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    ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

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    Hystercine Rankin (1929–
    2010), “Memory Quilt” (ca. 1994), fabric; appliquéd, hand-embroidered, and hand-quilted, 88 x 82 inches. All images courtesy of Mississippi Museum of Art, shared with permission

    ‘Of Salt and Spirit’ Celebrates the Legacy of Black Southern Quilters

    April 23, 2025

    ArtCraft

    Kate Mothes

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    You may have heard of the remarkable quilters of Gee’s Bend, but do you know about the Crossroads Quilters, like Gustina Atlas? Or Hystercine Rankin? Mary Mayfair Matthews? You’re in luck if you have a chance to visit Of Salt and Spirit: Black Quilters in the American South at the Mississippi Museum of Art, which shines a light on dozens of incredible Black Southern quilters and takes a celebratory approach to showcasing their myriad styles and techniques.

    MMA is home to one of the South’s largest collections of quilts, from which more than 50 handmade and machine-stitched examples were drawn for this expansive exhibition. Merging research, interpretation, and community engagement, curator Dr. Sharbreon Plummer aimed for “a cohesive, experiential study of American art through a Black feminist lens.” The show parses cultural narratives around the art form, spotlighting the impact of the craft across generations and geography.

    Emma Russell, “Star Quilt” (1978), cotton blend; hand-pieced, appliquéd, and hand-quilted, 81 x 77 inches

    A wide range of contemporary and historic pieces converge in Of Salt and Spirit, including figurative and narrative works alongside vibrant geometric compositions. Many of the works were acquired by the museum from Roland L. Freeman (1936-2023), a photographer who documented African-American craftspeople and guilds in his work as a stringer for Time magazine and Magnum Photos.

    Freeman collected more than 100 quilts, made several of his own, and published a couple of books on the subject. “Quilts have the power to create a virtual web of connections—individual, generational, professional, physical, spiritual, cultural, and historical,” he says in his second book, A Communion of the Spirits (1996).

    In conjunction with the exhibition, the museum also highlights the large-scale, ongoing AIDS Memorial Quilt project, which was initiated in 1985 at the height of the epidemic. Paralleling Of Salt and Spirit’s focus on creative expression, identity, and strength, the AIDS quilt—which will be on display at MMA for a two-week period beginning May 5—honors quilting for its role in resistance and remembrance.

    Of Salt and Spirit continues through May 18 in Jackson. Plan your visit on the museum’s website. You may also enjoy a look back at Souls Grown Deep Like the Rivers, a monumental survey recognizing the artistic traditions of Black artists.

    Mary Mayfair Matthews, “Folk Scenes Quilt” (1992), rayon, cotton polyester blend, lace, lamé, and buttons; hand-pieced and appliquéd, 86 1/4 x 74 inches

    Annie Dennis (designed by Roland L. Freeman), “Voodoo Quilt” (1987), fabric; hand-pieced, appliquéd, hand-embroidered, and hand-quilted, 83 1/2 x 64 inches

    Detail of “Voodoo Quilt”

    Gustina Atlas, “Variation on Dresden Plate Quilt” (1998), cotton; machine- pieced and hand-quilted, 81 1/2 x 80 inches

    Clancy McGrew, quilted and appliquéd by Jeraline Nicholas, “Storytime at the Library” (2004), fabric; machine-pieced, appliquéd, embroidered, and hand-quilted, 41 3/4 x 83 1/8 inches

    Mabel Williams, “Improvisational Strip Quilt” (1968), cotton, polyester, wool, twill; hand-pieced and hand- quilted with appliquéd and embroidered backing, 85 x 65 inches

    Clancy McGrew, quilted by Tammy McGrew, “Clancy’s Beauty Salon” (2004), fabric; machine-pieced, appliquéd, and hand-quilted, 67 5/8 x 49 1/2 inches

    Roland Freeman, “Maya Angelou, Author, Educator, and Quilter (top left and bottom right); Dolly McPherson, Maya Angelou, and Beverly Guy-Sheftall (top right and bottom left), Winston-Salem, North Carolina, November 1992” (1992), Chromogenic print with quilted mat (1996) by Anita Knox, 36 x 36 inches

    Roland Freeman, “Catherine Gill with Sunburst Quilt (left) Made by Her Mother, Classy Blaylock, fromDecatur, Mississippi, Flagstaff, Arizona, April 1993″ (1993), Chromogenic print, 27 x 38 inches

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    • 175 Shares169 Views

      in Art

      In Paintings and Quilts, Stephen Towns Spotlights Black Leisure in the Jim Crow South

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      “Looking for Lorraine” (2024), natural and
      synthetic fabric, polyester and cotton thread, and acrylic and crystal glass beads, 55.5 x 68 inches. All images courtesy of the artist and Rockwell Museum, shared with permission

      In Paintings and Quilts, Stephen Towns Spotlights Black Leisure in the Jim Crow South

      January 2, 2025

      ArtHistorySocial Issues

      Kate Mothes

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      In central Florida, Ocala National Forest is dotted with more than 600 lakes and rivers. A nearby recreation hub, Silver Springs, has capitalized on the tourism potential of these glistening, clear bodies of water for decades, offering sandy riverside beaches and taking visitors on jaunts in glass-bottom boats.

      Until 1968 and the passing of the Civil Rights Act, Silver Springs—similar to many other places in Florida and the South more broadly—was racially segregated and only open to white patrons. In 1949, the owners of Silver Springs opened Paradise Park a mile down the road as a destination “for colored people,” as the welcome sign read, who were prohibited from the other resort.

      “Swimming Lessons” (2022), acrylic, oil, and metal leaf on panel, 40 x 40 inches

      Paradise Park was one of three beaches in Florida open to Black visitors during this time and also offered sandy beaches, rides in glass-bottom boats, a petting zoo, a dance pavilion with a jukebox, performances, games, and a softball field. It remained in operation until 1969, shortly after desegregation, and became a subject of fascination for photographer Bruce Mozert (1916-2015), who documented happenings at both recreation areas.

      For artist Stephen Towns, Mozert’s images and the history of Paradise Park provide the foundation for Private Paradise: A Figurative Exploration of Black Rest and Recreation, now on view at the Rockwell Museum. Through paintings and quilted compositions, the artist explores how certain parks could be places of refuge and leisure for Black Americans during the Jim Crow era.

      “Black people had to set up their own spaces in order to find recreation and to find peace,” Towns says in a video accompanying the exhibition. “This show is a way of illuminating that. It gives people a sort of way into history that’s not as scary as it can be in other forms.”

      Towns’ paintings portray groups of children swimming, sunbathing, and playing on the sandy shoreline. His fabric compositions are imagined scenes of respite and togetherness, which come across as disarming and candid.

      “Motown in Motion” (2024), natural and synthetic fabric, polyester and cotton thread, and acrylic and crystal glass beads, 55.5 x 68 inches

      “Motown in Motion,” for example, depicts a group of young people gathered on the beach, and “I Will Follow You My Dear” trails two women swimming underwater—another nod to Mozert’s work as a pioneer in underwater photography.

      The figures in Towns’ paintings are more posed, drawn directly from Bruce Mozert’s snapshots, depicting smiling kids at play. Towns often uses reflective materials like metal leaf that emanate light back toward the viewer, reiterating a sense of brightness. “I want people to feel that warm, reflective energy when they see the show,” he says.

      Explore more on Towns’ website and Instagram, and if you’re in New York, you can see Private Paradise in Corning through January 19.

      “Taking Flight” (2022), acrylic, oil, and metal leaf on panel, 40 x 40 inches

      “I Will Follow You My Dear” (2024), natural and synthetic fabric, polyester and cotton thread, and acrylic and crystal glass beads, and shells, 55 x 72 inches

      “When We Were Young” (2022), acrylic, oil, and metal leaf on panel, 40 x 40 inches

      “A Taste of Lemonade” (2024), natural and synthetic fabric, polyester and cotton thread, crystal glass beads, metal and resin buttons, 55.5 x 68 inches

      Photograph of visitors at Paradise Park by Bruce Mozert

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    • 138 Shares189 Views

      in Art

      Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

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      All images courtesy of Emily Van Hoff, shared with permission

      Emily Van Hoff Sculpts Facets of Color in Vibrant, Dimensional Quilts

      October 21, 2024

      ArtCraftDesign

      Kate Mothes

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      For Emily Van Hoff (previously), the possibilities of quilts extend far beyond two dimensions. From geometric tapestries to faceted weavings and sculptural constructions, the artist traverses a wide array of textile forms.

      “I love giving my quilts more visual weight,” Van Hoff tells Colossal. “I like when they feel more chunky and object-like… So I’ve been exploring a variety of ways to accomplish that.”

      Van Hoff often revisits original sketches and offcuts of earlier pieces, puzzling together new works with a variety of textures, hues, and configurations. One striking recent experiment takes the shape of three chain links, which can be displayed in various orientations by sliding the components around, revealing unique angles and color combinations.

      “Some of my wall hangings have also used pieces that sort of overlap and weave through each other,” Van Hoff says, “and the chain link is the continuation of that idea as well.”

      The artist recently announced a line of quilting fabric she designed for Moda Fabrics titled Groove, which will be available in stores starting in May next year. The collection expands on her vibrant palette and playful, squiggly motifs.

      “My background is in graphic design,” Van Hoff says. “I’ve always loved textile design, and I worked in a fabric shop in high school, so this is a real dream-come-true moment!”

      Explore more on the artist’s website, where she adds pieces to her shop from time to time, and follow updates on Instagram.

      ‘Groove’ series of designs for Moda Fabrics

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