The Sea is History, made in the Dominican Republic and Haiti, is a free adaptation of the poem of the same name by Derek Walcott, a Saint Lucian poet. This film is a critique of the monumentalization of European colonial history, reading the past as something intimately entangled within the present—as a living thing made up of the living and the dead. The footage is from Santo Domingo, the first capital of the New World located in the Dominican Republic, and of Lago Enriquillo, a hyper-salinated lake, once part of the Caribbean sea, that is flooding the border of Haiti due to the drastic rise in sea temperature currently affecting the global ocean deeply.
Breaking with Tradition features work by artists who have bent the rules and subverted ideas about traditional ceramics with unconventional subjects, experimental techniques, and manipulations of historical and traditional forms.
Like the other artists in this exhibition, Kathryn Kennedy Sharbaugh took an unconventional approach to a traditional subject: the teapot. In 1999, Sharbaugh created Night Jump, imbedding her own symbolic language based on geometric forms. The emblematic language of Night Jump comes from Sharbaugh’s personal experience with looking at the night sky through a spotting scope she had purchased for bird watching. She became fascinated with the rings of Saturn, which prompted her to think about the type of night jumps soldiers took with parachutes. Saturn’s rings and the shape of the parachute make up the body of the design.
Small Worlds features paperweights spanning from the mid-19th century, the classic period of paperweight production, through present day. By comparing classical with contemporary weights, you will see how they have stayed true to tradition, as well as evolved stylistically over the last 150 years. Flowers are a design motif that has remained in the vernacular of paperweight artists still today. The language of flowers, known as floriography, became popular in France in the early 19th century and by mid-century was embraced by Victorian society. Flowers symbolically represent different meanings, such as a red rose for passion and a yellow rose for friendship. Although not all contemporary artists utilize the symbolism of floriography when creating their design, the use of the flower is still widely used.
Most of the classic weights in the exhibition were collected by FIA patron, Viola Bray and gifted in 1969 by her family. Also on view are classic and contemporary weights collected by Genevieve Shaw given to the FIA by her husband, Richard, shortly after her death in 2007. The contemporary weights on loan are from two private collections including Tennessee collector Gordon Park, who generously lent a selection of aquatic works by Rick Ayotte to the exhibition.
Paperweights: Highlights from the Flint Institute of Arts Collection
(hardcover; 248 pages; $24.95)
This exhibition catalog features more than 140 weights from the Classic Period (1845–1860) of French manufacturers Baccarat, Clichy, and Saint-Louis, to works by contemporary artists Josh Simpson and Debbie Tarsitano, from the collections of Mrs. Viola E. Bray and Mrs. Genevieve Shaw. Kathryn Sharbaugh, FIA Director of Development, serves as guest curator to research and write about the history of paperweights, as well as highlight their various styles, techniques, and categories. This book is published in conjunction with the exhibition Small Worlds, which presents a survey of glass paperweights from the 19th century to the present. Support for the catalogue provided by the Bray Charitable Trust.