{"id":56536,"date":"2018-06-08T01:53:20","date_gmt":"2018-06-08T01:53:20","guid":{"rendered":"http:\/\/www.mixedracestudies.org\/?p=56536"},"modified":"2018-06-08T01:53:20","modified_gmt":"2018-06-08T01:53:20","slug":"growing-faltering-changing-growing-lessons-from-kay-walkingstick","status":"publish","type":"post","link":"https:\/\/mixedracestudies.org\/wp\/?p=56536","title":{"rendered":"Growing, Faltering, Changing, Growing: Lessons From Kay WalkingStick"},"content":{"rendered":"<p><a href=\"https:\/\/www.nytimes.com\/2018\/06\/07\/arts\/design\/kay-walkingstick-montclair-art-museum.html\" target=\"_blank\" rel=\"noopener\"><em><strong>Growing, Faltering, Changing, Growing: Lessons From Kay WalkingStick<\/strong><\/em><\/a><\/p>\n<p><a href=\"https:\/\/www.nytimes.com\" target=\"_blank\" rel=\"noopener\">The New York Times<\/a><br \/>\n2018-06-07<\/p>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Holland_Cotter\" target=\"_blank\" rel=\"noopener\"><strong>Holland Cotter<\/strong><\/a>, Co-chief Art Critic<\/p>\n<table border=\"0\" width=\"550\">\n<tbody>\n<tr>\n<td><a href=\"https:\/\/www.nytimes.com\/2018\/06\/07\/arts\/design\/kay-walkingstick-montclair-art-museum.html\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" class=\"Image-image--2zb04\" src=\"https:\/\/static01.nyt.com\/images\/2018\/06\/08\/arts\/08walkingstick1\/merlin_139103700_e46a2f48-56da-40d9-a438-f247d06558a1-articleLarge.jpg?quality=75&amp;auto=webp&amp;disable=upscale\" sizes=\"((min-width: 600px) and (max-width: 1004px)) 84vw, (min-width: 1005px) 60vw, 100vw\" srcset=\"https:\/\/static01.nyt.com\/images\/2018\/06\/08\/arts\/08walkingstick1\/merlin_139103700_e46a2f48-56da-40d9-a438-f247d06558a1-articleLarge.jpg?quality=90&amp;auto=webp 600w,https:\/\/static01.nyt.com\/images\/2018\/06\/08\/arts\/08walkingstick1\/merlin_139103700_e46a2f48-56da-40d9-a438-f247d06558a1-jumbo.jpg?quality=90&amp;auto=webp 1024w,https:\/\/static01.nyt.com\/images\/2018\/06\/08\/arts\/08walkingstick1\/merlin_139103700_e46a2f48-56da-40d9-a438-f247d06558a1-superJumbo.jpg?quality=90&amp;auto=webp 2048w\" alt=\"\" width=\"550\" border=\"0\" \/><\/a><br \/>\n<small><a href=\"http:\/\/www.kaywalkingstick.com\/\" target=\"_blank\" rel=\"noopener\">Kay WalkingStick\u2019s<\/a> \u201cNew Mexico Desert,\u201d 2011, in which bands of <a href=\"https:\/\/en.wikipedia.org\/wiki\/Navajo\" target=\"_blank\" rel=\"noopener\">Navajo<\/a> patterning float across <a href=\"https:\/\/en.wikipedia.org\/wiki\/Shrubland\" target=\"_blank\" rel=\"noopener\">scrub land<\/a> and mesas as if surveying and protecting them.<br \/>\n<em><a href=\"http:\/\/www.nmai.si.edu\/\" target=\"_blank\" rel=\"noopener\">National Museum of the American Indian<\/a><\/em><\/small><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><a href=\"https:\/\/en.wikipedia.org\/wiki\/Montclair,_New_Jersey\" target=\"_blank\" rel=\"noopener\">MONTCLAIR, N.J.<\/a> \u2014 An artist\u2019s career retrospective, if shaped with care, is more than a look at a life of labor. It\u2019s also a record of contingent lives, cultural changes and a political passage in time. This is true of \u201c<a href=\"https:\/\/www.montclairartmuseum.org\/exhibition\/kay-walkingstick-american-artist\" target=\"_blank\" rel=\"noopener\">Kay WalkingStick: An American Artist<\/a>,\u201d an era-spanning survey of this 83-year-old painter at the <a href=\"https:\/\/www.montclairartmuseum.org\/learn-and-create\/yard-school-of-art\" target=\"_blank\" rel=\"noopener\">Montclair Art Museum<\/a> here. Yet what powers the chronologically arranged show, first and last, is the personal: the sense it gives of one worker growing, changing, faltering, then growing and changing more.<\/p>\n<p>Born in 1935 in <a href=\"https:\/\/en.wikipedia.org\/wiki\/Syracuse,_New_York\" target=\"_blank\" rel=\"noopener\">Syracuse<\/a>, <a href=\"http:\/\/www.kaywalkingstick.com\/\" target=\"_blank\" rel=\"noopener\">Ms. WalkingStick<\/a> was the child of a biracial marriage: \u201cSyracuse Girl Weds Cherokee Indian\u201d was the headline on the report of her parents\u2019 wedding in the local newspaper. As it turned out, she saw little of her father over the years, though her mother, Scottish-Irish by descent, made a point of instilling pride in her daughter\u2019s Native American heritage.<\/p>\n<p>Ms. WalkingStick studied painting in college, and as a young wife and mother in suburban <a href=\"https:\/\/en.wikipedia.org\/wiki\/New_Jersey\" target=\"_blank\" rel=\"noopener\">New Jersey<\/a> in the 1960s, she continued to paint, keeping a close eye on what was happening in <a href=\"https:\/\/en.wikipedia.org\/wiki\/Manhattan\" target=\"_blank\" rel=\"noopener\">Manhattan<\/a>. Among the earliest pieces in the show, from 1971, are two crisp, Pop-ish silhouette images in bright colors of female nudes. The artist herself was the model, and feminism \u2014 or at least the loosened-up spirit of it \u2014 a spur&#8230;<\/p>\n<p>Read the entire article <a href=\"https:\/\/www.nytimes.com\/2018\/06\/07\/arts\/design\/kay-walkingstick-montclair-art-museum.html\" target=\"_blank\" rel=\"noopener\">here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>An artist\u2019s career retrospective, if shaped with care, is more than a look at a life of labor. It\u2019s also a record of contingent lives, cultural changes and a political passage in time. This is true of \u201cKay WalkingStick: An American Artist,\u201d an era-spanning survey of this 83-year-old painter at the Montclair Art Museum here.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,24,8,3015,20,25],"tags":[1597,22690,28746,2640,2327],"class_list":["post-56536","post","type-post","status-publish","format-standard","hentry","category-articles","category-arts","category-media-archive","category-native-americans","category-usa","category-women","tag-holland-cotter","tag-kay-walkingstick","tag-montclair-art-museum","tag-new-york-times","tag-the-new-york-times"],"_links":{"self":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/56536","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=56536"}],"version-history":[{"count":1,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/56536\/revisions"}],"predecessor-version":[{"id":56537,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/56536\/revisions\/56537"}],"wp:attachment":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=56536"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=56536"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=56536"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}