Viewing page 31 of 34
It looks like you're using a mobile device. We recommend using a physical keyboard for transcription entry.
- 5 - H. Napoleon Henderson's Critque [[Critique]] Drawings for tapestries to be made for Atlanta International Airport Commission (21,000). 2 panels each are to be constructed. Each will measure 14x10 feet. The completion date is August 1, 1980. The work is primarily organized in curveliness forms based around a central pyramid—and the compositional form of a woman. A collective process for the sketches was used—different people worked on them. The figures in the compositions are mainly female. A thumbsucking figure raised a lot of discussion as to its positive/negative connotation. Stevens - the left side of the sketch needs to be developed further. Henderson - related the inspiration and symbolic meanings of each section of his sketches. I. Frank Smith's Critique Acrylic painting/patchwork/applique on fabrics. Main compositional elements: a. use of inverted images b. "void" areas have eyes and designs c. 3 systems of "folks" - snake - like figures figures with heads turned outward figures with heads turned inward He makes use of "design patches" to make his quilts. The works are a mixture of applique, in a variety of joining techniques-stitches, painting, etc. "sleepwalker" dream patterns-some are just imagined "Neferatiti" [[Nefertiti]] White areas in the works will be "closed down" definition - closing down - filling in void areas with patterns. The work has a child-like appearance. A big, radiating bulb is suggested by his use of fringes. *Nelson Stevens - mural in Tuskeegee [[Tuskegee]] Alabama. Help is needed from February to June. Total size 70x35 feet. The mural will be painted on 4x8 feet panels. ***DUES ARE DUE!! $5.00 per month/$50 per year
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact firstname.lastname@example.org.