Visual Art Archives - Page 34 of 100

Gladys Kukana Grace

Gladys Kukana Grace learned the art of weaving lauhala (lau = leaf, hala = pandanus tree) from her maternal grandmother, Kukana, through a longstanding oral tradition.

Adèle Clark was a founding member of the Equal Suffrage League of Virginia, the chair of the Virginia League of Women Voters (1921–1925, 1929–1944), a New Deal–era field worker, and an accomplished artist and arts advocate.

Ailsa O’Connor

Ailsa O’Connor linked her art to society, both the themes she developed in her art and in the essays she wrote to explain the role of art in society.

Feryal Abbasi-Ghnaim

Feryal Abbasi-Ghnaim is an embroiderer whose journey as an artist started in her birthplace of Safad.

Frances Varos Graves

Graves excelled at embroidering colchas with birds, animals, flowers, and other whimsical images. Her favorite subjects, however, were Catholic saints borrowed from religious paintings called retablos and three-dimensional sculptures called bultos.

Yang Fang Nhu

In 1978, Fang Nhu and her husband were forced to leave Laos, their livelihood threatened by the Communist regime. In Providence, Fang Nhu became active in the immigrant Hmong community and was eager to teach her weaving skills to her daughter-in-law Ia-Moua Yang. For Fang Nhu, weaving was not just making cloth, but was representative of a social fabric.

Yvonne Walker Keshick

A basket maker and porcupine quillworker, Yvonne Walker Keshick creates birchbark masterpieces realistically decorated with quills that depict natural images as well as cultural symbols of the Odawa tribe. Also a devoted teacher, she has developed resources and provided instruction to ensure this art form is passed down to others as it was to her.

Genevieve Mougin

Lebanese-American lace maker

Genoveva Castellanoz

Castellanoz became an important figure among Mexican Americans in a wide area because she made paper and wax flowers for baptisms, weddings and quinceañeras.

Georgeann Robinson

Robinson and her two sisters, Genevieve Tomey and Louise Red Corn, began to produce the old design of Osage ribbonwork, a form of needlework that they had learned from tribal elders. Soon they were researching additional designs, digging into neighbors’ trunks, and traveling to distant museums. In time, their trademark, “Ribbonwork a Specialty,” attracted customers nationwide.