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FALL 2026

Brilliant by Design Celebrating fashion design icon Judith Leiber and the novelty designs that forever changed luxury accessories.

2026/2027 SEASON

STEP INTO AN EXTRAORDINARY WORLD ARTISTIC DIRECTOR ALEJANDRO CERRUDO

BLACK BOX SERIES

From Africa With Love by Mthuthuzeli November Dos y Dos y Dos by Alejandro Cerrudo Phoenix, a world premiere by FLOCK Center for Dance | OCT. 2-17, 2026

NUTCRACKER

By Jean-Pierre Bonnefoux Belk Theater | DEC. 4-23, 2026

KNIGHT THEATER SERIES

Solo Echo by Crystal Pite Silent Ghost by Alejandro Cerrudo World Premiere by Alejandro Cerrudo Knight Theater | MARCH 11-13, 2027

ALICE IN WONDERLAND World premiere by Alba Castillo and Bryan Arias Knight Theater | MAY 7-16, 2027

By Charlotte Ballet dancers Center for Dance | JUNE 10-18, 2027

charlotteballet.org Photo by Quinn Wharton. Dancer: Fuki Takahashi.

Art is for everyone

FROM THE PRESIDENT AND CEO

Discover arts and culture at mintmuseum.org.

This fall marks a milestone for The Mint Museum as we celebrate our 90th anniversary. Since opening the doors in 1936 as North Carolina’s first art museum, the Mint has served as a place where art inspires curiosity, sparks dialogue, and brings our community together. As we honor the museum’s history, we are also looking ahead to an exciting season filled with new exhibitions and programs that reflect the creativity and connection at the heart of our mission. Opening September 19 at Mint Museum Uptown, Corey Pemberton: Living Well features the work of the Los Angeles-based multidisciplinary artist whose vibrant paintings, collages, glass sculptures, quilts, and fiber works explore themes of identity, memory, community, and belonging. Corey has been a fixture at Penland for years and is always a welcome element of energy and positivity. We are proud to host his first museum exhibition in North Carolina. In October, Mint Museum Randolph will welcome Brilliant by Design: The Handbags of Judith Leiber. The exhibition celebrates the artistry and craftsmanship behind the iconic designer’s creations, bringing together more than 100 handbags and accessories that blur the line between fashion and fine art. Visitors will discover the ingenuity, creativity, and imagination that made Judith Leiber a global design sensation as well as her dramatic, moving—and ultimately triumphant—story as a holocaust survivor. We are also thrilled to celebrate the 20th anniversary of Potters Market at the Mint, one of our most beloved annual traditions. This year’s anniversary event promises to be a special celebration of ceramic artistry, creativity, and community. And as part of the celebration, we welcome Pueblo artist Virgil Ortiz for an artist talk Saturday, September 26, followed by a symposium Sunday, September 27 with acclaimed North Carolina potter Mark Hewitt, as well as Cynthia Bringle, Travis Owens, and Ibrahim Said. These exhibitions and events represent more than a season of programming— they reflect the values that have guided the Mint for 90 years: artistic excellence, lifelong learning, and meaningful community engagement. They also remind us that museums are ultimately about people. Every visitor, member, donor, volunteer, artist, and educator has helped shape the Mint’s story and ensure its continued impact. We invite you to join us this fall as we honor our past, celebrate our present, and look forward to an inspiring future together. Sincerely,

Todd A. Herman, PhD President and CEO

What Todd's Reading "Art Cure: The Science of How the Arts Save Lives" by Daisy Fancourt.

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OUR TEAM EDITOR Michele Huggins CREATIVE DIRECTION & GRAPHIC DESIGN Stephanie Lepore GRAPHIC DESIGNER

David Lewandowski CONTRIBUTORS Hailey Black Annie Carlano Kassidy Childs Jen Sudul Edwards, PhD Rebecca Elliot Kitty Hall Ramona Holloway Bridget Kerr Page Leggett

Margaret Mauldin Clayton Sealey Ellen Show

TABLE OF CONTENTS 5 | IT'S IN THE BAG!

Covetable carryalls from The Mint Museum Store. 10 | ARTIST BEHIND THE ART

Whimsy is at the heart of Charlotte artist Grace Stott's ceramic works. 12 | UPCOMING EVENTS

Mark your calendar for not-to-miss Mint events. 14 | NOTEWORTHY

Notable mentions, awards, and recognition of Mint people, projects, and programs.

15 | 10 REASONS TO LOVE THE MINT RIGHT NOW

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Leslie Strauss Jonathan Stuhlman, PhD Valeria Vazquez

From dynamic programming to artist conversations and exhibitions, there’s a lot to love about the Mint. 43 | AFFILIATES IN ACTION

A review of events and activities hosted by the Mint affiliate groups. 44 | EVENTS AT THE MINT

Snapshots from recent events, exhibition openings, and more.

ON THE COVER Judith Leiber (American, 1921–2018). Beckoning 'Killer' Cat Minaudiere, c. 1994, gold-plated brass, leather, Swarovski crystals, semiprecious cabochon stones. Gift of the family of Vicki and Jim Mills. 2025.34.64a-d

46 | CROWN SOCIETY PATRONS 49 | CURATOR’S PICK

Joel Smeltzer

Connect with the Mint @themintmuseum

FEATURES 20 | A LEGACY IN MOTION: 90 YEARS OF THE MINT MUSEUM

Celebrating the ideas, acquisitions, and events that have shaped the Mint throughout its 90-year history. 31 | NOT ABOUT, BUT WITH

An interview with artist Corey Pemberton by artist Sonya Clark. 35 | BRILLIANT BY DESIGN: THE HANDBAGS OF JUDITH LEIBER

A exhibition recognizing the superb and sparkling designs of Judith Leiber. 39 | POTTERS MARKET AT THE MINT CELEBRATES 20 YEARS

The story behind the annual tradition that shines a spotlight on North Carolina’s ceramics community and contributed to the state's reputation as The Pottery State.

LEFT: Sheila Hicks (American, 1934–). Mega Footprint Near the Hutch (May I Have This Dance?) (detail), 2011, sculpture in linen and cork. Gift of Target Corporation. 2011.42 © Sheila Hicks 2011

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THANK YOU TO OUR SPONSORS Designing Dynamism: Kuba Textiles from the DR Congo, The Wesley Mancini Collection is generously presented by Wells Fargo. Individual sponsorship is kindly provided by Hillary and Fairfax Cooper, and Lauren Harkey.

The Mint Museum’s 2026 Coveted Couture Gala was generously presented by Bank of America with additional sponsorship support from Regions Bank and BlackArch.

MISSION Welcoming all to be inspired and transformed through the power of art and creativity.

VISION The Mint Museum seeks to continuously enhance lives and create a more empathetic world by ensuring access and by engaging

Caravaggio | Revolution: Baroque Masterpieces from the Roberto Longhi Foundation is generously presented by M.A. Rogers and Bank of America with additional support from the Samuel H. Kress Foundation. Individual sponsorship support for this exhibition is kindly provided by Betsy and Alfred Brand; Jane and Hugh McColl, Pat Rodgers, and Leigh-ann and Martin Sprock; Beverly and Jim Hance, Anna McKeithen Webersen, Laura McKeithen, Susan and Loy McKeithen, Marshelette and Milton Prime, and Rocky and Curtis Trenkelbach; Sarah and Tim Belk, Mary and Charles Bowman, and Jo Ann and Joddy Peer; Marty and Weston Andress, Mary Lou and Jim Babb, and Robin and Bill Branstrom. Additional support is provided by Kelle and Len Botkin, Laura and Mike Grace, Lucy and Hooper Hardison, Stephanie S. Lynch, Posey and Mark Mealy, and Patsy M. Reames and Ron Vick. Organized by the Fondazione di Studi di Storia dell’Arte Roberto Longhi and Civita Mostre e Musei, in collaboration with The Mint Museum and the Museum of Fine Arts, St. Petersburg.

Brilliant by Design: The Handbags of Judith Leiber is generously presented by Wells Fargo with additional support from HB Wealth. Individual sponsorship is kindly provided by Posey and Mark Mealy, and Staci and Jeff Mills.

The Mint Museum’s Party in the Park and Potters Market at the Mint are generously presented by Principal Foundation.

communities in a meaningful, lifelong relationship with art and design.

CORE VALUES Support for Student Tours is provided by the Mint Museum Auxiliary and Young Affiliates of the Mint.

Accountability, Collaboration, Diversity and Inclusivity, Education and Intellectual Rigor, Innovation and Excellence,

Let the Music Play: Steinway Residency Series is presented by First Horizon Bank

Free Wednesday Evenings are generously sponsored by Principal Foundation, Publix Super Market Charities, and the Mint Museum Auxiliary.

Community and Welcoming

LAND AND LABOR ACKNOWLEDGEMENT The Mint Museum sits on colonized land traditionally home to the Catawba, Cheraw, Sugaree, Waxhaw, and all

Wednesday Night Live is generously presented by Principal Foundation.

other Indigenous peoples who resided, met, and traded here. The Mint also acknowledges the unpaid and hidden labor of enslaved peoples of African ancestry who helped build The Mint

Corey Pemberton: Living Well is generously presented by PNC with additional support from the Ford Foundation and Windgate Foundation. Individual sponsorship is kindly provided by Marty and Weston Andress, and Lauren Harkey.

The Grier Heights Program is financially supported by the Mint Museum Auxiliary.

The Mint Museum is supported, in part, by the City of Charlotte and the North Carolina Arts Council.

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Museum on Randolph Road at various stages in the building’s history.

It's in the bag! Covetable carryalls packed with personality store.mintmuseum.org

Adam Eugene Photo Product selection by Valeria Vazquez mintmuseum.org

Kapow! Puddle Earring: $90. Cubist Faces: $195. Pull A Face Bookmarks: $6. Great Modern Artist Lens Cloth: $7. Readers with Pouch: $12. Bright Ideas Pencils: $15.95. Express Yourself Notebook: $46.

Fall 2026

Henri Matisse Snow Flowers (Almond Press-On Nails): $28. Medium Cut out Tab Wallet (Cobalt Stone): $55. Memento Earrings 3: $125. Vali Crossbody Small Cream Leather Bag, Eyes Applique Adjustable Handle: $228. Cherry Lip Gloss: $6. Retro Inspired Cat Eye Frame with Case: $32. Checkerboard Rectangle Pouch Charm: $30.

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Harold Fanny Pack Bubblegum Pink Leather, Blazing Tiger Print: $158. Wake Up Eye Mask X Adam Jk: $30. Romare Bearden Glasses by Vontelle (City Midtown Canyon): $199. Standard Black Leather Packet: $20. Venus Storage Box (Light Green): $28. New Artist Cufflinks (Deco): $72. Blue: $15.

Fall 2026

Little Cloud Patch by FriendsWithYou, Iron-On Patch: $18. Basquiat Pez Dispenser Crossbody Bag: $98. Miky Notes: $15. Monogram Script Black Wool Cap: $65. Happy Book Notebook: $40. Just Dutch Miffy Keychain (Sunflower Van Gogh): $25. Fun Hair Claws (Smiley): $20.

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ARTIST BEHIND THE ART

Art Without Prerequisites FROM CERAMIC JUNK FOOD TO MISCHIEVOUS CHERUBS AND INTERESTING INSECTS, GRACE STOTT MAKES ART THAT’S CURIOUS, ACCESSIBLE AND, ABOVE ALL, FUN BY PAGE LEGGETT

Grace Stott’s artwork is just plain fun. And if viewers see it as that, and only that, it’s fine with her. You need not hunt for hidden meaning in her ceramic cherubs, junk food, vegetables and insects. (Although if you find it, Stott’s delighted about that, too.)

Before art became her vocation, it was therapeutic. It’s also a bridge builder: “When you make art and put it out there, there’s a connection you get with other people. It’s like: I made a thing. And if someone is interested in that thing, too, how great.”

The Princeton, New Jersey native and Tufts University alum isn’t directing the viewer to see anything more than what’s there. When her art school professors would ask, “What are you trying to say?” she’d answer, “I don’t know; I just want to make work that’s interesting.”

She doesn’t want there to be any “prerequisites to appreciating [her] work,” she said. “I think you can appreciate my art without any context. I hope it’s interesting on its own.”

Portrait of the artist as a mother of two Stott’s no stranger to the Mint. She’s participated in group exhibitions, including the pop-up Local/Street series and the Potters Market at the Mint. But she’ll step into the spotlight when she’s featured as the Constellation CLT artist at the Mint Museum Uptown opening in September. Motherhood has blessed Stott with two live-in models. She had her second child—a son named Wesley—in the spring of 2025, and he shows up in her art, just as his older sister, Mabel, does. Nearly all of Stott’s angels are based on Mabel. Another benefit to being an artist and a mother, she said, is having greater confidence in her talent. She said, “I don't have time to question myself.”

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sort of see through their wings. They’ve got these shiny, iridescent wings and big, red eyes, and there’s something almost endearing about them.”

Well, maybe there is deeper meaning There’s something philosophical at work with Stott’s fairytale flies—“I feel like flies remind you that we all die,” she said. “We all decay.” That thought could be an overwhelming downer, but Stott never lets her work get too serious. She’s quick to point out that her flies aren’t realistic. In Stott’s hands, they’re cute creatures you’d want to invite to your outdoor party rather than shooing them away. “I make them fun and pretty and shiny and sometimes fluffy,” she said. “I’ve done flies with stained glass wings and gold spikes. They’re almost like pets.” The idea that two contradictory things can be true at once is a frequent Stott motif. In her artist statement, she writes that the world she creates through her art is “both fantastical and relatable.”

‘Full of possibility’ Stott’s playful figures belie that time-consuming, multistep process involved in creating them. Stott doesn’t necessarily enjoy every step. Take glazing, for instance. “When you get to the glazing part, you’re making all those final choices and questioning yourself. You’re so tired by the end. If you want an opaque color, that takes three coats, and it has to dry between each coat.” Her fun final product has a lot more in common with sculpting, part of the process she enjoys. Nothing is more enjoyable for her than “the very beginning, when everything is full of possibility.”

And now a glass artist, too Stott somehow found time to add a new medium to her hand-built ceramics: stained glass. She took a class last fall that “unlocked a lot of ideas” and energized her art practice. She likes the results of adding stained-glass accents to her ceramic figures, including her flies. The nuisance insects have long been a motif for Stott, but they’ve “become more of a main character.” She likes taking “something that’s not typically celebrated and making it pretty or special.” If you doubt that a fly can be made pretty, you haven’t seen Stott’s flies. Some have stained-glass wings, which she calls “a visual way to communicate ‘otherworldly’ since you can

In Stott’s world, flies are pests that manage to be pretty. Her innocent-looking cherubs make mischief. In a work from a few years ago, two ravenous angels snack on Funyuns and Utz potato chips. And a piece she’s working on for Constellations depicts a precious little girl with a finger up her nose. That dichotomy, she said, “is exactly what I love: an adorable girl who’s also kind of gross.” Page Leggett is a Charlotte-based freelance writer. Her stories have appeared in The Charlotte Observer, The Biscuit, and many other regional publications.

The Artifacts of Being Human Grace Stott's Constellation CLT installation is on view through March 7, 2027 at Mint Museum Uptown. Learn more about her work at gracestott.art.

OPPOSITE: Grace Stott (American, 1990–). Pizza Party, 2024, stoneware, nylon flock, gold luster, grout, fiberglass, concrete, foam. Courtesy of the artist. ABOVE: Grace Stott (American, 1990–). Moody Mabels (detail), 2024, porcelain, grout, fiberglass, concrete, foam. Courtesy of the artist.

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UPCOMING EVENTS

FALL 2026

Enjoy an Artist Talk with Virgil Ortiz September 26 at Mint Museum Randolph.

Corey Pemberton will join in a panel discussion at the opening celebration for Corey Pemberton: Living Well, September 19 at Mint Museum Uptown.

SEPTEMBER 18 FRIDAY Members Moment: Corey Pemberton: Living Well Mint Museum Uptown 6–7:30 PM | Free Mint members can experience Corey Pemberton: Living Well before it opens to the public with a tour led by artist Corey Pemberton. 19 SATURDAY 'Better Together' Opening Celebration for Corey Pemberton: Living Well Mint Museum Uptown 10 AM–4 PM; 1–2:30 PM panel discussion Free museum admission Browse the vendor market, experience live demos and interactive workshops, plus a panel discussion, "Making a Way: What Does It Take to Build a Creative Life?" with artists Corey Pemberton and Cedric Mitchell who share honest insights on building a creative career. Organized by Crafting the Future and DUPP&SWATT and presented through the generous support of the Windgate Foundation.

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26 SATURDAY Potters Market at the Mint Presented by Principal Foundation Mint Museum Randolph 10 AM–4 PM | $25, includes museum admission The 20th annual event features 55 of North Carolina’s most highly regarded potters selling their wares. Artist Talk: Virgil Ortiz Mint Museum Randolph 1–2 PM | Free with museum admission or Potters Market ticket Internationally acclaimed Pueblo artist Virgil Ortiz, recognized worldwide for his groundbreaking work in pottery, fashion, and contemporary Indigenous art, will present a public lecture as part of Handwork 2026, Craft in America’s national celebration of creativity during America’s 250th anniversary. 27 SUNDAY Party in the Park: Guild of Charlotte Artists 2026 Artist Market Mint Museum Randolph 1–5 PM | Free Shop works at the Guild of Charlotte Artists 2026 Artist Market, and enjoy food trucks, live music, a cash bar on the front terrace, and free museum admission.

Symposium and Reception with Ceramic Artist Mark Hewitt: 'The Past, Present, and Future of North Carolina Ceramics' Mint Museum Randolph 2–5 PM | Free Acclaimed ceramic artist and scholar Mark Hewitt will deliver a keynote lecture, followed by a panel discussion featuring Cynthia Bringle, Travis Owens, and Ibrahim Said. Presented as part of Handwork 2026, Craft in America’s national celebration of creativity during America’s 250th anniversary.

OCTOBER 1 THURSDAY Taste of the Mint: Caravaggio | Revolution Mint Museum Uptown 2–4 PM | $75 members, $85 nonmembers A specially designed tasting and wine pairing at Mariposa at the Mint, followed by an educator-led tour of Caravaggio | Revolution. Tickets are limited, purchase online at mintmuseum.org. 11 SUNDAY Artist Talk with Andrew Leventis: 'Shadow play: The Caravaggesque in my approach to painting' Mint Museum Uptown 2–3 PM | Free Artist Andrew Leventis will discuss the Caravaggistic influence on his practice, exploring facets of compositions, theatrical staging, and subject matter through the inspirational lens of Baroque masters.

ONGOING Yoga at the Mint Mint Museum Uptown Tuesdays, 5:15–6:15 PM Yoga on the Lawn Mint Museum Randolph Saturdays, 10–11 AM Free for members using code MINT21; $15 for nonmembers Participate in a one-hour yoga class with Dancing Lotus Yoga + Arts. Registration is required. Register online at dancinglotusnc.com. Sound Bath Series Mint Museum Uptown First Tuesdays, 7–8:30 PM | Free

Visitors can enjoy Free Wednesday Evenings, 5–9 PM, at both museum locations every Wednesday.

21 WEDNESDAY Mindful Looking: Corey Pemberton: Living Well Mint Museum Uptown 7–8 PM | Free

25 SUNDAY Party in the Park: Celebrating 90 years of The Mint Museum Mint Museum Randolph 1–5 PM | Free

A guided slow-looking experience in the exhibition Corey Pemberton: Living Well that incorporates mindful breathing and meditation.

Celebrate the Mint's 90th anniversary and the opening of Brilliant by Design: The Handbags of Judith Leiber with an afternoon of live music, food trucks, and hands-on activities.

23 FRIDAY Members Preview Brilliant by Design: The Handbags of Judith Leiber Mint Museum Randolph 11 AM–2 PM | Free Mint members can enjoy early access to Brilliant by Design. Learn about fashion design icon Judith Leiber in the exhibition that includes than more than 100 of her novelty designs. Curator Conversation | Brilliant by Design: The Handbags of Judith Leiber Mint Museum Randolph 2–3:30 PM | Free with museum admission Hilary Davidson, fashion historian, author, and professor at the Fashion Institute of Technology and renowned book-clutch designer Olympia Le-Tan join Mint Museum Fashion Fellow Bridget Kerr and Senior Curator of Craft, Design, and Fashion Annie Carlano to discuss the life and work of Judith Leiber.

NOVEMBER 4 WEDNESDAY Wednesday Night Live: Youth Orchestras of Charlotte Baroque night Mint Museum Uptown 6:30 PM | Free Youth Orchestra of Charlotte presents an mini concert featuring Baroque works. The music begins at 6:30 PM, cash bar opens at 5:30 PM, galleries open until 9 PM. 6 FRIDAY Constellation CLT Artist Talk: Grace Stott Mint Museum Uptown 6–8 PM; 6:30 PM artist talk | Free Chief Curator and Curator of Contemporary Art Jen Sudul Edwards, PhD, is joined by ceramic artist Grace Stott to discuss her Constellation CLT installation, as well as her practice and process.

Events are subject to change. Pricing excludes tax. For our full calendar and most up-to-date information, visit mintmuseum.org/events or call 704.337.2000.

This restorative program incorporates elements of breathwork, guided meditation, gentle movement, and live instrumental and vocal sound to create a soothing environment. Drop-in Art Mint Museum Randolph Wednesdays, October 14–December 9, 5–8 PM | Free Drop by the Art Room to explore fiber art, drawing and painting, collage, plus rotating seasonal activities. Let the Music Play: Steinway Residency Series Presented by First Horizon Bank Mint Museum Uptown Third Wednesdays, 6–6:45 PM | Free In collaboration with the Steinway Piano Gallery, a rotating lineup of talented pianists perform various music genres. ArtBreak Mint Museum Uptown and Mint Museum Randolph Thursdays, noon–12:30 PM | Free Enjoy a guided tour on the third Thursday each month at Mint Museum Uptown and the fourth Thursday of each month at Mint Museum Randolph.

FREE ART KITS Visit Mint Museum Randolph the first Wednesday through Friday of October and December during museum hours, to pick up a fun all-ages project to create at home (while supplies last). Supported by the Mint Museum Auxiliary. October 7–9 and December 2–4

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Noteworthy AWARDS, ACCOLADES, AND NOTABLE MENTIONS

The Mint Museum was recognized in SouthPark magazine’s inaugural A-List Awards, earning the No. 1 Editor’s Pick for Art for All and taking top honors as Best Museum in the Voters’ Choice Awards.

Rebecca Elliot, associate curator of Craft, Design, and Fashion, was selected as one of four jurors for the exhibition In the Making: Contemporary Craft from South Carolina, on view October 10, 2026–April 25, 2027 at the South Carolina State Museum in Columbia, South Carolina. The exhibition is part of the nationwide initiative organized by Craft in America called Handwork 2026: Celebrating American Craft.

The Mint Museum welcomed a vibrant crowd for Mint to Be, the second annual celebration of art, fashion, and creativity inspired by the Met Gala. The event marked the opening of the exhibition Mint to Be: The Feminine Body as Costume Art, featuring works by more than a dozen Charlotte artists and curated by Savannah College of Art and Design Professor Perrine Shields (aka Professor P). Guests embraced the exhibition theme with bold, creative fashion that expressed the feminine form, while 19 designers competed in the inaugural runway competition for a $1,000 prize. The evening celebrated Charlotte's vibrant creative community with an unforgettable showcase of art and style. Photos by Sancho Smalls. 14

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Shelby McVicker, environmental and exhibition graphic designer at the Mint, is now teaching pottery classes at Carolina Clay Connection. An accomplished ceramic artist, she has participated in two ceramics shows at SOCO Gallery curated by Charlotte-based artist Grace Stott. McVicker will be leading an all-levels wheel class twice a week, welcoming both beginners and experienced potters. Check out her work on Instagram at @shelby_mcvicker.

REASONS TO LOVE THE MINT RIGHT NOW

OUR EDUCATORS NEVER STOP LEARNING Throughout the past year, The Mint Museum’s School and Gallery Programs team has participated in the National Gallery of Art’s Across the Nation initiative, as one of 10 partner museums selected to share works from the nation’s collection while advancing museum education practices. Representatives from the cohort gathered in Washington, D.C., for three days of collaboration, exchanging strategies on docent engagement, school partnerships, teacher programs, and community outreach. The Mint also helped shape the conversation. Joel Smeltzer co-led a session with National Gallery senior educator Nathalie Ryan exploring how museums can cultivate awe to support well-being, creativity, and meaningful connections—an approach that

aligns with the Mint’s growing mindfulness initiatives. The convening concluded with educators facilitating the Draw Together Strangers activity during the National Gallery’s America250 celebration, demonstrating how simple, art-centered experiences can spark connection, curiosity, and conversation. Beyond new ideas and practical tools, the program strengthened a national network of museum educators committed to sharing best practices and expanding the impact of arts education in their communities. —Margaret Mauldin, assistant head of school and gallery programs

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AUDIO DESCRIPTIONS ADD MORE ACCESSIBILITY FOR EVERYONE Audio descriptions are narrations that describe key visual and contextual storytelling elements of works of art, including colors, shapes, facial expressions, and physical traits of characters featured in a scene. The primary purpose of audio descriptions is to provide an equal opportunity for visitors with visual impairments to fully enjoy the museum, its galleries, and the works of art within them, just as a sighted person would. However, that is not their only utility— everyone can benefit from listening to audio descriptions! Listening to descriptive audio narration allows one to slow down and mindfully engage with storytelling elements of a work of art, the little details within that make it special, rather than a quick glance and rushing onto the next piece. You may listen to audio descriptions of select galleries and works of art in Caravaggio | Revolution: Baroque Masterpieces from the Roberto Longhi Foundation by scanning the QR code. Please look out for future audio descriptions of special exhibitions and permanent collection works as we continue our work to make The Mint Museum a more welcoming and accessible place for everyone. —Hailey Black, multimedia strategy manager

WE BELIEVE ART MELDS WELL WITH NATURE The lawn at Mint Museum Randolph now features the sculpture Tangent by Hoss Haley. Haley, who has lived in the North Carolina mountains for the past three decades, was inspired by his childhood on the Kansas plains, where straight rows of farmland met the gentle curve of the horizon. That contrast between human-made order and the natural world is at the heart of Tangent. Clean, sweeping lines encourage visitors to slow down, look from different angles, and experience the landscape—and the sculpture— in new ways. The sculpture is the first placed on the lawn with more planned for the future. —Jen Sudul Edwards, PhD, chief curator and curator of Contemporary Art RIGHT: Hoss Haley (American, 1961–). Tangent, 2019, cor-ten steel. Museum purchase: Funds provided by Windgate Foundation and the Charles W. Beam Accessions Endowment. 2021.68

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MOVEMENT IS ANOTHER WAY TO EXPERIENCE ART The Mint Museum’s Art and Wellness initiative is expanding with the launch of BOOMKACK: A Community Dance Class, a monthly series led by Charlotte dance artist and instructor Jessica Thompson. Designed for all experience levels, each one-hour evening class invites participants to explore a different style of dance in a welcoming, judgment-free environment where the focus is on movement, connection, and fun. Whether attending solo, with friends, or as a family, participants will discover how movement can inspire joy, mindfulness, and a deeper sense of community in the unique setting of the museum. —Michele Huggins, associate director of marketing and communications

MASTERPIECES ARE BEST SAVORED Taste of the Mint is back this fall with a delicious new experience inspired by Caravaggio | Revolution: Baroque Masterpieces from the Roberto Longhi Foundation. Begin your afternoon at Mariposa at the Mint with a specially curated tasting menu and expertly paired wines designed to complement the exhibition. Following the tasting, enjoy an educator-led tour of Caravaggio | Revolution, exploring the artistry, innovation, and storytelling that transformed Western painting. Join us October 1 at 2 PM. Cost is $75 for members, $85 for nonmembers. Limited availability, purchase tickets at mintmuseum.org. —Clayton Sealey, senior director of marketing and communications

WELLNESS IS PART OF THE MINT’S MANTRA Studies confirm that engaging with art is a powerful tool for well-being from lowering stress to reduced aging and improved mental health. Through wellness programs like Mindful Looking, Meditation at the Mint, yoga, Mint 2 Move Cultural Dance Night, monthly dance classes, Art Rounds, and immersive soundbath experiences, the Mint offers opportunities to nurture the body and mind. Surrounded by art, wellness at the Mint becomes an experience that encourages balance, curiosity, and connection. These programs support the whole person, creating meaningful moments that extend beyond the galleries and into everyday life to inspire a healthier, more connected community. —MH

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WE LOVE THE ART OF READING This fall, The Mint Museum’s Art of Reading program celebrates its 10th anniversary. Over the decade, more than 1,400 visitors have discovered new perspectives on the museum’s collections through guided tours inspired by literature, proving that the only thing better than a great book is sharing it with fellow readers. Art of Reading invites participants to connect stories with works of art in ways that spark imagination and conversation. Picture Mr. Darcy from “Pride and Prejudice” admiring an elegant Derby Porcelain coffee cup, or spotting traces of

Marcellus from “Remarkably Bright Creatures” in a contemporary work of art. Each tour offers a fresh lens for viewing the Mint’s collections. Whether you come with a book club, a group of friends, or on your own, Art of Reading offers a unique way to experience art and literature with like-minded company. Virtual tour options are also available for groups. —Kassidy Childs, tour programs coordinator

CREATIVITY GROWS THROUGH COLLABORATION Students in the Grier Heights Community Youth Arts Program experienced the Designing Dynamism: Kuba Textiles from the DR Congo, The Wesley Mancini Collection exhibition through the lens of programming developed for them by students in the Harvey B. Gantt Center for African-American Arts + Culture's residency program. The Gantt residents led an evening of activities, including 18

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drawing in the gallery, an African mask collage made from their drawings, and a Kuba trivia game that fueled enthusiastic competition. Lots of coveted candy prizes were won by Grier Heights students who remembered the Kuba exhibition facts heard during the activities. —Ramona Holloway, director of community relations and civic engagement

GREAT ART EXPERIENCES START WITH GREAT EXPERIMENTATION There are times you may walk into the classrooms at Mint Museum Randolph to find art supplies overflowing on the tables, projects dotting the floors, paper and canvases spilling from the closets, and educators hard at work testing materials. While it may look like chaos to some, the experimentation done on “studio days” is an essential part of the process in developing satisfying, successful art experiences for our young artists. For example, while developing a tape-resist painting activity inspired by Kuba cloth designs, our educators worked through dozens of challenges—tape that wouldn't stick (or stuck too well), paint that smeared if it dried too little and peeled if it dried too much. Nearly 30 test projects later, they found a process that was both reliable and rewarding. While trial and error are essential parts of the creative process, we believe that our young artists deserve a wellthought activity that sets them up for success. By testing every step in advance, we create activities that encourage exploration, build confidence, and set students up for success. The Kuba-inspired project was a favorite with summer campers, who were able to focus on experimenting with approach and design, knowing that the materials and process worked as they should. —Leslie Strauss, head of family and studio programs

COMMUNITY PARTNERS MATTER Partnering with Charlotte Mecklenburg Library, the Mint provided inspiration for the Mood Boards with the Mint program at Matthews Branch Library in May. The “crafternoon” included an introduction of the history of the Mint’s fashion collection along with images of garments and accessories from the collection. Charlotte Mecklenburg Library provided craft supplies and fashion magazines and invited participants to collage mood boards to illustrate what inspires them. Several people incorporated the Mint’s fashion collection images into their creations and reminisced about the last time they visited the museum. It was an afternoon of creativity inspired by the Mint’s collections and history. —Ellen Show, director of library and archives

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A LEGACY IN MOTION: 90 YEARS OF THE MINT MUSEUM A LOOK BACK AT THE EVENTS, ACQUISITIONS, AND IDEAS THAT HAVE HELPED TO SHAPE CHARLOTTE’S ARTS AND CULTURE LANDSCAPE SINCE 1936

1930s The Mint Museum opened October 22, 1936, with a gala attended by prominent arts supporters, including attorney Charles W. Tillet Jr.; Frank Porter Graham, president of the University of North Carolina; Mary Myers Dwelle, champion of The Mint Museum; Leila Mechlin, secretary of the American Federation of Art; and Phillip Youtz, director of the Brooklyn Museum of Art. Allan Ramsay’s portrait of Queen Charlotte arrived on the morning of October 22, 1936, just hours before the opening gala, and was hung in the Mint’s main gallery, now called the Dwelle Gallery at Mint Museum Randolph. The anonymous donor of the painting was later identified as Jane Hall Liddell Battle of Asheville, North Carolina. In 1970, a generous donation by Frank Ryan Harty funded the purchase of a higher quality portrait of Queen Charlotte by Allan Ramsay, which replaced the original painting and has hung at Mint Museum Randolph ever since. The original portrait was sold at auction several years later to fund other acquisitions.

Mary Myers Dwelle’s scrapbook page documents Leila Mechlin’s impassioned “Save The Mint” speech that kicked off fundraising to purchase the rubble of the old U.S. Branch Mint building in 1933. Mechlin was secretary of the American Federation of Art and a guest speaker at a Charlotte Woman’s Club event when Dwelle told her about the fight to transform the old Mint building into an art museum. Completed in 1936, the reconstructed building became The Mint Museum and North Carolina’s first art museum.

ABOVE: Allan Ramsay (Scottish, 1713–1784). Queen Charlotte, circa 1762, oil on canvas. Gift of Mr. Frank Ryan Harty. 1970.56

Susie Van Landingham, Katherine Arrington, Mary Myers Dwelle, and Sadie Burwell pose with Francesco Granacci’s Madonna and Child during the 1936 opening of The Mint Museum. Donated by Samuel H. Kress, it was one of the first paintings in the Mint’s collection. Van Landingham raised money to purchase objects for the museum’s collection, Arrington pledged the first $200 toward the purchase of the old Mint building’s rubble, Dwelle championed rebuilding the Mint as North Carolina's first art museum and tirelessly supported the museum until her death in 1975, and Burwell served as the museum’s first curator. —Ellen Show, director of library and archives mintmuseum.org

1940s Sanford Gifford’s luminous painting Indian Summer in the White Mountains was gifted to the museum in 1945. At the time, it was attributed, based on a spurious signature in its lower left hand corner, to Gifford’s colleague Jasper Francis Cropsey. Later scholarship, and careful conservation work that revealed Gifford’s signature, confirmed the painting to be by Gifford. It is a stellar example of his work, as well as of mid-19th-century American landscape painting, depicting a warm, early fall day in the foothills of New Hampshire’s White Mountains. It has been a staple in the museum’s American galleries for decades. —Jonathan Stuhlman, PhD, senior curator of American Art 22

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ABOVE: Sanford R. Gifford (American, 1823–80). Indian Summer in the White Mountains, 1862, oil on canvas. Gift of the Estate of Miss Elizabeth Boyd. 1945.3

1950s Dorothy Masterson founded The Mint Museum Drama Guild in 1954 and served as its artistic director until her retirement in 1979. The Drama Guild’s earliest productions were staged in the Dwelle Gallery at Mint Museum Randolph. Following the museum’s 1967 expansion, performances moved to the newly constructed Golden Circle Theatre—now the Van Every Forum—at Mint Museum Randolph, which became the Drama Guild’s permanent home. Under Masterson’s leadership, the Drama Guild built a reputation for presenting an ambitious repertoire of classic works and serious dramas that were seldom produced by community theaters. She directed most of the productions and frequently appeared onstage herself, including a memorable performance as Queen Elizabeth I in “Elizabeth the Queen” in 1959. The Drama Guild drew an impressive range of creative talent, both onstage and behind the scenes. Artists Herb Cohen, José Fumero, and Marianne Lieberman contributed to productions, as did The Mint Museum director Robert Schlageter and author Jan Karon, then known as Jan Orth. The Golden Circle Theatre also nurtured a generation of performers, featuring actors such as Gladys Lavitan, George Gray Jr., and Robert Pierce, while providing an early professional platform for Leon Rippy and Dean Whitworth. —ES mintmuseum.org

1960s Since 1961, The Charlotte Debutante Club has donated funds to acquire over 80 works of art. The gifts have represented all forms of making. The first donation was a 16th-century Belgian tapestry illustrating the dramatic love affair of Antony and Cleopatra. In 1968, thanks to a donation by the Charlotte Debutante Club and North Carolina National Bank (now Bank of America), Russell B. Hicken, then the Mint’s director, was able to select 47 Peruvian objects to join what The Charlotte Observer called at the time “the museum’s growing pre-Columbian collection.” The gift honored Dr. Frances Robicsek, who, in addition to revolutionizing the approach to cardiac surgery, also provided a substantial gift of Mesoamerican objects that served as the foundation for the Mint’s internationally recognized Mesoamerican collection. A large portion of the Charlotte Debutante Club’s Peruvian gift remains on view at Mint Museum Randolph. —Jen Sudul Edwards, PhD, chief curator and curator of Contemporary Art 24

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1970s The Mint’s Costume Collection (now Fashion Collection) was founded in 1972 by three members of The Mint Museum Woman’s Auxiliary (now the Mint Museum Auxiliary), Lillian Crossland, Ruth Lucas, and Hannah Withers. The Woman’s Auxiliary provided funding for the care of the collection, as well as for exhibitions and professional appraisals. Most importantly, in 1987, they advocated for the hire of a professional curator, Pat Roath. Since that time, the Mint Museum Auxiliary has supported the ongoing building of the Fashion Collection, through its generous funding of strategic, spectacular fashion acquisitions, including this dress by Maria Grazia Chiuri, creative director for the House of Dior. —Annie Carlano, senior curator of Craft, Design, and Fashion; and ES Although Romare Bearden was born in Charlotte in the early 20th century, he moved with his family to New York as a child. He maintained his connections to the South, both through familial ties and in the art that he made, starting with his paintings in the 1940s but most notably in his collages in the 1970s and '80s, which often feature subjects drawn from his memories of the region. Carolina Shout, an important early collage that refers to both Southern religious and musical traditions, was the first work by Bearden to be acquired by The Mint Museum, just a year after its creation. It marked the beginning of the museum’s ongoing dedication to celebrating Bearden’s legacy, both through nationally recognized exhibitions and acquisitions of his work. Today, the Mint holds the largest and deepest collection of Bearden’s art in the world. —JS

OPPOSITE (from top): Unidentified maker from the Nasca culture (Peru). Double-spouted Composite Vessel, 450–550 CE, earthenware, slip paint. Museum Purchase: Charlotte Debutante Club Fund. 1968.3.34; Unidentified maker from the Nasca culture (Peru). Step-fret-shaped Vessel, 550–650 CE, earthenware, slip paint. Museum Purchase: Charlotte Debutante Club Fund. 1968.2.5 ABOVE: Maria Grazia Chiuri (Italian, 1964–), House of Dior (Paris, France, 1946–). Haute couture evening gown, Look 58 (detail), Fall/ Winter 2022, silk, mixed media. Museum purchase: Funds provided by the Mint Museum Auxiliary. 2023.100; RIGHT: Romare Bearden (American, 1911–88). Of the Blues: Carolina Shout, 1974, collage. Museum Purchase: National Endowment for the Arts Matching Fund and the Charlotte Debutante Club Fund. 1975.8 © 2026 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

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1980s Acquired in 1983, this vase comes from the collection of North Carolina pottery assembled by Dorothy and Walter Auman. The Auman Collection includes 1,142 objects, comprising about half of the Mint’s collection of North Carolina pottery. Both Dorothy (Cole) Auman and Walter Auman came from long lineages of North Carolina potters and founded Seagrove Pottery in 1953. They also renovated an old railroad depot into the Seagrove Potters Museum, where they displayed their collection before it came to The Mint Museum. This vase by Arthur Cole (Dorothy’s uncle) illustrates his flair for form and the distinctive red glaze for which he was famous. —Rebecca Elliot, associate curator of Craft, Design, and Fashion 26

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ABOVE: Arthur R. Cole (American, 1892–1974). Vase, 1930, earthenware. Gift of the Mint Museum Auxiliary and Daisy Wade Bridges from the Collection of Walter and Dorothy Auman. H1983.190.1727 OPPOSITE (from top): Exterior of The Mint Museum of Craft + Design, 1999. © Sean Busher Photography; Dale Patrick Chihuly (American, 1941–). Royal Blue Mint Chandelier (detail), 1998, handblown glass, steel (alloy). Museum Purchase: Funds provided by Bank of America and various individual donors. 1998.131 © 2011 Mitchell Kearney

1990s In July 1997, NationsBank (now Bank of America) gifted $10.5 million to The Mint Museum to support the development of The Mint Museum of Craft + Design. Opening in the former Montaldo’s department store on North Tryon Street in 1999, it signaled the Mint’s commitment to establishing a leading center for contemporary craft and design. National collectors donated objects and funding, providing the resources needed for several site-specific commissions, including Dale Chihuly’s Royal Blue Mint Chandelier. The iconic glass artist Chihuly revolutionized the Studio Glass Movement by transforming blown glass into an internationally recognized artform. —RE mintmuseum.org

LEFT: Kehinde Wiley (American, 1977–). Philip the Fair, 2006, oil on canvas. Museum purchase with funds provided by the Mint Museum Auxiliary, the Katherine and Thomas Belk Acquisition Fund, and Kelle and Len Botkin. 2022.2; BELOW: Sam Gilliam (American, 1933–2022). The Illustrious Kites Made in Boxing Styles, 2004, golden fluid acrylic paint, flag bunting, cotton/polyester thread. Museum Purchase: Exchange Funds from the Gifts of Harry and Mary Dalton, David M. Dalton, Dr. and Mrs. Tibor Ham, the Charlotte Debutante Club, Mrs. William Dexter, Dr. and Mrs. Arthur Rogers, L. Bradley Camp and Gifts from the North Carolina Arts Council, Mr. and Mrs. Sam Belnavis, Mrs. Jeanne Brayboy, Dr. and Mrs. Raleigh Bynum, Dr. Gwyn Davis, Mr. and Mrs. Harvey Gantt, Dr. and Mrs. Tolly Kennon, Mrs. Mary Maxwell, Mr. and Mrs. Kevin Patterson, T. Michael Todd, Dr. and Mrs. Lester Wallace, Jr., Mr. and Mrs. Herbert L. Watkins, Congressman and Mrs. Mel Watt, Dr. and Mrs. Spurgeon Webber, Jr., and Dee Dee Murphy. 2004.53A-Q © Sam Gilliam 2004

2000s In 2006, Kehinde Wiley's Philip the Fair went on view as a longterm loan to the Mint. The painting questions the conventions of traditional Western portraiture by casting everyday subjects from Wiley’s neighborhoods in poses based on portraits of European royalty. Philip the Fair recalls a stained-glass window depicting the 15th-century French King Philip IV. While Wiley made his reputation with such portraits, he reached national recognition when he was commissioned to paint president Barack Obama’s official portrait in 2018. When the owner of Philip the Fair decided to offer the painting for sale in 2022, the museum was fortunate to be able to raise the funds to keep it in Charlotte permanently. It is now on view at Mint Museum Uptown. —JS Mississippi-born, Kentucky-raised, and Washington, D.C.based Sam Gilliam rose to fame for his daring, colorful, abstract stained “drape” canvases that challenged convention by eschewing stretchers and instead hung suspended by nails and ropes on gallery walls in the 1960s and '70s. The Mint commissioned The Illustrious Kites Made in Boxing Styles from Gilliam in 2004. Gilliam gave his stained canvases a rectangular structure, and suspended them across the Mason Wallace Atrium glass ceiling, drawing viewer’s eyes’ upward when entering the museum. —JS

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2010s Mint Museum Uptown opened to the public October 1, 2010. The public opening featured a 24-hour celebration with gallery tours, hands-on art activities, and musical performances. It also heralded the landmark program Project Ten Ten Ten, a series of 10 craft and design commissions celebrating the opening of the Mint Uptown in the 10th month of 2010. —RE Soon after the opening of Mint Museum Uptown, the Target Corporation needed to relocate a monumental work by artist Sheila Hicks that was commissioned for its Minneapolis headquarters. Three United States museums were invited to apply for the large textile wall sculpture. The Mint won the competition, and Paris-based Hicks came to Mint Museum Uptown to reconfigure the wall drawing in a place of prominence in the Robert Haywood Morrison Atrium at Mint Museum Uptown. She renamed it Mega Footprint, the title referencing the huge impact of the new Mint Museum Uptown on Charlotte and beyond. —RE ABOVE: Danny Lane (American, 1955–). Threshold (detail), 2010, stacked plate glass, molded glass and steel. Project Ten Ten Ten commission. Museum Purchase: Exchange funds from various donors; Gift of William and Patty Gorelick, Drew and Beth Quartapella, Shelton and Carol Gorelick, John and Stacy Sumner Jesso, Richard and Yvonne McCracken, and the Founders' Circle Cause 2009 contributors. 2010.70 © Danny Lane, 2010. Photo © Peter Wood; RIGHT: Sheila Hicks (American, 1934–). Mega Footprint Near the Hutch (May I Have This Dance?), 2011, sculpture in linen and cork. Gift of Target Corporation. 2011.42 © Sheila Hicks 2011

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2020s Brooklyn-based artist Summer Wheat’s monumental work of art Foragers spans four stories and 3,720 square feet in the Robert Haywood Morrison Atrium at Mint Museum Uptown. Installed in 2020, its vibrant collaged panels of hand-cut, colored vinyl create the illusion of stained glass, filling the atrium’s 96 windows with luminous color while weaving a story of the women whose labor helped build the communities that form the backbone of modern society. Originally commissioned for the space as part of the exhibition In Vivid Color, a generous grant from Wells Fargo Foundation made it possible for the Mint to acquire Foragers allowing it to remain on view at Mint Museum Uptown. —JSE Since the early 2010s, the Mint Museum of Craft + Design Collections Council has funded purchases of major works of art selected by curators to fill gaps in the Mint’s collection. Rose B. Simpson, a Tewa artist from Santa Clara Pueblo, New Mexico, spoke at the Mint in 2013 and was on the museum’s wish list from then until 2023, when Two Selves was purchased. These two figures, an adult-sized armless character with firmly planted feet and a childlike figure with outstretched arms and restless legs, represent the difference between the centered and accepting state of being, and the frenetic and grasping state of doing. Both lie within us in an ongoing struggle for dominance. —RE 30

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ABOVE (from top): Summer Wheat (American, 1977–). Foragers (detail), 2020, colored vinyl on mylar, 805.5 x 738.5 inches. Museum Purchase: Funds provided by Wells Fargo Foundation Women Artists Fund. 2020.35a-qqqq; Rose B. Simpson (American, 1983–). Two Selves (detail), 2023, ceramic, steel, grout, twine, hide. MMCDF Collections Council Acquisition Fund, Windgate Fund, Finish Line Fund, Charles W. Beam Accessions Endowment, and Laura & Mike Grace. 2024.24

NOT ABOUT, BUT WITH AN INTERVIEW WITH COREY PEMBERTON BY ARTIST SONYA CLARK INTRODUCTION BY JEN SUDUL EDWARDS, PHD

Corey Pemberton: Living Well opens September 19 at Mint Museum Uptown. The exhibition brings together Pemberton’s work across glass, collage, painting, quilt making, and basketweaving. At age 36, Pemberton has quickly emerged as one of the leading voices in contemporary art, earning a 2026 United States Artists Fellowship while placing work in the permanent collections of the Museum of Arts and Design in New York, Boston’s Museum of Fine Arts, Yale University Art Gallery, Corning Museum of Glass, Pittsburgh Glass Center, and the Chrysler Museum of Art. Pemberton also serves as the executive director of Crafting the Future, a nonprofit organization dedicated to increasing access to education and opportunities for artists of color in the fields of visual art, craft, and design. While studying at Virginia Commonwealth University, Pemberton met Sonya Clark, then chair of craft/material studies. Clark expanded studio practice by introducing ABOVE: Corey Pemberton (American, 1990–). You know you see us (detail), 2021, acrylic and inkjet prints on canvas. From the collection of Yashua Simmons and Darnell L. Moore. L2026.40.1

materials such as Black hair, plastic combs, and unraveled flags into institutional spaces. As Black artists working in predominantly white fields—Pemberton in Ashburn, Virginia, and Clark in Washington, D.C.—their shared context shaped a mentorship rooted in making, identity, and material meaning. They will also share a future milestone at the Mint: Pemberton’s exhibition will be on view through January 31, 2027, followed by Clark’s The Yellowest Eye opening in February 2028 at The Mint Museum. Following is an excerpt of a conversation between Clark and Pemberton from the catalogue “Corey Pemberton: Living Well.” The conversation is edited for brevity and clarity. Sonya Clark: I am holding a glass that you made when you were maybe just out of school. It is this beautiful aqua tumbler. I have them in a couple of colors, but this is the one that I drink out of most regularly. And so, I think about you literally daily. Corey Pemberton: That is something that we have been

talking about as we put conversations together for the text within the book and the didactic information in the show: mintmuseum.org

the importance of objects in everything that I do. And this idea that we all curate our space with objects that are meaningful to us either because of the people who gave them to us or who have lived with them before us. It is so nice to be able to reach into the cabinet and feel like you're having coffee with your bestie in the morning. SC: I think about the way that you work so fluidly between

glass and painting and your commitment to Crafting the Future. Some people would just pick one, like, “I am an excellent glassblower. That's what I do.” I want you to talk a little bit about the mind of CP and how these three things get braided together in your life.

CP: I think I have the Craft and Material Studies program

at VCU, as well as my time at Penland, to thank for this freedom that I feel to oscillate between different areas. It was so easy to bounce around to different studios and to learn. It was encouraged and that spoke to me as somebody who is perpetually curious. There are times when as artists we feel like we have to specialize in something and that maybe our following or our cachet won't build as clearly if we are bouncing around between all of these seemingly disparate practices. I have struggled with that a lot—and even struggled with trying to bring them together, almost forcing it. What I've found over time is that, if I just relax and let it be—realize that the common denominator is me, my life experience, and my lens—all of it will make sense. After a while, these things aren't going to be in competition with one another but instead will feed one another. Even the parts that aren't necessarily about being in the studio, like my community work, also feeds into the studio in a way that I didn't expect.

SC: I love that there is a way in which we're not monolithic. This idea of doing multiple things and doing them well in your situation makes good sense to me. One of the things that I often think about is that, what I am trying to do as an artist is add to the ancestral archive, right? I have all these people who have come before me, who have made me who I am, plus the experiences that I have in this living body that I am in. It is my responsibility to add to what they have brought forth already. And then when I think about your work—how long have you lived in California? CP: Since 2019, so seven years. SC: Around the same time that you started Crafting the

Future, but is that also around the time that really started putting painting into your practice?

CP: I had begun that a couple years earlier at Penland,

investigating this idea of coming back to drawing and painting. But 2019 is when I really started saying, “You know what, maybe I can be a painter and a glassblower at the same time.”

SC: Why not? Those are other people's lines; you don't have

to draw within them, right? So, one of the things that I feel when I look at the incredible skill and resonance in both of the mediums that you are working in is that there is actually a kind of California light in them. I have this beautiful turquoise glass, and I associate this with being a color that is repeated in your palette. Wouldn't you say that's true?

CP: Absolutely. SC: So California light was like, “OK, this needs to be both

in the glasswork and in the painting?”

CP: I have never really thought about that but as I am

reflecting on it in this moment, I think that I have always been interested in a vibrant and wide color palette. When I moved to California, and I don't know that other people perceive this in my work, but the way that I look at my use of color is that it is broad and bright. At the same time, it is also muted. I actually mix a lot of gray into colors to tone them down a little bit. In my mind, I am unifying colors that might not necessarily go together. As I am reflecting on this idea, is there something California about that? There's a vibrancy, but also, like a film over everything.

SC: Right, the beautiful sunsets caused by the smog. CP: Exactly! SC: I think that's a maturity of palette. I am a person who loves color too, though it isn't necessarily in my work, but it certainly is in my dress all the time. There is no hiding; I always have on some bright color. But the way in which a maturity-of-understanding palette means that the “neutral” holds the vibrance of color. I'm thinking Amy Sherald's use of gray makes her paintings even brighter. 32

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But in your case, you are mixing gray or mixing a neutral in. And the way that we get to a neutral, not always, but sometimes, is by mixing complementary colors, right? So, the neutral holds the essence of these two things that have pulled apart. When you put them in the presence of the neutral that holds them both, it's like a great backup singer. These are disparate things, but now they are harmonized through the neutral. I feel that in your paintings too. It is a very sophisticated way of thinking about color. Can you talk about how that enters into your glasswork? I feel like the palette is similar. CP: It is interesting. In glass, we are working with a limited

palette unless you're lucky enough to get to melt your own glass color, which I have done a little bit at Penland. You have a palette of maybe a hundred colors. I am just trying to sample all of them and see what I can get away with because there is also this thing in glass where you're dealing with the technical properties of each color.

SC: Yellow was hard, right? CP: Exactly. Some are soft, some are stiff. I am constantly

trying to see how far I can push it. What colors can I put together that are going to let the pattern that I am trying to create shine, but that are not going to create a technical difficulty in terms of one moving really quickly and one really slowly or them cracking and breaking apart? It is a

bit of a balance trying to match my desires and my natural aesthetic and working within the confines of the material. I am also doing a similar thing lately in my murine work, where I'm not just taking the bright crazy colors, but like you said, I am adding that neutral background singer to bring everybody back down to earth and establish a sense of harmony. I recently started working with Bullseye sheet glass, and they have a wider palette of colors that are compatible with each other. They have a couple of neutrals that I am just in love with. I will throw those in as a baseline, and then start going off the rails with the accent colors. Without that the presence of that ivory or that butterscotch, the marigolds and the rubies can't really pop. SC: One of the things that resonates both in the paintings and in the glasswork is the use of pattern. You will have a quilt in the back that will be a very specific pattern, and then we see that also emerge in the glasswork, so you can hold the object that is depicted in the painting. How do those patterns serve you? OPPOSITE: Corey Pemberton (American, 1990–). Glass Houses, 2023, house paint and glass. From the collection of Yashua Simmons and Darnell L. Moore. L2026.40.3; ABOVE: Corey Pemberton (American, 1990–). It’s warmer at home (detail), 2018, mixed media on canvas. Collection of Joan Zimmerman. L2026.4.1

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CP: Honestly, I have always been interested in pattern, but I

didn't always examine the ways in which pattern could serve me and speak about my place in the world until you turned me on to this book called "Grass Roots." You were picking up on an interest that I was developing in Zulu basketry. It felt like a really important moment. I was being given permission to examine my connection to the African diaspora in a way that I had not before. I am of mixed race and I often have been made to feel not Black enough or not white enough or not this or not that. Whether that is our experience or not, I think that we can all relate to this feeling, as an imposter and not the person who should be speaking on a certain topic. To get that little nod from you was really big for me. I bring this up because there are a lot of amazing patterns in those baskets. One way in which I use pattern is simply to connect with makers and cultures who came before me, to be in conversation with those makers. On a deeper level, lately I have been investigating the potential for patterns to communicate the history of our culture. I have seen you talk in your work about messages being used in braiding and I think this has been happening in textiles for a very long time. Different people have varied degrees of belief about the use of patterns to convey messages on the Underground Railroad.

Corey Pemberton: Living Well On view September 19, 2026– January 31, 2027 Mint Museum Uptown Corey Pemberton: Living Well is generously presented by PNC with additional support from the Ford Foundation and Windgate Foundation. Individual sponsorship is kindly provided by Marty and Weston Andress, and Lauren Harkey.

We can contribute for future generations. As somebody who is a member of the African diaspora, I don't know a lot about my family history and I am envious of people who can say “My great-grandmother was a weaver” or “My great-great-granddaddy made shoes.” I don't possess that knowledge, but I can do my best to make it so that future generations will know. Jen Sudul Edwards, PhD, is chief curator and curator of Contemporary Art at The Mint Museum.

SC: When I say that I am an artist, people will say “Oh,

what do you do? Are you a painter or a sculptor?” And that divide of painting versus sculpture doesn't serve me. If I say that I re-haired a violin bow with a dreadlock and then asked a musician to play it so I could hear the voices of my ancestors—in those two sentences, you know more about me as an artist than if we tried to go through the medium specifics. So, I am wondering if you could do me the favor to talk about the work.

CP: I enjoy identifying as a painter because I feel like my

“Black, brown, and queer people are often depicted in art in moments of trauma or being extraordinary. A lot of people don’t realize what a privilege it is to be ordinary; to be depicted in a moment of rest. That’s the space I’m trying to fill with my art.” – Corey Pemberton

For the past decade, Corey Pemberton’s achievements have matched his ambitions. Originally a glassmaker, he has expanded to painting, collage, printmaking, quilting, and most recently, basketweaving. Pemberton explores his African ancestry, his American heritage, and the many other influences he has experienced through his life, all the while, aware that he is part of a legacy of makers. He creates a cultural hybridity uniquely his; each object layers technique, pattern, image, and allusions atop each other to create portraits, often of people, sometimes of traditions, alongside the exploration of the Black experience in the United States. As Pemberton observes, “I work with people who are close to me, with people who I don’t see represented as much in art history, whether it’s because of the color of their skin or their gender expression or their socioeconomic background or some intersection of underrepresented identities. And my life is full of those people.”

SC: To the ancestral archive, I always say. Understanding

that one day I will be an ancestor.

CP: I am trying to do the same thing for a few reasons. One, This is the first exhibition catalogue dedicated to his work.

I love this idea of being in community with makers and that we are encouraged to make objects in conversation with objects from the past, but we can do more than that.

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Artists Corey Pemberton (left) and Sonya Clark. Sonya Clark's exhibition The Yellowest Eye opens February 2028 at The Mint Museum.

Corey Pemberton Living Well

painting practice sums up all my different interests. On the surface, the vehicle seems to be portraiture, but I think I am actually world-building, depicting people and places, and things in a way that hopefully causes the viewer to consider the relationship of all of those things. One of them is not more important than the other. The place, the sitter, the objects that fill their space tell as much about them as their facial expression or their garb. I aspire for that same sentiment to extend to the objects that I create—that they are more than decorative objects, or sculptures, or functional objects. They are considerate of their place in the Living world, their contribution to a larger conversation and Well lineage. You were touching on this earlier, that you hope you are contributing to a greater story.

Corey Pemberton

Living Well

Read the full interview with artists Corey Pemberton and Sonya Clark in the catalogue "Corey Pemberton: Living Well."

BRILLIANT BY DESIGN: THE HANDBAGS OF JUDITH LEIBER CELEBRATING THE 'QUEEN OF THE HANDBAG INDUSTRY' BY BRIDGET KERR

Judith Leiber is celebrated as the “Queen of the Handbag Industry,” renowned for her inventive and luxurious handbag designs crafted in metal, leather, and fabric. Her dazzling creations have become icons of fashion and design, but who was Judith Leiber, and how did her handbags achieve legendary status? Born Judith Pető in Budapest, Hungary, in 1921, she was the daughter of Emil and Helene Pető. An exceptional student, she benefited from private tutors who taught her multiple languages, including German, Hungarian, French, English, Italian, and Spanish. As political tensions mounted across Europe and restrictions on Jewish citizens intensified in Hungary, her family arranged for her to attend college in London. There, she planned to study chemistry and pursue a career in the cosmetics industry. To prepare, Judith spent her final year of high school in London. She returned to Budapest during the summer of 1939 before beginning her university studies, only to find herself trapped by the outbreak of World War II. Unable to REVERSE: Judith Leiber (American, born in Hungary, 1921–2018). Clam Shell Minaudière, Spring 1991, gold-plated brass, leather, mirror. 2025.34.89; ABOVE: Octagonal Geometric Design Minaudière, gold-plated brass, leather, Swarovski crystals. Gift of the family of Vicki and Jim Mills. 2025.34.90a-d; Gifts of the family of Vicki and Jim Mills.

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return to England, she sought a profession that remained open to Jewish citizens and aligned with her interests. She became the first woman admitted to the Hungarian Handbag Guild, where she completed a rigorous three-year apprenticeship encompassing every stage of luxury handbag design and production. This training in craftsmanship and quality would provide the foundation for her illustrious career. As the war neared its end, conditions for Jews in Budapest grew increasingly perilous. The Pető family was forced into the city’s Jewish ghetto and narrowly escaped deportation to a concentration camp before Budapest was liberated by Soviet forces. In the aftermath of the war, American soldiers arrived to help rebuild the devastated city. Among them was Gerson Leiber, an Army soldier and aspiring artist. The two quickly formed a close bond and married on February 5, 1946. When Gerson's military service ended, the couple moved to the United States. While Gerson attended art school through the G.I. Bill, Judith began building a career in New York’s accessories industry. By 1947, the Leibers had settled into a small room in the Bronx. Judith initially worked for a company that produced inexpensive handbags, but she knew her talents were suited

to a higher level of craftsmanship. Seeking greater opportunities, she appealed to her union representative and soon joined the prestigious firm Nettie Rosenstein in 1948. During her tenure, she designed the handbag carried by First Lady Mamie Eisenhower to both presidential inaugurations in 1953 and 1957. When the company moved production overseas in 1960, Leiber continued honing her skills through positions with several New York firms.

Building a Brand After more than 15 years designing for others, Judith and Gerson Leiber launched their own company, finally giving Judith the opportunity to bring her personal vision to life. For her inaugural collection, she selected a single graygreen calfskin leather for every design, believing the sophisticated neutral would complement a wide range of wardrobes. Drawing upon the relationships she had cultivated throughout the industry, she invited buyers to her studio and started accepting orders. The collection debuted in stores in the spring of 1963, marking the beginning of a remarkable entrepreneurial success story. Demand quickly exceeded expectations, requiring larger facilities and additional staff. Yet despite

rapid growth, Leiber remained committed to expanding at a sustainable pace, refusing to compromise quality for quantity. In 1967, she introduced her first metal handbag. At the time, purses fashioned from solid gold were highly fashionable, but their value often made them impractical to carry. Leiber envisioned an alternative that captured the glamour of gold while remaining accessible and wearable. Her solution was a structured brass box plated in gold. When the first plated bags developed tarnish, Leiber transformed a manufacturing setback into a design breakthrough. Rather than discarding the pieces, she covered the discoloration with sparkling rhinestones. The resulting design, marketed as the “Chatelaine” bag and featured in a Bonwit Teller Christmas advertisement, became an immediate sensation and remained part of the collection for decades.

ABOVE (from top-left): Judith Leiber (American, born in Hungary, 1921–2018). Snow Leopard Minaudière, 1987, silver-plated brass, leather, Swarovski crystals, semiprecious cabochon stones. 2025.34.55.a-c; Resting Crane Pillbox, late 1980s, gold-plated brass, Swarovski crystals. 2025.34.70; Humpty Dumpty Minaudière, 1994, gold-plated brass, leather, Swarovski crystals. 2025.34.34; Gifts of the family of Vicki and Jim Mills.

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Consistent Creativity Throughout her career, Leiber distinguished herself through an unwavering commitment to quality, innovation, and thoughtful design. Never content to repeat past successes, she continually experimented with new materials, techniques, and forms. She embraced the playful possibilities of accessories, creating handbags shaped like fruit, cats, eggs, and countless other unexpected objects. Her originality earned widespread recognition, including the prestigious 1973 Coty American Fashion Critics’ Award—the first Coty Award ever presented to a handbag designer. The honor affirmed her position among the most influential accessories designers in American fashion history. Always mindful of her customers, Leiber expanded her offerings to include wallets, belts, pillboxes, and other small accessories. By introducing products at a range of price points, she ensured that a broader audience could experience her distinctive brand. Leiber retired in 1998 at the age of 77. In later years, she and Gerson established The Leiber Collection in East Hampton, New York, a museum dedicated to preserving both his paintings and her handbags.

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On April 28, 2018, after more than 72 years of marriage, Judith and Gerson Leiber died within hours of one another, leaving behind an extraordinary legacy of artistic achievement, craftsmanship, and design innovation. Bridget Kerr is a Fashion Fellow at The Mint Museum and curator of Brilliant by Design, as well as the author of the exhibition catalogue by the same name.

Brilliant by Design: The Handbags of Judith Leiber On view October 24, 2026–July 3, 2027 Mint Museum Randolph Brilliant by Design: The Handbags of Judith Leiber is generously presented by Wells Fargo with additional support from HB Wealth. Individual sponsorship is kindly provided by Posey and Mark Mealy, and Staci and Jeff Mills.

ABOVE: Judith Leiber (American, born in Hungary, 1921–2018). Art Deco Minaudière, silver-plated brass, leather, Swarovski crystals, semiprecious cabochon stone. Gift of the family of Vicki and Jim Mills. 2025.34.56a-d

POTTERS MARKET AT THE MINT CELEBRATES 20 YEARS THE BELOVED EVENT MARKS A MILESTONE ANNIVERSARY AS A PROUD PARTICIPANT IN HANDWORK 2026, BRINGING 55 OF NORTH CAROLINA’S FINEST POTTERS TOGETHER ON SEPTEMBER 26 BY MICHELE HUGGINS

For two decades, Potters Market at the Mint has connected potters, collectors, and ceramic enthusiasts through a shared appreciation for one of North Carolina’s most celebrated art forms. As the event marks its 20th anniversary this fall, it stands as a tribute to the state’s rich pottery heritage and a testament to the vision of the Delhom Service League, whose dedication helped establish one of the region’s premier ceramics events. The story begins long before the first Potters Market opened its doors. In 1975, M. Mellenay Delhom founded the museum affiliate Delhom Service League with a mission to create and develop interest in decorative arts and ceramics. While the

organization initially focused on building awareness of the museum’s ceramics collection, its mission expanded over time to embrace North Carolina’s thriving community of contemporary ceramic artists. Longtime supporter, Delhom Service League member, and former Potters Market at the Mint Chair Vince Long credits much of that evolution to Daisy Wade Bridges, a passionate advocate for North Carolina potters. “Daisy was really the person who pushed Delhom to recognize contemporary ceramic craft and the incredible work being done by North Carolina potters,” Long says. mintmuseum.org

Pottery State. The market became a showcase for ceramic traditions found across the region, from functional pottery rooted in centuries-old techniques to boundary-pushing contemporary works.

“Her goal, and the goal of those early Delhom efforts, was simple: support the potters.” Before Potters Market at the Mint was established, Bridges organized a smaller precursor event on the grounds of Rosedale Plantation in north Charlotte, bringing potters and collectors together through a pottery market and silent auction. Bridges' enthusiasm for pottery and cultivating a community of collectors was a gift to many of the state’s most accomplished potters looking to sell their work. “The potters needed a market,” Long says. “They needed people to understand what was being made and to begin creating a culture of collecting.” That mission took on a new dimension in 2005 with the launch of Potters Market Invitational. Spearheaded by the Delhom Service League, the market quickly became a beloved annual tradition. It delighted ceramics collectors and pottery fans alike, offering the rare opportunity to meet dozens of North Carolina potters, learn about their creative processes, and purchase works directly from the artists. As the event grew, so did its impact. Potters Market helped shine a spotlight on North Carolina’s notable ceramics community and contributed to the state's reputation as The 40

Fall 2026

Although the marketplace for ceramics has changed dramatically in recent years—with artists increasingly selling through social media, online platforms, and studio events—Long believes the experience that Potters Market offers remains as valuable as ever. “You can see a piece online, but it makes such a difference to hold it and feel it,” he says. “Seeing the work in person, meeting the potter, and experiencing that connection is such an important part of collecting.” The event also offers something increasingly rare: the opportunity to see exceptional work from dozens of artists gathered in one place. “Some of the potters plan their year around bringing some of their best work to this event,” Long says. “To be able to see all of that in one place, meet the artists, and experience the work firsthand—that’s something special.” Twenty years after its founding, the event continues to evolve while staying true to the principle that inspired it from the beginning: supporting the potters and sharing North Carolina’s rich ceramic traditions with new generations of collectors and enthusiasts. ABOVE: Daisy Wade Bridges preparing for a Potters Market Invitational.

What to expect at this year’s Potters Market The 2026 Potters Market at the Mint will bring together 55 of North Carolina’s most highly regarded potters and ceramic artists from across the region for a weekend dedicated to the art of clay.

Photos by Adam Eugene for Potters Market 2025.

This milestone year also places Potters Market on a national stage as a proud participant in Handwork 2026, Craft in America’s year-long semiquincentennial collaboration among organizations, educators, and makers. The initiative highlights the importance of the handmade and celebrates the diverse crafts that help define America’s cultural identity. Adding to the excitement, The Mint Museum will welcome internationally acclaimed Pueblo artist Virgil Ortiz. Recognized worldwide for his groundbreaking work in pottery, fashion, and contemporary Indigenous art, Ortiz will present a free public lecture on Saturday, September 26, at 1 PM. The celebration continues Sunday, September 27, with a special symposium and reception featuring renowned ceramic artist and scholar Mark Hewitt. Hewitt will deliver the keynote lecture, “The Past, Present, and Future of North Carolina Ceramics,” followed by a panel discussion with distinguished artists Cynthia Bringle, Travis Owens, and Ibrahim Said. Beyond the pottery itself, visitors can enjoy a lively weekend of experiences including pottery demonstrations, bluegrass music, a beer garden and café, coffee by BRÜ, and a blind auction. Most importantly, attendees will have opportunities to engage directly with potters and collectors while helping support the future of ceramic arts in North Carolina.

Michele Huggins is associate director of marketing and communications at The Mint Museum.

Plan Your Visit Potters Market at the Mint takes place September 26 at Mint Museum Randolph on the lawn under the big tent. Tickets are $25 and include museum admission, as well as access to the Virgil Ortiz artist talk. The event is sponsored by Principal Foundation. See participating potters and purchase tickets at pottersmarketatthemint.com.

mintmuseum.org

THE

INDEPENDENT PICTURE HOUSE CHARLOTTE’S HOME OF REPERTORY CINEMA ANNIVERSARY CELEBRATIONS DISCOVER DIFFERENT SEPTEMBER 22 - 27

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TALES OF DREAD FROM ONE OF CINEMA’S MASTERS

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NOTORIOUS THE BIRDS PSYCHO VERTIGO

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AFFILIATES IN ACTION Charlotte Garden Club Art in the Garden Tour once again proved to be an outstanding success. As the event continues to gain recognition throughout the region, its impact and community support grows each year. The 2026 tour was enthusiastically supported, resulting in the sale of over 1,000 tickets. The continued success of Art in the Garden Tour would not be possible without the extraordinary gardens featured each year. The generosity, dedication, and unwavering support of the homeowners who graciously open their gardens to guests, as well as club volunteers warm hospitality and guidance, help to create a welcoming experience for every attendee. The talented local artists and vendors also enriched this year's tour. Their unique creations and offerings complemented the beauty of the gardens while providing guests an opportunity to support local businesses and the creative community. Their presence added another memorable dimension to the Art in the Garden Tour experience.

Mint Docents Since its spring opening, the Docents have been busy leading tours through Caravaggio | Revolution: Baroque Masterpieces from the Roberto Longhi Foundation. This fall, new Lunch and Learn programs are underway along with new places to explore with our travel committee. Docents Renee Reese and Deanna Daugherty will present a roundtable on the Art of Reading at this fall’s National Docent Symposium, November 6–9. The Art of Reading program continues to inspire wonderful tours at the Mint, featuring two new books: “Remarkably Bright Creatures” and “The Glass Maker.” Be on the lookout for more events and opportunities to come.

Mint Museum Auxiliary The Mint Museum Auxiliary wrapped up another wonderful year of fundraising events with a sold-out Spring Symposium featuring acclaimed designer Nate Berkus and Town & Country magazine's Senior Features Director Adam Rathe. They charmed 500 attendees with a warm and candid conversation on a stage designed by MK Boykin and Cindy

ABOVE: Club volunteers at a stop along Charlotte Garden Club's Art in the Garden Tour.

Smith of Smith Interiors, followed by a beautiful luncheon with floral design by Jay Lugibihl of In Bloom Ltd. The event, held at Charlotte Country Club, was co-chaired by Kim Salsbury and Ashley Sigmon. Earlier in the year, the Auxiliary was thrilled to welcome Pulitzer Prize-winning author, collector and businessman Steven Naifeh, in conversation with Mint President and CEO Todd A. Herman, PhD, for the inaugural Winter Evening of EngageMINT. The event was held at the Mint Museum Uptown and co-chaired by Brooke Alford and Lindsay Schall. The evening featured a candlelit reception with art-inspired cocktails by Your Charlotte Bartender, led by Rusty Lewter, and musicians from the Charlotte Symphony Orchestra, as well as an opportunity for guests to view the Auxiliary-sponsored exhibition Renaissance, Romanticism, and Rebellion: European Art from the SmithNaifeh Collection. The Auxiliary is looking forward to kicking off a new year of exciting programming this fall. For more information, visit mintmuseumauxiliary.org.

Young Affiliates of the Mint The Young Affiliates of the Mint (YAMs) are excited for another season of connecting young professionals through art, culture, and community. This fall, members can look forward to a variety of monthly gatherings designed to bring people together, from local wine outings and live music experiences to casual social events and opportunities to engage with fellow young affiliates and arts supporters. The highlight of the season will be the YAMs Fall Gala Saturday, November 14 at Mint Museum Uptown. Guests can expect an elevated experience, exciting entertainment, and the opportunity to connect with Charlotte's vibrant young professionals and arts supporters. Check out @youngaffiliates on Instagram and at youngaffiliatesofthemint.org for more details.

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EVENTS AT THE MINT

DESIGNING DYNAMISM VIP OPENING CELEBRATION The VIP Opening Celebration of Designing Dynamism: Kuba Textiles From the DR Congo, The Wesley Mancini Collection welcomed a crowd of art and design enthusiasts who enjoyed a talk by designers and partners Stephen Burks and Malika Leiper, and were able to meet and talk with textile designer and collector Wesley Mancini. From left: Annie Carlano, Malika Leiper, Stephen Burks, and Vanessa Drake Moraga

From left: Wesley Mancini, Greg Johns, and Pamela Freeman

Fall 2026

From left: Barbara Holt and Martha Harbison

From left: Kim Nixon and Patti Tracey

From left: Milton and Marshelette Prime, John and Charlotte Wickham, Natalie Frazier Allen and Hugh Allen

From left: Posey and Mark Mealy

From left: Evgeniya Ezhova and Niki Quarmyne

From left: Silent Auction Co-Chairs Kerr and Mahroo Putney

From left: Hilary Burt, Kitty Hall, and Ann Tarwater

COVETED COUTURE GALA The 2026 Coveted Couture Gala and opening celebration of Caravaggio | Revolution: Baroque Masterpieces from the Roberto Longhi Foundation was an evening of la dolce vita and Italian-inspired elegance. From Baroque beauty to timeless style, the stunning black-tie affair celebrating The Mint Museum’s vital role in the community and the arts was a grand success. Save the date for the next Coveted Couture Gala, April 24, 2027.

From left: 2026 Gala Co-Chairs Jo Ann Peer, Mary Lou Babb, Pat Rodgers, and Beverly Hance

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THANK YOU TO OUR CROWN SOCIETY PATRONS SAPPHIRE CIRCLE LAURA AND MIKE GRACE MOZELLE DEPASS GRIFFITH DEIDRE GRUBB STEPHANIE S. LYNCH MARY AND DICK PAYNE PATSY M. REAMES AND RON VICK MARY ANNE (M.A.) ROGERS LEIGH-ANN AND MARTIN SPROCK ANN AND MICHAEL TARWATER CURTIS AND ROCKY TRENKELBACH

KELLI AND PETER LASH

CYNTHIA AND DAVID HOUSTON

CHELSEA LAWSON

MR. AND MRS. WILLIAM B. MCGUIRE, JR.

NOELLE AND MARK MAHONEY

JO ANN AND JODDY PEER

ASHLEY AND SCOTT MATTEI

EDWIN A. RASBERRY

JANE AND HUGH MCCOLL

SALLIE F. SCARBOROUGH

SUSAN AND LOY MCKEITHEN

MELINDA AND DAVID SNYDER

POSEY AND MARK MEALY STACI AND JEFF MILLS AMY AND MATTHEW MOORE CELENE AND MARC OKEN CHERYL A. PALMER ANNE AND WALKER POOLE

DIAMOND CIRCLE

MARY MARGARET AND FRITZ PORTER

MR. AND MRS. WESTON M. ANDRESS

MILTON AND MARSHELETTE PRIME

KATIE AND RICHARD BATES

BETH AND DREW QUARTAPELLA

JENNIFER AND ALEX BAUER

MRS. S. EPES ROBINSON

MARY AND WALTER BEAVER

PATRICIA A. RODGERS

STEPHANIE AND HOWARD BISSELL

PAIGE AND ART ROSELLE

KELLE AND LEN BOTKIN

ISABEL VILLA-GARCIA AND

BETSY AND ALFRED BRAND BILL AND ROBIN BRANSTROM ALEXANDRA AND RORY BYRNES SARAH G. COOPER HILLARY AND W. FAIRFAX COOPER ABBIE AND WILL COOPER MARY ANNE DICKSON JAY EVERETTE AND BRIAN SPEAS OLGA AND JAY FAISON WILLIAM J. AND JENNIFER FOX LYNN AND BRIAN GOOD LISE OVREGARD HAIN BEVERLY AND JIM HANCE LUCY AND HOOPER HARDISON LAUREN A. HARKEY ANDY AND SANDIE JACKSON JILL AND MARK KELLY KATHRYN AND LUKE KISSAM MARY AND MIKE LAMACH

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PLATINUM CIRCLE HOWARD P. ADAMS AND CAROL B. MCPHEE ADDISON AND RAND AYER HARRIET BARNHARDT MARY MARGARET AND JOSH BEAVER KIM AND JOHN BELK E. COLBY AND LYNNE W. CATHEY MRS. JANE CONLAN JULIE AND TOM EISELT AMY FRITSCHE AND FELIX VON UKLANSKI LAUREN AND GRANT GILBERT SARAH AND MATT GORDON

LAWRENCE SHAHEEN, JR.

KATIE AND RASHID HALLAWAY

TREY SHERIDAN

CHANDRA AND JIMMIE JOHNSON

POPE AND PEGGY SHUFORD

JACQUELINE AND SEAN JONES

KATI AND CHRIS SMALL

EMILIE AND RON LOVELACE

SHANNON SMITH AND DANIELA SEBOVA

FRANCIE AND JOHN MANGAN

CAROLYN AND BRYAN TAYLOR

LINDSAY AND STANTON MCCULLOUGH

BIANCA AND DAVID VORONIN

MARGARET A. MONTAGUE

CHARLOTTE AND JOHN WICKHAM

DANY AND CHIP NISBET

EDITH AND LANDON WYATT

KATHLEEN D. PROKAY

PLATINUM PLUS CIRCLE MR. AND MRS. JAMES G. BABB, JR. SARAH AND TIM BELK SUSANNE AND RUDOLF BLESS JOHN GREGORY CLEMONS BETH AND MICHAEL CLIFTON LAURIE AND NED DURDEN HEATHER AND LARRY GWALTNEY BETH AND BILL HOBBS

COURTNEY AND REX REYNOLDS BETSY ROSEN AND LIAM STOKES KIM AND MATT SALSBURY PARKER AND STEPHEN SHUFORD MRS. A. ZACHARY SMITH MR. AND MRS. WILLIAM B. TIMMERMAN, JR. JENNIFER AND ALEXANDER WAUGH MINDY AND GEORGE WEBSTER BETSY AND BRIAN WILDER ROSE AND DAVIS WITTIG

GOLD CIRCLE NATALIE FRAZIER ALLEN AND HUGH ALLEN SONIA AND RIT AMIN MARY CELESTE BEALL MARGARET AND SMOKY BISSELL ALLEN BLEVINS AND ARMANDO AISPURO JAYNE AND STEVE BORMAN MARGARET AND WALDO BRADLEY TERESA AND DAVID CARROLL MONICA M. GALI AND

JULIANNE MARLEY

ALICIA BARNES AND JACOB JOHN

LESLIE AND MICHAEL MARSICANO

SARAH AND GURAV BHARTI

MR. AND MRS. NEILL G. MCBRYDE

DEBBIE AND GARY BLANKEMEYER

RICHARD MCHENRY AND CINDY CALDWELL

BETSY AND BILL BLUE

JANEEN AND BARRETT MOORE

AMY AND PHILIP BLUMENTHAL

KATIE AND WALKER MORRIS DEVEN AND TOMMY MURRELL SUZANNE AND BILL NICHOLS DR. KIM NIXON MR. AND MRS. BAILEY PATRICK, JR.

ARMANDO L. CHARDIET

BETH AND JON PERRY

MRS. ROBIN COCHRAN

SUSAN AND SAM RANKIN

JOHN COLLETT

GEORGE AND LINDA FOARD ROBERTS

ANN COLLEY

MANUEL RODRIGUEZ

LISA AND PERRIN DARGAN

RUTH AND TREVOR RUNBERG

DOUG DAVIS

AIDA AND GREG SAUL

ANDRES AND SIDNEY LOGAN ECHEVARRIA

SABINA AND WILIFRID SCHLUMBERGER

LISA AND CARLOS EVANS

DEE SCHWAB

LINDA MCFARLAND FARTHING AND

JANE AND CARL SHOWALTER

BILL FARTHING MOLLY AND HENRY FROELICH PATTY AND ALEX FUNDERBURG NANNETTE AND THOMAS GORMAN CLAY GRUBB KATHERINE G. HALL MARGARET AND CLAY HAMNER ANDREW AND JOANNA HAYNES TODD A. HERMAN, PHD AND HARRY GERARD AMY AND JOHN HINES CACI AND MAX JAEGER NICOLE SODOMA AND GEORGE KELADA VIRGINIA M. KEMP ANNE DOWD KENNEDY COCO AND RAY KILLIAN

MATTYE AND MARC SILVERMAN MICHELLE AND ERIC SKIPPER, PHD MICHAEL SMITH AND LINDSAY LARKIN JULIANA AND GRAHAM SMITH LUCY AND LOUIS STEPHENS PAM AND HARDING STOWE MARGARET AND JOHN SWITZER JOHN A. THOMPSON AND LEE R. ROCAMORA KATHYLEE AND KEN THOMPSON JANE AND TREY TUNE BETSY FLEMING AND ED WEISIGER, JR. LYNDA AND BOB WILHELM FRANCES AND DUBOSE WILLIAMSON ADAM EUGENE WILLIS JOAN H. ZIMMERMAN

JESSIE J. KNIGHT, JR. AND JOYE D. BLOUNT SHELLY AND ADAM LANDAU

SILVER CIRCLE

BARBARA L. LAUGHLIN

AMANDA AND DAVID ALBRECHT

REBECCA AND STEVE LAXTON

PAULA AND MARK ARGOSH

BROOKE AND DOUG LOWRY

HON. JOHN S. ARROWOOD

WILL MANNING

CAROLINE AND IAN BANWELL

DR. LARRY BRADY AND MR. ROMAN MATSO KATHLEEN AND TERRY BRODERICK CANTEY AND JEFF BROWN JOYCE CADESCA MARCY AND BILL CHOATE NICK CLEMENTI AMY LIZ AND CHARLES COLLINS SHAWNA DYE CULIK MILLIE AND TOM COX LISA DEMARCO BRITTANY AND TYLER DODDS NELIA AND WILL DOLAN DAPHNE DWYER AND THOMAS O’BRIEN DR. JEN SUDUL EDWARDS AND MR. GAVIN EDWARDS KATHY AND TOM EWING ELIZABETH AND JOHN FAGG MOLLIE D. FAISON CHRISTA AND ROBERT FAUT SARAH AND WILL FISHER SANDY AND GEORGE FISHER MYRA GASSMAN LINDSAY AND SCOTT GATES LEIGH AND BILLY GILES SYBIL GODWIN SUSIE AND TED GROSS SPENCER GUTHERY AND WESLEY CLARK COLLEEN KARNAS-HAINES AND ASHER HAINES KRISTIN AND SEAN HAIR TRACY AND H. K. HALLETT MR. AND MRS. WATTS HAMRICK III MARTHA L. HARBISON AND RON COX TRICIA AND DONNY HARRISON CLAUDIA AND ANDY HEATH

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SORAJA HELAC ANNE J. HENDERSON LIZ HILLIARD AND LEE KENNELLY LYNN AND CHARLEY HODGES BARBARA HOLT STEVE FIRENZE AND DAVE HOLTZMAN MR. AND MRS. TODD HOUSER DR. CHIP AND VICTORIA HOWELL LANIER AND DOUG HOY DR. DIANE D. JACOBSEN JODIANNE AND SKIP JOHNSON AMY HYLAND JONES

ANNA AND JOHN MCCOY

PAULA AND DALT RUFFIN

CATHERINE RUTH AND ALEX KELLY

KAIT MCELWEE

WILLIAM L. AND JANE O. SALTER

MARCIE AND MARTY KELSO

B. LEE AND MIKE MCGARRY

ANDI AND STEVE SCALIA

MICHELLE AND KEVIN KEMPF

MADELINE AND JAMES MCLELLAND

CANDACE DANIELS-SEALEY AND

MR. ANDREW KING AND MR. KELLY KING

NANCY AND WADE MEADOWS

JOAN M. KIRSCHNER

ULRIKE AND ALEXANDER MILES

PHYLLIS M. KIRWAN

VICKY AND BILL MITCHENER

ASHLEY AND PETER LARKIN

ARRINGTON H. MIXON

LORNE E. LASSITER AND GARY P. FERRARO

KIMBERLY AND GEOFFREY MIZE

MR. AND MRS. HAYNES P. LEA

BILLY MOBELY

HOPE AND JOHN LEAK

STEPHANIE AND SAM MUHS

JANET LECLAIR AND JOHN BRAGG, JR.

JANET PREYER NELSON

TERESA M. LICARI

SHANNON AND KARL NEWLIN

DR. A. DAVIS LIGON, JR.

MARIAN M. NISBET

DRS. SIU CHALLONS-LIPTON AND

KRISTIN OLSON AND

JORDAN LIPTON

JONATHAN MARMOR

MELISSA AND PAUL TOLMIE

MEGAN BLANKEMEYER LIST AND

STACEY AND TIMOTHY PAYNE

JUDITH AND GARY TOMAN

LISA AND TOM PHILLIPS

MEREDITH AND JEFF TOMASCAK

RIDGELY AND JOHN PHILLIPS

PATTI TRACEY AND CHRIS HUDSON

HILARY AND BROOKE PITTS

MARGARET AND CHRIS ULLRICH

LIZ AND DAVID POLLET

MICHELLE AND ROBERT VARY

MAHROO PUTNEY

NELIA AND MICHAEL VERANO

SUSAN AND JOHN RAE

MARY KATHERINE AND

KEVIN LIST NAN AND BILL LOFTIN MARY AND BOB LONG VINCE LONG AND CAMERON FURR DEBORAH AND ROGER LOVELETT LUIS MACHICAO WESLEY A. MANCINI

DEB HALLIDAY AND

CLAYTON SEALEY MORGAN SHIELDS LAUREN DUFFEY AND GOV SIEGAL CATHY L. SLESINGER MEG SLESINGER KATIE SOLOMON AND MORGAN ROBERTS PAUL STROUP AND NICK KRUTER ANN AND WELLFORD TABOR KRISTY AND BILL THOMPSON SANDI AND BEN THORMAN LAURIN AND DEREK TITUS

JONATHAN WATKINS

DR. MARIE-CLAIRE MARROUM-KARDOUS

GARY RAUTENSTRAUCH

VERA WATSON

ROSEMARIE MARSHALL AND LEE WILKINS

RENEE AND DAVID REESE

TRACY AND LAWRENCE WATTS

HADLEY AND EDWARD MARSHALL

CAROLINE AND JOHN ROBICSEK

DOROTHEA F. WEST

PATRICIA AND DAVID MARUNA

MICHAEL A. RODRIGUEZ AND

RICHARD “STICK” AND TERESA WILLIAMS

MS. VARSHA MATHUR AND

BRANT BEZILA

DR. MAHESH SARDESAI

SARA AND DAN ROSELLI

JOSEPH M. MCCALL

KYLE ROSIER

Fall 2026

JENN AND PAUL WRIGHT

ABOVE (from left): Lise Hain and Beth Quartapella

CURATOR’S PICK

This brooch, titled Hevel, is a meditation on the relationship between beauty and transience. In the central enameled image, a woman’s face is obscured by mist and rippling water, surrounded by lily-of-the-valley blossoms. Hevel is a Hebrew word meaning “breath, vapor,” and, by association, “fleeting, transitory.” It was used in the Biblical passage Ecclesiastes 1:2, later translated in English as “Vanity of vanities, all is vanity.” This word change adds connotations of moral emptiness and self-absorption, long symbolized in art by a woman fixated on her own youthful beauty. Artist Zan Rubio challenges this view of life as “a hollow deception, something to be resisted or rejected,” writing

instead that “life is beautiful because it is transient ... it teaches us to savor every moment to the fullest.” Hevel is on view in the Level 4 Contemporary Art galleries at Mint Museum Uptown. Rebecca Elliot is associate curator of Craft, Design, and Fashion at The Mint Museum.

ABOVE: Zan Rubio, (American, 1986–). Hevel, 2015, steel, silver, copper, brass, enamel, china paint. Gift of the Enamel Arts Foundation. 2025.47

mintmuseum.org

Mint Museum Uptown

at Levine Center for the Arts 500 South Tryon Street Charlotte, NC 28202

Mint Museum Randolph 2730 Randolph Road Charlotte, NC 28207 mintmuseum.org @themintmuseum 704.337.2000

MAKE YOUR BIG DAY A WORK OF ART. Whether it’s your wedding, rehearsal, anniversary, or a cocktail party to celebrate your birthday; our venues guarantee an experience in a setting your guests will never forget. mintmuseum.org/rent-the-museum The Nelsons Photo | @thenelsonsphoto