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Museums present A Living Language: Cherokee Syllabary and Contemporary Art

Museums present A Living Language: Cherokee Syllabary and Contemporary Art Rhiannon Skye Tafoya (Eastern Band of Cherokee Indians), Ul’nigid’, 2020, letterpress (photopolymer and Bembo & Cherokee Syllabary metal type) printed on handmade & color plan paper with paperweaving, closed: 11 × 11 ¼ inches, assembled: 23 ½ × 11 ¼ × 5 ⁵⁄₈ inches. Courtesy the Artist. © Rhiannon Skye Tafoya, image Rhiannon Skye Tafoya. ASHEVILLE, NC .- A Living Language: Cherokee Syllabary and Contemporary Art features over 50 works of art in a variety of media by 30+ Eastern Band of Cherokee Indians (EBCI) and Cherokee Nation artists. The exhibition highlights the use of the written Cherokee language, a syllabary developed by Cherokee innovator Sequoyah (circa 1776–1843). Cherokee syllabary is frequently found in the work of Cherokee artists as a compositional element or the subject matter of the work itself. The exhibition is on view at the Museum of the Cherokee Indian in Cherokee, NC

Rural Avant-Garde: The Mountain Lake Experience to Open at Asheville Art Museum

Rural Avant-Garde: The Mountain Lake Experience to Open at Asheville Art Museum
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Walter B Stephen Pottery: Cameo to Crystalline

Walter B. Stephen Pottery: Cameo to Crystalline May 10, 2021 12:53 Subject Line Please provide verification code Pisgah Forest Pottery, Walter B. Stephen, Vase, 1941, crystalline glazed stoneware. Asheville Art Museum. Pisgah Forest Pottery, Walter B. Stephen, Covered Wagon teapot, creamer and sugar bowl, 1943, glazed stoneware. Asheville Art Museum. Pisgah Forest Pottery, Walter B. Stephen, Vase, 1934, glazed stoneware. Asheville Art Museum, extended loan from the collection of Tom & Dorothy Case. Pisgah Forest Pottery, Walter B. Stephen, Indian Campfire mug, 1950, glazed stoneware. Asheville Art Museum. Pisgah Forest Pottery, Walter B. Stephen, Vase, 1931, glazed stoneware. Asheville Art Museum. Artist Walter B. Stephen (Clinton, IA 1875–1961 Asheville, NC) contributed to Western North Carolina’s identity as a flourishing site for pottery production and craftsmanship in the early 20th century.

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