East Village resident Drunell Levinson…announced the September 11 Quilts Memorial project on a website she created especially for that purpose. Calling on volunteers to submit 3’x 6’ or 3’x 3’ quilt panels, she left the choice of materials and the interpretation to the individual artists. Levinson separated her work into two parallel activities: The first was to raise awareness of the project, solicit volunteers and organize public exhibitions; the second was to make a documentary of the participants’ experiences of the September 11th 2001 event, and to explore how these experiences motivated them to create art. By September 10, 2002, the project consisted of 94 unique quilts accompanied by artists’ statements, photographs, memorabilia, emails, and a dedicated website.
Over the next two years, the quilts were displayed as an ensemble in fourteen exhibitions across the United States, as well as in a special presentation in Japan. In addition, Levinson created a 20-minute documentary video entitled “September 11 Quilts: Mending a Diverse Community of Artists.” The September 11 Memorial Exhibition quilts, supporting materials, and documentary were officially donated to the National September 11 Memorial Museum, forming an important addition to the Museum’s growing collection of art made in response to the terrorist attacks of 9/11.
Photographs are from “September 11 Quilts”
See more at https://www.september11quilts.org/index.html
1990 / Gelatin silver print / 28.3”x28.3” / Various
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1993 / Oil on canvas / 32”x18”
/ Royal Holloway, University of London
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Charles was a designer with an eye for form. Ray was an artist with an eye for color. They complemented each other on projects like coat hangers, films, their namesake chairs, and large architectural projects. Through four decades of creative work, they revolutionized design and created an indelible mark on American History. The duo was not without faults, but the pair proved to be inseparable and inspirational. They were the Eameses.
The Eames studio—part workshop, part circus— was a partnership of two free spirits: one, an architecture school dropout who never got his license; the other, a painter trained by Hans Hofmann who used objects or any other surface as her canvases. They shunned the term “artist” as pompous.
Charles and Ray Eames arrived in Los Angeles in 1941, a year after they met at the Cranbrook Academy of Art. Charles was married to his first wife, Catherine at the time, but Ray began assisting him and Eero Saarinen in their designs for the Museum of Modern Art’s Organic Design in Home Furnishings Competition, and soon he divorced Catherine and married Ray.
There is always a karmic danger in marrying someone with whom you committed adultery. The women at the company almost uniformly describe him as charismatic. At one point (that we know of), Charles was looking to leave Ray, and was only stopped because the woman confesses, she couldn’t do that to Ray. ( , Pasadena Art & Science Beat, https://ageofthegeek.org/2011/11/23/eames-the-architect-and-the-painter-or-why-feminism-matters/ )
Their partnership, which obliterated the distinctions between private and professional lives, inspired numerous contemporary working marriages…Charles and Ray, architect and artist, wanted to do everything — disciplinary boundaries meant nothing to them — and, by and large, succeeded.
The Work of Charles and Ray Eames: A Legacy of Invention
AD Classics: Eames House / Charles and Ray Eames
The Love Letters of Charles & Ray Eames
Chakaia Booker (Born 1953)
African-American sculptor best known for her work using tires as a medium
Urban Butterfly / 2001 / Rubber tires / 57”x53”
Kiki Smith (Born 1954)
German-born American artist’s work includes sculpture, printmaking, photography, drawing, and textiles
Lilith / 1994 / Bronze with glass eyes / 31 1/2”x27”x17 1/2”