges and celebrates the spirit of the South.

The exhibition represents a melting pot of styles, mediums, and themes. From painting to sculpture, photography to mixed media, the works transcend any single aesthetic, creating a visual conversation that is as diverse as the artists themselves. The exhibition is not defined by one prevailing narrative but instead offers visitors a chance to immerse themselves in new ideas and experiences that reflect the complex fabric of the Southern United States.

A collaboration between The Mint Museum and Young Affiliates of the Mint (YAMs), co-chaired by YAMs board members Makayla Bitner and Patwin Lawrence, Coined in the South amplifies the collective commitment to elevate emerging artists and offer a platform for creative dialogue.

“The Young Affiliates of the Mint are honored to serve as a catalyst for highlighting the incredible artistry of emerging talents and the creative spirit of the Southern arts community,” says James McLelland, president of YAMs. The selection process for Coined in the South is as rigorous as it is inspiring. The 2024 exhibition jurors — Marshall Price, PhD, chief curator at the Nasher Museum of Art; Victoria ABOVE: Ellie Rose (Columbia, SC, 1992–). Rambo Cupid (detail), 2023, oil on panel. Courtesy of the artist. REVERSE: Laura Tanner (Boca Raton, FL, 1987–).

Dish (detail), 2023, ink and gouache on hand cut Mylar. Courtesy of the artist.

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how stories are perceived and lived. Known for her national and international exhibitions, Tanner’s thought-provoking art invites audiences to reflect on societal challenges with a compassionate eye.

The $5,000 YAMs Choice Award went to Ellie Rose from Columbia, South Carolina, for her painting Rambo Cupid.

Rose’s colorful portraits, inspired by the complicated and multifaceted individuals in her life, capture the heart and soul of Southern identity with love, humor, and a touch of mystery. In her own words, her work is a tribute to “the miraculous, generous, admirable Southerners” she paints, celebrating their unique spirit and individuality.

Ramirez, PhD, executive director of the Arkansas Museum of Fine Arts; and artist Stephanie Woods, a previous Coined in the South award winner — had the task of sorting through more than 450 artist submissions to choose the final 49 artists whose works are on view. The juror selections are an impressive range of talent, ensuring that each piece is not only visually striking but also conceptually rich.

Award-Winning Works At the heart of the December 12 opening celebration was the much-anticipated award presentation. The prestigious $10,000 Juror’s Choice Award went to Laura Tanner from Boca Raton, Florida, for her evocative piece, Dish. Tanner’s work delves into the complex narratives surrounding the American experience, focusing on the disparities between

“Coined in the South has become one of our most exciting and essential exhibitions,” says Jonathan Stuhlman, PhD, senior curator of American Art at The Mint Museum and managing curator of the exhibition. “It is an opportunity to see the breadth and depth of creativity emerging from the region. The work on display here represents a remarkable cross-section of artistic voices and perspectives, all carefully selected from nearly 450 submissions.”

Michele Huggins is associate director of marketing and communications at The Mint Museum.

Coined in the South, presented by Atrium Health Foundation, is on view through April 27 at Mint Museum Uptown.

Selected artists for Coined in the South: 2024 ELIZA AU | TX

ANNABROOKE GREENE | FL

HIROMI MONEYHUN | FL

CHEYENNE RUDOLPH | FL

IVANA MILOJEVIC BECK | NC

ALEXANDER NEWMAN HALL | NC

JAYDAN MOORE | VA

SUZANNA SCOTT | LA

MADAME FRAANKIE | TN

JEWEL HAM | NC

KATE NARTKER | NC

HANNAH SHABAN | NC

MITCHELL BURLESON | KY

BRIENA HARMENING | TN

INDRANI NAYAR-GALL | NC

APRIL SIMMONS | NC

AARON CANIPE | NC

CLARENCE HEYWARD | NC

MASELA NKOLO | GA

MELISSA STUTTS | NC

CAROL COLE | NC

BRIAN HOLCOMBE | VA

PATRICK OWENS | SC

LAURA TANNER | FL

STACEY DAVIDSON | SC

DEBORAH KRUGER | NC

KASIA OZGA | NC

JOMO TARIKU | VA

MYLOAN DINH | NC

KELLY LADD | FL

APRIL PAUZA | MD

JAN-RU WAN | NC

TASANEE DURRETT | FL

SARA LYNNE LINDSAY | GA

EDISON PEÑAFIEL | FL

LOUIS WATTS | NC

LUKAS FLIPPO | MS

PRECIOUS LOVELL | NC

CLAIRE POPE | NC

MICHELLE WILKIE | NC

JOHNNY FLOYD | GA

KIMBERLY LYLE | GA

ADRIAN RHODES | SC

COULTER FUSSELL | MS

MARK MCLEOD | TN

KELLY RIEK | NC

CHEN GAO | SC

GARY MESA-GAIDO | KY

ELLIE ROSE | SC

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Spring 2025

LISTENING TO YOU AND WHY IT MATTERS

BY ALEXANDRA OLIVARES

!!

At The Mint Museum, everything we do is driven by our mission to inspire, educate, and connect our community through art and design. On average, we see about 133,740 visitors every year. That’s so many different and unique experiences at the Mint!

A crucial part of fulfilling our mission is understanding these experiences, which is why we dedicate time to studying the museum experience from start to finish. This work matters because The Mint Museum is more than a place to see art — it’s a place where people of all ages and backgrounds can feel inspired, connected, and part of a vibrant cultural community.

Over the past three years we’ve collected visitor data and feedback through surveys, as part of a collective group of museums around the country called COVES — the Collaborative for Visitor Engagement Studies. The Mint and partner museums use a focused methodology, protocol, and tested survey questions to measure certain aspects of the visitor experience on an ongoing basis to better understand the museum’s audience and identify opportunities for improvement. Recognizing that a successful museum visit extends beyond exhibitions, the Mint continually seeks to align its offerings with visitors’ expectations and needs. By gathering and analyzing data on every stage of the visitor journey — from pre-visit planning to post-visit impressions — the museum aims to create memorable and meaningful experiences for all. This research has highlighted the importance of continuing to build a relationship with you, our visitor.

It is about more than just improving amenities — it is about building a museum that truly reflects and supports its visitors. By sharing your experiences, you are helping us shape the future of the museum. Your input allows us to better serve our community and ensures the Mint remains a welcoming and dynamic space. Let’s take a peek at a few measures from the last three years.

Alexandra Olivares is audience research and evaluation specialist at The Mint Museum.

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ENDURING LEGACIES THE MINT MUSEUM HONORS PILLARS OF THE ARTS COMMUNITY

The Mint Museum pays tribute to four remarkable individuals whose contributions have left an indelible mark on The Mint Museum and on Charlotte’s cultural landscape. Katherine “Kat” Roddey Whitner McKay Belk Cook, Peggy and Bob Culbertson, and Sara Hevia Wolf each played a pivotal role in shaping the museum’s growth and its connection to the community. Through their leadership, vision, and dedication, they enriched the museum’s collections, expanded its educational reach, and ensured the arts remain a vital force in Charlotte. Their legacies will continue to inspire future generations, reminding us of the profound impact that steadfast commitment and generosity can have on the cultural fabric of a community.

Katherine “Kat” Roddey Whitner Mckay Belk Cook Katherine “Kat” Roddey Whitner McKay Belk Cook led a life woven with threads of grace, generosity, and steadfast commitment to the arts community. Her contributions were both visionary and tangible. Her involvement with The Mint Museum began in 1988 as a member of the Board of Trustees, serving with distinction in various roles, including as an executive committee at-large member from 1989 to 1991. Her dedication continued with her advisory board service from 2007 to 2009. Her participation in the Curator’s Circle for American Art further underscored her dedication to preserving and celebrating artistic heritage.

As a lifetime member of the Mint Museum Auxiliary since 1993, a Mint Masterpiece Circle member, Silver Circle member from 2006 to 2009, and a museum volunteer, she demonstrated unwavering support for the museum’s mission. She also advocated for the museum’s expansion and creation of Mint Museum Uptown.

Through the Katherine and Thomas Belk Acquisition Fund, established in 2014, she provided crucial support for acquiring significant works of art by artists Alson Skinner Clark, Beauford Delaney, Stanton MacDonaldWright, Kay Sage, and Kehinde Wiley. Her generosity also enriched The Mint Museum’s Fashion collection with 66 40

Spring 2025

garments and accessories donated between 1991 and 2005. Her dedication was a testament to the power of philanthropy to support arts and culture at all levels.

Peggy and Bob Culbertson Strong believers in the value of family and community, the Culbertson Family Learning Center at Mint Museum Uptown stands as a testament to their passion for art education and their commitment to enriching the cultural landscape of Charlotte for all ages. The couple also donated or helped to purchase over a dozen works of art that are part of the museum collection, including the outstanding and historically significant work Selma by artist Barbara Pennington.

Bob and Peggy served on the Mint board of trustees: Peggy from 1995-1998 and 1999-2002; and Bob from 1985-1992 and again in 1998-1999. As founding members of Crown Society, Dwelle Society, and Founders’ Circle, the Culbertsons helped shape the Mint’s growth and ensure its future for generations to come.

Peggy and Bob Culberston were cornerstones in the Charlotte community and at The Mint Museum for over six decades, generously supporting the museum through unwavering support and dedication. Peggy’s grace, kindness, and keen eye for art were not just qualities admired by those who knew her — they were gifts she shared with the entire museum community.

“Peggy and Bob were astute collectors and believed passionately in the transformative power of art. Their strong shared confidence in the Mint’s mission was proven by their generosity, philanthropic spirit, and service to our institution. They will be forever missed but never forgotten,” says Hillary Cooper, chief advancement officer at the Mint.

Sara Hevia Wolf Sara Hevia Wolf was a pioneering force for the Latin American community in Charlotte and an unwavering advocate for arts, culture, and education. Born in Cuba, she and her husband, Luis, sought asylum in 1961, marking the beginning of a lifelong commitment to fostering cross-cultural understanding and building bridges between communities.

Sara’s professional legacy is deeply intertwined with The Mint Museum, where she served as librarian for over three decades (1972-2004), shaping the institution into a leading cultural hub. She also worked closely with M. Mellanay Delhom as curatorial secretary and librarian from 1969 to 1971, helping lay the groundwork for the expansion of the museum’s library and archives.

A key figure in the founding of the Latin American Festival in Charlotte in 1972, Sara later became The Mint Museum’s liaison to the Latin American community, facilitating the museum’s role in hosting the festival from 1995 to 2007. Her contributions were widely recognized, earning her honors such as the Latino Diamante Award for Art & Culture in 2001 and the Sara Wolf Lifetime Achievement Community Award in 2012. Scholarships and awards have been established in her name, ensuring

that her legacy of nurturing Latin American talent and fostering cultural exchange endures for years to come.

Her lifelong dedication to community, education, and the arts serves as a lasting inspiration, reminding us of the power of cultural exchange and the transformative role of the arts in shaping communities. mintmuseum.org

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AFFILIATES IN ACTION Charlotte Garden Club The highly anticipated Art in the Garden Tour will take place May 3-4. This much-loved annual event will showcase six breathtaking gardens in a range of styles. Stroll through a lowcountry Charleston-style retreat or immerse yourself in the refined beauty of a formal garden. For a tropical twist, the Key West-inspired garden will transport you to paradise with its vibrant colors and exotic plantings. Beyond the beautiful blooms and imaginative designs, this tour is a celebration of artistry and nature, blending creative landscaping with bursts of color and texture. Tickets and volunteer opportunities are available at charlottegardenclub.com.

Docents of the Mint Last fall, the Docent Travel Committee organized a tour to Savannah, Georgia. Educational highlights for 17 docents included tours of the Savannah College of Art and Design (SCAD) Museum, the Telfair and Jepson museums, and the Owens Thomas House and Slave Quarters. Also in November, five docents attended the 2024 National Docent Symposium in Atlanta. The symposium was hosted by the High Museum of Art and included a three-day immersive experience in docent education with emphasis on collaborative learning, diversity and inclusion, audience engagement, and tools for successful tours.

The docent-led Art of Reading at Mint Museum Randolph has launched new tours based on the books “Remarkably Bright Creatures,” “Portrait of a Thief,” and “The Trackers.”

Art of Reading has also recently reached the milestone of 1,000 tour attendees. In March, an Art of Reading tour will be offered around the Charlotte Mecklenburg Library’s Community Read book “Portrait of a Thief.”

Mint Museum Auxiliary In November, the Mint Museum Auxiliary hosted Ivan Shaw for its Fall EnrichMINT Forum, whose storied past with “Vogue” magazine served as the backdrop for a morning of riveting storytelling. The January winter membership meeting on January 28 featured Jesse Randall, the founder of Loeffler Randall; and Katie Hobbs, one of the innovative minds behind Cara Cara. The Winter WonderMINT party at Rally February 8 was a fun and energetic event with a mix of sport and socializing.

Culminating the Room to Bloom season, our much anticipated Spring Symposium is scheduled for April 9 at Charlotte Country Club. Mary Celeste Beall, the creative force behind the renowned Blackberry Farm; and Steele Marcoux, editor of “Veranda” magazine, will grace the stage.

Their collaborative endeavor is sure to be a hit, as they delve into the intricate interplay between hospitality and design.

Tickets can be purchased at mintmuseumauxiliary.org.

Young Affiliates of the Mint In December, YAMs celebrated the incredible artistic talent of the Southern United States with the opening of Coined in the South, the biennial exhibition created in partnership with the museum. Coined in the South aims to bridge the gap between museums, galleries, and studios, highlighting the diversity and creativity of Southern artists.

The 35th annual Derby Days Celebration is set for Saturday, May 3 at Mint Museum Randolph. Enjoy an afternoon of Mint Juleps, lawn games, and horse racing, while connecting with young professionals from across the Charlotte community. All proceeds benefit the Student Art Gallery (STAR) and support school tours for local students. Join us for a celebration of art, community, and philanthropy.

The docents also want to recognize the truly dedicated members of our corps who have reached milestone achievements of 20 years or more of service. They are Lanier Hoy (35 years), Renee Reese (27 years), Pat Moorehead (25 years), Luz Aveleyra (25 years), Jackie Stevenson (23 years), Verna Witt (21 years), and Sidonie Webber (20 years). These docents have given us their all, and we truly appreciate their leadership and dedication to their craft.

Young Affiliates of the Mint will celebrate another Derby Days May 3 at Mint Museum Randolph.

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Spring 2025

EVENTS AT THE MINT

From left: David Wagner, Liam Stokes, and Jen Sudul Edwards, PhD.

From left: Evgeniya Ezhova and Sidney Logan Echevarria.

SOUTHERN/MODERN VIP OPENING CELEBRATION Guests at the VIP Opening Celebration for Southern/Modern, presented in Charlotte by Wells Fargo and Dowd Foundation, enjoyed cocktails, hors d’oeuvres, live music and a first glimpse of the exhibition before a presentation by the Mint’s Senior Curator of American Art Jonathan Stuhlman, PhD, and recently retired Georgia Museum of Art Director William Underland Eiland, PhD, about the importance of the exhibition and how the exhibition came to be.

From left: John and Margaret Switzer, and Keith Cradle, PhD.

From left: Beth Quartapella, Harry Gerard, and Sonia Amin.

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WOMEN OF LAND AND SMOKE VIP OPENING CELEBRATION Guests at the VIP Opening Celebration for Women of Land and Smoke: Photographs by Graciela Iturbide and Maya Goded, presented by Bank of America, enjoyed an evening of socializing and a curator talk with Jen Sudul Edwards, PhD.

From left: Rev. Dr. Amantha Barbee, Patty Torcellini, Betsy Rosen, Hilary Burt, and Clayton Sealey.

From left: Deborah Halliday, Lorne Lassiter, and Gary Rautenstrauch.

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Spring 2025

From left: Marjorie Serralles-Russell, Manuel Rodriguez, and Milton Prime.

From left: Heather Gwaltney, Mark Mealy, Kitty Hall, and Posey Mealy.

From left: Keesha Craig-Mourillon, Jasmyne Mundy, and James McLelland.

From left: Lauren Harkey, Ellie Rose, Laura Tanner, and Mark Griffith.

From left: Makayla Binter, Deborah Kruger, Patwin Lawrence, and Jonell Logan.

COINED IN THE SOUTH VIP OPENING CELEBRATION Guests at the VIP Opening Celebration for Coined in the South, created in partnership with the Young Affiliates of the Mint and presented by Atrium Health Foundation, were the first to the see the outstanding works by the 49 artists selected for the juried exhibition and hear from award recipients Laura Tanner and Ellie Rose.

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THANK YOU TO OUR CROWN SOCIETY PATRONS SAPPHIRE CIRCLE KELLE AND LEN BOTKIN LAURA AND MIKE GRACE MOZELLE DEPASS GRIFFITH MARY AND DICK PAYNE BETH AND DREW QUARTAPELLA PATSY M. REAMES MARY ANNE (M.A.) ROGERS LEIGH-ANN AND MARTIN SPROCK ANN AND MICHAEL TARWATER CURTIS AND ROCKY TRENKELBACH CHARLOTTE AND JOHN WICKHAM

STACI AND JEFF MILLS AMY AND MATTHEW MOORE DAVID AND CHARLOTTE MORITZ CELENE AND MARC OKEN CHERYL A. PALMER MILTON AND MARSHELETTE PRIME PATRICIA A. RODGERS ALLISON AND RICHARD ROEDER PAIGE AND ART ROSELLE TREY SHERIDAN POPE AND PEGGY SHUFORD KATI AND CHRIS SMALL SHANNON G. SMITH AND DANIELA SEBOVA

DIAMOND CIRCLE MR. AND MRS. WESTON M. ANDRESS JENNIFER AND ALEX BAUER MARY CELESTE BEALL MARY AND WALTER BEAVER STEPHANIE AND HOWARD BISSELL BETSY AND ALFRED BRAND BILL AND ROBIN BRANSTROM SARAH G. COOPER HILLARY AND W. FAIRFAX COOPER ABBIE AND WILL COOPER OLGA AND JAY FAISON WILLIAM J. AND JENNIFER FOX LYNN AND BRIAN GOOD LISE OVREGARD HAIN BEVERLY AND JIM HANCE LUCY AND HOOPER HARDISON LAUREN A. HARKEY JACQUELINE AND SEAN JONES JILL AND MARK KELLY NOELLE AND MARK MAHONEY ASHLEY AND SCOTT MATTEI MR. AND MRS. WILLIAM B. MCGUIRE, JR. SUSAN AND LOY MCKEITHEN POSEY AND MARK MEALY

CAROLYN AND BRYAN TAYLOR

PLATINUM PLUS CIRCLE SARAH AND TIM BELK SUSANNE AND RUDOLF BLESS HEATHER AND BEN BRAUN BETH AND MICHAEL CLIFTON MARY ANNE DICKSON DEIDRE GRUBB HEATHER AND LARRY GWALTNEY BETH AND BILL HOBBS LAURA AND SAM JUDD BEVERLY AND MARK LADLEY STEPHANIE S. LYNCH FRANCIE AND JOHN MANGAN MR. AND MRS. NEILL G. MCBRYDE JO ANN AND JODDY PEER EDWIN RASBERRY MRS. S. EPES ROBINSON SALLIE F. SCARBOROUGH SABINA AND WILIFRID SCHLUMBERGER BOBBIE AND THAD SHARRETT JACKIE AND MIKE WELLS EDITH AND LANDON WYATT JOAN H. ZIMMERMAN

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Spring 2025

PLATINUM CIRCLE HOWARD P. ADAMS AND CAROL B. MCPHEE MR. AND MRS. JAMES G. BABB, JR. KATIE AND RICHARD BATES KIM AND JOHN BELK J. FRANK AND KATHY BRAGG JAN HALL BROWN E. COLBY AND LYNNE W. CATHEY JOHN GREGORY CLEMONS MRS. JANE CONLAN MR. AND MRS. JOHN JULIAN CULBERTSON EVGENIYA EZHOVA AND SERGEY MUSCHIN LAUREN AND GRANT GILBERT SARAH AND MATT GORDON CYNTHIA AND DAVID HOUSTON CHANDRA AND JIMMIE JOHNSON LESLIE AND JIM JOHNSON TONI AND ALFRED KENDRICK KATHRYN AND LUKE KISSAM KELLI AND PETER LASH CHELSEA LAWSON LINDSAY AND STANTON MCCULLOUGH MARY AND RICH MILLER DANY AND CHIP NISBET LAURA AND STEPHEN PHILIPSON ANNE AND WALKER POOLE MARY MARGARET AND FRITZ PORTER DONALD P. RENALDO LINDSAY AND MATT ROCCO BETSY ROSEN AND LIAM STOKES ELISE LONG SHERRILL PARKER AND STEPHEN SHUFORD LIZ AND DAVE SHUFORD EMILY AND ZACH SMITH BETSY AND BRIAN WILDER PAT AND BILL WILLIAMSON ROSE AND DAVIS WITTIG

GOLD CIRCLE MELISSA AND JOHN ANTON BARRIE AND MATT BENSON MARGARET AND SMOKY BISSELL MARGARET AND WALDO BRADLEY ANGELA AND RALPH BREEDEN ELIZABETH AND STEPHEN CARR DAVID AND TERESA CARROLL MONICA M. GALI AND

JESSIE J. KNIGHT, JR. AND JOYE D. BLOUNT

JENNIFER AND ALEXANDER WAUGH

ADAM AND SHELLY LANDAU

MINDY AND GEORGE WEBSTER

BARBARA L. LAUGHLIN

BETSY FLEMING AND ED WEISIGER, JR.

BROOKE AND DOUG LOWRY

FRANCES AND DUBOSE WILLIAMSON

LINDSEY AND ROBERT LUCENTI NANCY AND JOHN MALONEY KAIT MCELWEE MARLEY JULIANNE MARLEY SUSAN AND ALEX MCALISTER

ARMANDO L. CHARDIET

RICHARD MCHENRY AND CINDY CALDWELL

MRS. ROBIN COCHRAN

ANNE AND CARL MCPHAIL

JOHN AND GINNY COLLETT

LAURA AND COY MONK

ANN COLLEY

MARGARET A. MONTAGUE

CATHERINE AND WILTON CONNOR

KATIE AND WALKER MORRIS

LEE AND ANDY COONEY

DR. KIM NIXON

LISA AND PERRIN DARGAN

MR. AND MRS. BAILEY PATRICK, JR.

DOUG DAVIS

DEBBIE AND PAT PHILLIPS

AMY AND ALFRED DAWSON

PAULA AND CHRIS PINK

PONTEA AND JONATHAN DIXON

LARRY AND DALE POLSKY

LAURIE AND NED DURDEN

SUSAN AND SAM RANKIN

ANDRES AND SIDNEY LOGAN ECHEVARRIA

MANUEL RODRIGUEZ

JULIE AND TOM EISELT

RUTH AND TREVOR RUNBERG

LISA AND CARLOS EVANS

DEE SCHWAB

JAY EVERETTE AND BRIAN SPEAS

JANE AND CARL SHOWALTER

LINDA AND BILL FARTHING

MATTYE AND MARC SILVERMAN

AMY FRITSCHE AND FELIX VON UKLANSKI

ANNE CARTER AND DEAN SMITH

PATTY AND ALEX FUNDERBURG

CAROL J. SMITH

ANNA AND SCOTT GLASS

TIFFANY AND SCOTT SMITH

CLAY GRUBB

LUCY AND LOUIS STEPHENS

KATHERINE G. HALL

PAM AND HARDING STOWE

KATIE AND RASHID HALLAWAY

MARGARET AND JOHN SWITZER

MR. AND MRS. JOHN W. HARRIS III

ANN AND WELLFORD TABOR

ANDREW AND JOANNA HAYNES

JOHN A. THOMPSON AND

TODD A. HERMAN, PHD AND

LEE R. ROCAMORA

HARRY GERARD

KATHYLEE AND KEN THOMPSON

AMY AND JOHN HINES

MR. AND MRS. WILLIAM B. TIMMERMAN, JR.

MARY BETH AND PETER HOLLETT

JUDITH AND GARY TOMAN

GEORGINE AND TREY JEFFRIES

PATTI TRACEY AND CHRIS HUDSON

MARCIE AND MARTY KELSO

AMY AND HAL TRIBBLE

VIRGINIA M. KEMP

KATIE AND JOHN SCOTT TROTTER

COCO AND RAY KILLIAN

KAITLIN AND JOSEPH VANDURA

SILVER CIRCLE ANONYMOUS SONIA AND RIT AMIN HON. JOHN S. ARROWOOD DERRICK A. BAILEY ALICIA BARNES AND JACOB JOHN TRAVIS BARNES HARRIET BARNHARDT MIDGE AND JERRY BARRON MARY AND BRENT BATES DEBBIE AND GARY BLANKEMEYER BETSY AND BILL BLUE AMY AND PHILIP BLUMENTHAL TRICIA AND ADAM BOYLE DR. LARRY BRADY AND MR. ROMAN MATSO LEAH AND DAVID BRADY KATHLEEN AND TERRY BRODERICK REBECCA AND DOUG BROWN CANTEY AND JEFF BROWN HILARY BURT AND PETER BOVE DR. ROGER D. COLE AND SUSAN MAYFIELD COLE MILLIE AND TOM COX MELISSA AND JOSEPH DEL BROCCOLO CAROLINE AND BEN DELLINGER BRITTANY AND TYLER DODDS NELIA AND WILL DOLAN DAPHNE DWYER AND TOM O’BRIEN LEIGH DYER DR. JEN SUDUL EDWARDS AND MR. GAVIN EDWARDS KATHY AND TOM EWING ELIZABETH AND JOHN FAGG CHRISTA AND ROBERT FAUT SARAH AND WILL FISHER SANDY AND GEORGE FISHER

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MARJORIE FOLEY MOLLY AND HENRY FROELICH BRIAN D. GALLAGHER MYRA GASSMAN HORST AND MARIA GRECZMIEL SUSIE AND TED GROSS COLLEEN KARNAS-HAINES AND ASHER HAINES TRACY AND H. K. HALLETT MR. AND MRS. WATTS HAMRICK III TRICIA AND DONNY HARRISON

From left: Kim Nixon, Samantha McCall, and Neely Verano

CLAUDIA AND ANDY HEATH ANNE J. HENDERSON LIZ HILLIARD AND LEE KENNELLY LYNN AND CHARLEY HODGES BARBARA HOLT MR. AND MRS. TODD HOUSER DR. CHIP AND VICTORIA HOWELL LANIER AND DOUG HOY LEIGH AND WATTS HUMPHREY MRS. JAMES E. S. HYNES DR. DIANE D. JACOBSEN PAIGE AND THOMAS JAMES AMY HYLAND JONES CATHERINE RUTH AND ALEX KELLY JOAN M. KIRSCHNER PHYLLIS M. KIRWAN LORNE E. LASSITER AND GARY P. FERRARO MR. AND MRS. HAYNES P. LEA JANET LECLAIR AND JOHN BRAGG, JR. DR. A. DAVIS LIGON, JR. DRS. SIU CHALLONS-LIPTON AND

DR. MARIE-CLAIRE MARROUM-KARDOUS LESLIE AND MICHAEL MARSICANO VARSHA MATHUR BETSY AND JASON MAYER KAREN AND J.P. MCBRYDE JOSEPH M. MCCALL DEE DEE MCKAY MADELINE AND JAMES MCLELLAND JERALD AND MARY MELBERG LISA MENDE DYKE AND DEBORAH MESSINGER VICKY AND BILL MITCHENER ARRINGTON H. MIXON KIMBERLY AND GEOFFREY MIZE JANET PREYER NELSON SHANNON AND KARL NEWLIN MARIAN M. NISBET ALISON AND JONATHAN O’CONNOR MARIA AND JEFF OWEN

JORDAN LIPTON

ANNE AND SCOTT PERPER

MEGAN BLANKEMEYER LIST AND

RIDGELY AND JOHN PHILLIPS

KEVIN LIST NAN AND BILL LOFTIN JONELL AND JUAN LOGAN VINCE LONG AND CAMERON FURR MARY AND BOB LONG

LISA AND TOM PHILLIPS MORGAN S. T. PRIME MAHROO PUTNEY REECE MEALY RAHILLY AND IAN RAHILLY DEBORAH HALLIDAY AND

MICHAEL A. RODRIGUEZ AND BRANT BEZILA COURTNEY AND CASEY ROGERS SARA AND DAN ROSELLI KYLE ROSIER PAULA AND DALT RUFFIN KIM AND MATT SALSBURY WILLIAM L. AND JANE O. SALTER RACHEL AND BRIAN SASSER AIDA AND GREG SAUL HARRIET AND MARSHALL SEALEY NEKKI SHUTT AND FRANCIE KLECKLEY LESLEY AND PHILLIP SMITH ANNA STAVRESKA AND NATE BRINKLEY NATALIE AND JONATHAN STEWART LIZ AND JEFF TARUMIANZ MAC TAYLOR KRISTY AND BILL THOMPSON SANDI AND BEN THORMAN MELISSA AND PAUL TOLMIE ANNA AND TROY TOZZI MARGARET AND CHRIS ULLRICH CAROLYN AND MATT VANDERBERG NELIA AND MICHAEL VERANO PATRICIA COX VISER VERA WATSON

ROGER AND DEBORAH LOVELETT

GARY RAUTENSTRAUCH

DOROTHEA F. WEST

MOSES AND LORI COLLINS LUSKI

RENEE AND DAVID REESE

LIBBIE AND LAURENS WILLARD

WESLEY A. MANCINI

GEORGE AND LINDA FOARD ROBERTS

RICHARD “STICK” AND TERESA WILLIAMS

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Spring 2025

CURATOR’S PICK The Mint Museum is thrilled to have recently acquired the work Family (1972) by John Biggers, who is from Gastonia, North Carolina.

Family is a foundational piece in Biggers’ career, showcasing the family grouping — a central motif throughout his later work. In this painting, a mother and father are positioned at the center, with a child at their feet and a holy figure above. This composition, likely influenced by African sculpture, would recur in his work for the rest of his career. The painting marks a shift toward a geometric aesthetic, seen in the incorporation of patterns in the sky, clothing, and hair, and symbols such as aquatic motifs and stars, all of which were also inspired by his study of African art.

The painting will be display on Level 4 of Mint Museum Uptown summer of 2025, alongside a print by Biggers and a related later painting from the Thomas H. and Diane DeMell Jacobsen PhD Foundation.

Jonathan Stuhlman, PhD, senior curator of American Art at The Mint Museum.

RIGHT: John Biggers (American, 1924–2001). Family, 1972, oil on canvas. Museum purchase: Funds provided by the Charlotte Debutante Club, the Betsy and Alfred Brand Fund, Laura B. and Michael F. Grace, Roxanne and Curtis Trenkelbach, Cheryl A. Palmer, Claudia and Andy Heath, Kait McElwee Marley, and Rubie R. Britt-Height and her daughters. 2024.36 © 2025 John T. Biggers Estate / Licensed by VAGA at Artists Rights Society (ARS), NY, Estate Represented by Michael Rosenfeld Gallery.

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Mint Museum Uptown

at Levine Center for the Arts 500 South Tryon Street Charlotte, NC 28202

Mint Museum Randolph 2730 Randolph Road Charlotte, NC 28207 mintmuseum.org @themintmuseum 704.337.2000

FREE MUSEUM ADMISSION EVERY WEDNESDAY Rotating programming at The Mint Museum, Bechtler Museum of Modern Art, and Harvey B. Gantt Center for African-American Arts + Culture.