“Fire, the most dramatic of the four elements. You can't make excellent bourbon without it.” – M.J. Kinman

"Char #4" by M.J. Kinman, Hand-painted cotton; poly batting; poly thread, 48x81in, 2017, $6500 — "Char #4" by M.J. Kinman, Hand-painted cotton; poly batting; poly thread, 48x81in, 2017, $6500

M.J. Kinman creates fiber art compositions of geometric shapes in kaleidoscopic patterns. In her Bourbon Diamonds Series she captures the fire and brilliance of Kentucky's iconic spirit, with each piece inspired by a particular label from Kentucky’s most famous export. For example, “Char #4” recognizes Old Forester bourbon's heritage of crafting their barrels themselves, a process that requires setting the new oak aflame.

“Bourbon isn't bourbon without fire,” explains Kinman.“Unless the interior of a new oak barrel is allowed to burn, there can be no blackening and crackling of the wood. Those tiny cracks invite the whiskey to penetrate the oak during the hot, lazy Kentucky summers, providing it's amber and smoky tones.”

“I make the biggest diamonds in the world…but instead of working with the hardest substances on Earth, I work with the softest. For the past 20 years, I’ve used fabric and paint to create larger-than-life portraits of colored gemstones. My goal is to find a stone’s personality – the story of light and color – encased within. This work, part of my Bourbon Diamonds series, celebrates the importance of fire in the making of Kentucky bourbon.”

"Fire & Ice" by M.J. Kinman, Hand-painted cotton; poly batting; poly thread, 82x50in, 2017, $7500 — "Fire & Ice" by M.J. Kinman, Hand-painted cotton; poly batting; poly thread, 82x50in, 2017, $7500

Kinman will be showing at the Jackson Dinsdale Art Center at Hastings College in Hastings, Nebraska, January 2 through 30, 2018. There will be an Artist’s Reception on Friday, January 12.

M.J. Kinman will be participating in the 2017 Open Studio Weekend, sponsored by Louisville Visual Art and University of Louisville’s Hite Art Institute. Her studio, located in the Clifton neighborhood, will be open the weekend of November 4 and 5. Tickets for Open Studio Weekend will go on sale October 16. Click here for more information.

Hometown: Hastings, Nebreska
Age: 55
Education: Bachelors of Social Work (BSW), Bowling Green State University Bowling Green, Ohio; Masters in Social Work (MSW), University of Michigan Ann Arbor, Michigan
Website: www.mjkinman.com
Instagram: mjkinman709

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"Angel's Share" by M.J. Kinman, Hand-painted cotton; poly batting; poly thread, 58x58in, 2017, $5500

"Devil's Due" by M.J. Kinman, Hand-painted cotton; poly batting; poly thread, 53x78in, 2016, $7500

"Blush" by M.J. Kinman, Hand-painted cotton; poly batting; poly thread, 85x55in, 2014, $7500

Are you interested in being on Artebella? Click here to learn more.

Fiber

Vignette: Vallorie Henderson

Josh Jenkins · March 14, 2017

“Being part of the earth, its secrets are part of our fiber, our purpose, our memory, and our spirit.” — Vallorie Henderson

"A Bigger Piece of the Pie" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW — *"A Bigger Piece of the Pie" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW*

Because they are created by human hand, we are tempted to think that textiles are less connected to nature than some other mediums. Yet the work of Vallorie Henderson captures the tones and textures of the natural world with certainty. Her Appalachian heritage has always imbued her artist’s sensibility with a feeling for the land, but isn’t there something inherent in the fibers of the material, which are born of the fluid, organic quality of biology, that carries the earth with it through any process?

“My work will always have its origins in nature, if not by the inherent qualities within wool that allow it to felt, then perhaps by the preference for a particular line or form found only in the natural world. I enjoy creating landscapes with an abstract expressionist approach, hoping to represent the essence of the chosen vista through transparent layers of silk and wool, allowing a visual blending of complex colors when the viewer’s eyes see multiple hues through other hues.”

"Bottom Land" by Vallorie Henderson, 7x35in, hand-dyed and felted Merino wool with silk organza, machine stitching, $575 | BUY NOW — *"Bottom Land" by Vallorie Henderson, 7x35in, hand-dyed and felted Merino wool with silk organza, machine stitching, $575 | BUY NOW*

“With my most recent body of work, Birds Eye View, I chose to focus on aerial views of the farmlands in southern Indiana, western Kentucky and some areas of southern and eastern Kentucky where I am from. At first glance, these works may appear to represent a fascination with geometric shapes, patterns and repetitive grids. Viewing the landscape from higher altitudes does not allow a full understanding of the ongoing process that give form to the land below or of how its appearance reflects human occupation and the day-to-day engagements involving people, land, material, and circumstances. Beyond its dramatic scenery, our landscape is remarkable for the cultural activities and ideas it represents.”

"Gray Day along the Pike" by Vallorie Henderson, 14.5x28in, hand-dyed and felted Merino wool with silk organza, machine stitching, $625 | BUY NOW — *"Gray Day along the Pike" by Vallorie Henderson, 14.5x28in, hand-dyed and felted Merino wool with silk organza, machine stitching, $625 | BUY NOW*

“My Cherokee ancestors did not think it possible to own land, believing instead that we are born from Mother Earth. As an artist, I accept that we are made of this earth and in some manner, have always known the earth and its environs. Being part of the earth, its secrets are part of our fiber, our purpose, our memory, and our spirit. We are this place and all of its stories and events. Making connections between our experiences, their location and time is to be part of a greater whole while living in the present.“

Vallorie Henderson’s Bird’s Eye View series is currently featured in the Louisville Visual Art exhibit, Tessile Ora, along with work by Denise Furnish and Elmer Luciell Allen. It will be on display at Louisville’s Metro Hall through May 26, 2017.

Hometown: Somerset, Kentucky
Age: 59
Education: BA in Art, Berea College, Berea, KY; MFA in Fibers, Miami University, Oxford, OH
Website: http://www.valloriehendersontextiles.com

"Amber Waves of Grain" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW — *"Amber Waves of Grain" by Vallorie Henderson, 2x3ft, hand-dyed and felted Merino wool with silk organza, machine stitching, $675 | BUY NOW*

*"Woodland Vessel" by Vallorie Henderson*

Are you interested in being on Artebella? Click here to learn more. — *Are you interested in being on Artebella?* *Click here* *to learn more.*

Fiber, Painting, Mixed Media

Vignette: Denise Furnish

Josh Jenkins · February 24, 2017

"Gain/Loss (detail)" by Denise Furnish, 31x31in, yoyo quilt patch, archival ink on cotton, acrylic, $900 | BUY NOW — *"Gain/Loss (detail)" by Denise Furnish, 31x31in, yoyo quilt patch, archival ink on cotton, acrylic, $900 | BUY NOW*

“I was asked, ‘What is a quilt?’ It is a question that, at first, seems obvious, but the answer goes much deeper than a hand-made bedcovering. The process of defining a quilt is the essence of my art. The quilt is a sign of women’s work. The making of a quilt implies a chain of signification through conception, use, deterioration, and, in my case, transformation.” — from Denise Furnish’s Artist Statement

"Gold Star" by Denise Furnish, 77.5x76in, discarded lone star quilt, acrylic, $3200 | BUY NOW — "*Gold Star" by Denise Furnish,* *77.5x76in, discarded lone star quilt, acrylic, $3200 | BUY NOW*

In the history of Modern Art, or the still-being-written chronicle of Contemporary Art, the quilt can still seem like an outlier, despite several generations of fiber artists using it as the foundation of their work. Yet the very associations that might lie at the heart of perceived limitations – namely its functional role as comforting family heirloom, are also the source of the quilt’s unique power in communicating themes and ideas. Denise Furnish exploits these attributes but also subverts them by using discarded quilts as a vehicle for painting.

*"Bed" by Robert Rauschenberg 75.25x31.5x8in, oil and pencil on pillow, quilt, and sheet on wood supports (1955) © 2017 Robert Rauschenberg Foundation*

“The quilt as a sign for bed interests me, yet I nearly always remove quilts from the bed and put them on the wall. For his collage, “Bed”, Robert Rauschenberg took a quilt from a bed and destroyed it to make art in 1955. The difference is that I am interested in taking already damaged quilts and transforming them into art. I later realized that seeing that work in the Museum of Modern Art in 1968 has influenced me.”

The inherent qualities of each quilt are crucial in the conceptual nature of Furnish’s approach, informing her thoughts and application of medium, but there is also a sense of rejuvenation emanating from the transformation of a tattered, worse-for-wear object becoming a wholly new creative action.

“My work developed as a chain of signification beginning with the recognition of quilt as a sign of pre-feminist ‘women’s work.’ This work was created and executed with attention to design and purpose. It was used, washed, worn. Often, it was separated from its maker. It was found by me and painted–a sign not only of transformation, but also of post-feminist women’s achievement.”

Denise Furnish’s work is currently featured in the Louisville Visual Art exhibit, Tessile Ora, on display at Louisville’s Metro Hall through May 26, 2017.

Hometown: Louisville, Kentucky
Education: BA, University of Kentucky, 1972; Attended Louisville School of Art 1980-1981; BFA University of Louisville, 2008; MA University of Louisville, 2009
Website: http://www.denisefurnish.com

"Red Basketweave" by Denise Furnish, 56x37in, worn and discarded flower basket crib quilt, acrylic, $1200 | BUY NOW — *"Red Basketweave" by Denise Furnish, 56x37in, worn and discarded flower basket crib quilt, acrylic, $1200 | BUY NOW*

"Flower Garden Boogie Woogie" by Denise Furnish, 48x53in, worn and discarded flower basket crib quilt, acrylic,telephone wire, tablecloth, $1200 | BUY NOW — "*Flower Garden Boogie Woogie" by Denise Furnish, 48x53in, worn and discarded flower basket crib quilt, acrylic,telephone wire, tablecloth, $1200 | BUY NOW*

"Lavender Log Cabin" by Denise Furnish, 40x28in, discarded log cabin crib quilt top, acrylic, $900| BUY — *"Lavender Log Cabin" by Denise Furnish, 40x28in, discarded log cabin crib quilt top, acrylic, $900| BUY*

"FIreball" by Denise Furnish, 43x29in, discarded fireball crib quilt, acrylic, $1200| BUY NOW — *"FIreball" by Denise Furnish, 43x29in, discarded fireball crib quilt, acrylic, $1200| BUY NOW*

Fiber, Ceramics

Feature: Elmer Lucille Allen

Josh Jenkins · February 10, 2017

"I love the academic environment. I am a perpetual student." — Elmer Lucille Allen

*Artist Elmer Lucille Allen (Photo by Tom LeGoff)*

When Kentucky Center for African American Heritage Center Director Aukram Burton describes Elmer Lucille Allen as, “one of our Elders,” he is not just acknowledging that the ceramic and fiber artist is an Octogenarian. The term carries weight in various cultures, but in parts of Africa it specifically denotes a connection to ancestors, the dead who remain vested with mystical power in the kin-group, and the elder’s authority stems from the idea that they are representatives of the ancestors to the contemporary community.

Elmer Lucille Allen is as approachable and convivial as anyone you would ever meet, but she is a “senior” (the far less satisfying American appellation) who has never truly retired. She earned the gold watch, so to speak, after 31 years as a chemist at Brown-Forman, where she was the first African American chemist to be hired (in 1966). In the twenty years since she retired, she has established herself as one of the most important artists in Louisville and an important influence on succeeding generations.

In person, Ms. Allen is an archetypal matriarch, speaking in the unadorned but nurturing language you would expect from any great-grandmother. She exhibits little outward evidence of the depth of her academic background, the years spent as a community activist, and the position she occupies in local history; she never wears her ‘status’ on her sleeve. She puts it this way: “I take it as an honor because what I do is part of who I am.”

"Untitled ELA #5" by Elmer Lucille Allen, Shibori Wall Hanging Red Kona Cotton – Stitched Resist – Dyed Blue Price, $2000 | BUY NOW — *"Untitled ELA #5" by Elmer Lucille Allen, Shibori Wall Hanging Red Kona Cotton – Stitched Resist – Dyed Blue Price, $2000 | BUY NOW*

“I became involved in the art scene in the early 1980s when Ken Clay, then head of Renaissance Development, held the first African American (AA) Arts Conference at the Galt House. After this conference, the Kentucky Coalition for Afro-American Arts, Inc. (KCAAA) was formed. I was the first and only president of this organization that lasted 10 years. When I decided that I did not want to continue as President, the treasury was donated to the Arts Council of Louisville. I was a charter member of the ACOL and a treasurer for four years.”

Ms. Allen states she has never felt a bias in the arts, but her history before she was an artist is another matter, and reflects the time. “Remember, I came up through a segregated system and did not have classes with a white person until I was a junior in college. I experienced racial difference when Nazareth College (now Spalding University) graduates in 1953 were looking for a place to host a graduation event. The event was eventually held at the Knights of Columbus Hall.”

“When I graduated I could not get a job as a chemist in Louisville. The only jobs available were teaching. My first job was as a clerk typist in Indianapolis, Indiana, at Fort Benjamin Harrison. There was bias on that job - one person from a city in Indiana had never been around a "colored" person, but you have to be who you are and stand up for what you believe. ‘Speak to a person even if the person does not acknowledge you.’”

Allen took her first pottery class at Seneca High School in the late 1970’s after her children were all grown and out of the house. She never gave empty nest syndrome a chance, following up with mold ceramics or pottery classes through JCPS and New Albany adult education. But this was still just the beginning: “Then I enrolled in a ceramics class at Metro Arts Center where I studied with Melvin Rowe. Also, while I was a student there I had the pleasure to meet Laura Ross, a national ceramic artist who encouraged me to take classes at the University of Louisville with internationally recognized ceramicist Tom Marsh.”

But studying ad hoc wasn’t enough, and, after retiring she decided to seek a masters in ceramics at U of L. It was while studying for her master’s that she was introduced to a second art media - fiber/textiles. “My thesis exhibition consisted of stenciled wall hangings and over 200 reduction fired porcelain sculptural boxes that were placed on boards on the floor, which meant you had to view the pieces while standing.”

*Lucille Allen in a workshop (Photo by Aron Conaway)*

Whatever racial or gender restrictions she encountered in her earlier life, Allen’s first years in the art world were mostly lacking in such difficulties. “I have not experienced any discrimination as a woman artist or as an artist of color. My work does not depict any culture - it speaks for itself. I create work that I enjoy making. I do not do commissions. I have been fortunate because I did not have to depend on selling art for a living. I retired in 1997 and have been volunteering in some capacity ever since.”

Yet she is not blind that many artists of color find it a challenge to reach wider audiences and secure their place at the larger community table, particularly in the visual arts world. “I think that one organization needs to take control. At the present every organization's president has their own agenda and is not looking out for other persons or organizations, and small organizations normally do not have a specific place, computer equipment, or expertise for such large undertaking.”

One of the values of being an Elder is that you have been a witness to the changes in the arts and cultural landscape that surrounds you. Allen can recount a time when there was much effort in the name of unity and inclusion. “Years ago, Louisville Visual Art had a large (non-digital) database of artists and arts organizations. The Kentucky Arts Council funded two directories of African American artists in the Commonwealth of Kentucky. Two conferences were held, one in Lexington, and one in Louisville. They conducted free workshops for the community at the Chestnut Street YMCA, West End branch of the YWCA, as well as other venues. Bale McKnight, who conducted drum making at the YMCA, created a drum that was in Chickasaw Park, which was the first public art project in the West End. KCAAA was the fiscal agent for Educations Arts and the dance group founded by Harlina Churn.” You see, Elders know the history.

So how does Louisville recapture that level of motivation again? What actions need to be taken today to build a functional community network? Allen feels, “Everyone is waiting for someone else to do the hard work,” but individuals who want to be leaders need to focus on developing their game in crucial ways; Elders also get to give advice:

Organizational and leadership skills are a must.
You have to show up and be willing to assume responsibilities.
You must not be afraid to fail. You learn from your mistakes.
You, as a leader, must be presentable and responsible for your actions at all times. Remember the golden rule - Do unto others as you want others to do to you.
You must be punctual.
Respect the time of others. Meetings should have an agenda and should not exceed two hours.

"Untitled ELA #2" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW — *"Untitled ELA #2" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW*

So how does this near-iconic status affect Elmer Lucille Allen’s work as an artist? Or does it? “My work is not impacted by my place in history,” states Allen. ”The work that I have done since 1981 speaks for itself. I have been the volunteer curator/director of Wayside Christian Mission's Wayside Expressions Gallery since 2005. My goal is to showcase artists, some of which have never exhibited. My second goal has been to have an African American artist or artists for February. I have done the scheduling, press releases, fliers, finding new artists, etc., from my home. I think my presence in the art world has afforded me the opportunity to be asked to serve as judge for the 2016 Fund for Arts, as a panelist for Metro arts grants, etc.”

“I think that over the years, the community sees who is where and what you are doing. Action speaks louder then words.”

You can see Elmer Lucille Allen’s work as a part of the Louisville Visual Art exhibit Tessile Ora, at Metro Hall, now through May 26, 2017.

Recognitions/Awards:
Louisville Defender – Lifetime Community Service Recognition Award (2016)
Outstanding Community Leader by Metro Council (2016)
Kentucky Museum of Art and Craft’s First Art and Advocacy Award – Bourbon Bash (2015)
Parkland Rising Up Project (2015)
Community Spirit Award given by the University of Louisville College of Arts and Science and the Yearlings Club (2015)
Spalding University Caritas Medal (2011) - the highest honor awarded to an alumnus

"Untitled ELA #4 – Shibori Wall Hanging" by Elmer Lucille Allen, Natural Silk Noil – Three Panels - Stitched Resist and Pole Wrapped – Dyed Blue, $1000 | BUY NOW — *"Untitled ELA #4 – Shibori Wall Hanging" by Elmer Lucille Allen, Natural Silk Noil – Three Panels - Stitched Resist and Pole Wrapped – Dyed Blue, $1000 | BUY NOW*

"Untitled ELA #1" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW — *"Untitled ELA #1" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW*

This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

Fiber

Vignette: Kathleen Loomis

Josh Jenkins · January 17, 2017

***“My flags are somewhat the worse for wear.”* — *Kathleen Loomis***

"Fading" by Kathleen Loomis, 59x99in, fiber (2016) $8000 | BUY NOW — *"Fading" by Kathleen Loomis, 59x99in, fiber (2016) $8000 | BUY NOW*

Political art can be a misnomer; on some level all of art is, by its very existence, ‘political’, and more overt statements are often best realized in simple terms. In her most recent work, Kathleen Loomis has been working with the American flag, appropriate both in that she is a fiber artist, and that there is arguably no symbol that carries more emotional and thematic weight than the Red, White, and Blue.

"Flagging" by Kathleen Loomis, 98x54in, fiber (2016) $7000  | BUY NOW — *"Flagging" by Kathleen Loomis, 98x54in, fiber (2016) $7000 | BUY NOW*

“The flag is a stand-in for our country, so flags in distress convey feelings about the state of our democracy. Even beyond the disturbing recent elections, it seems that so many things in government and our legal system are going downhill. Maybe our nation and its democratic ideals aren’t as crisp and bright as they used to be; as a nation we are getting weary and have lost our mojo, so my flags are somewhat the worse for wear.”

Loomis’ statement may reveal a particular position, and the images are equally straightforward, yet they do not limit themselves by pointing to cause or solution. There are protocols for flying the flag that reinforce that it is also a vital tool for communication – flown upside down it is a symbol of distress to approaching forces, so co-opting it as a motif in visual art feels natural. “Kentucky Graveyard” and “Postage 3 Memorial Day” powerfully comment on the cost of freedom by echoing the flag-draped caskets of deceased military returning from foreign wars, while “More Equal Than Others” speaks to the inequity that has always been a struggle in American society. Loomis may have current events on her mind, but these themes are forever with us.

You can keep up with Loomis through a lively and informative blog on her website. Loomis joined Pyro Gallery in 2016, and is currently a part of the New Year, New Pyro Artists exhibit that runs through February 18, and will be participating in an Artist’s Gallery Talk there on Saturday, January 14, at 12:30pm.

Recent Exhibitions:
·     Indianapolis Museum of Art, Indianapolis, IN, Dialogues, 2016
·     Dairy Barn, Athens, OH, and on tour throughout the US, Quilt National ’15, ’11, ’09, and ’03 (Quilts Japan Prize, 2009)
·     Jasper Arts Center, Jasper, IN, Annual Juried Art Exhibits, 2001, 2004, 2006, 2011, 2015 (award of merit), 2011, Best in Show, 2015).

Hometown: Saginaw, Michigan
Education: BA in Journalism, Syracuse University; MSJ Northwestern University
Website: http://kathleenloomis.com

*"Kentucky Graveyard (Iraq)" by Kathleen Loomis, 71x60in, fiber (2006) NFS*

*"Postage 3: Memorial Day" by Kathleen Loomis, 86x100in, fiber (2008) NFS*

Fiber

Vignette: M.J. Kinman

“Fire, the most dramatic of the four elements. You can't make excellent bourbon without it.” – M.J. Kinman

Scroll Down To See More Images

Vignette: Vallorie Henderson

“Being part of the earth, its secrets are part of our fiber, our purpose, our memory, and our spirit.” — Vallorie Henderson

Vignette: Denise Furnish

Feature: Elmer Lucille Allen

"I love the academic environment. I am a perpetual student." — Elmer Lucille Allen

Vignette: Kathleen Loomis

“My flags are somewhat the worse for wear.” — Kathleen Loomis

***“My flags are somewhat the worse for wear.”* — *Kathleen Loomis***