“In visual perception a color is almost never seen as it really is – as it physically is. This fact makes color the most relative medium in art.” –Josef Albers
Color, as we see it, results from our eyes and brains working together to make sense of the light around us. Since as early as the 15th century, artists and philosophers alike have tried to understand how this works and create a unified approach to color – a color theory – to understand how colors complement or contrast with each other and why they rouse our emotions and influence our decisions.
Essentially, color theory, like the interaction between our eyes and brains, helps us make sense of what we “see.” Perhaps one of the most influential color theorists was artist and educator Josef Albers, who published Interaction of Color in 1963. A tome of a book on color theory, it was made for interaction, to be pored over and actively, even emotionally, involve students as they learned Albers’ philosophy of color.
My Life in Mobile Homes by John T. Edge
Where I grew up, singlewide trailers were as common as clapboard shotguns. On the far end of my Georgia town, near where the seg academy floundered, the mothers and fathers of my grade school friends worked at the mobile home factory, bending aluminum and punching rivets, constructing metal shoeboxes with roller skates on their bottoms. No matter. In my youth, trailers were jokes waiting for punch lines. We said terrible things. We said stupid things. We said, “Tornadoes are proof that God hates trailer parks.”
With time has come perspective. And humility. And a respect for trailers as shelter and conveyance. A few years back, I wrote a book on food trucks. Once I got beyond the hype and chickpea frites, I recognized that food trucks are trailers, too. Operated by new immigrants. And downshifting chefs. And aspirational hipsters.
When I first glimpsed the Massengill family photos of Arkansas folk, shot in a Depression era trailer studio and now being reinterpreted by Maxine Payne, I thought of old prejudices and of new realizations. And I thought of the everyday beauty that earned flashbulb pops then and deserves the klieg lights of fame now.
Our newest Journal series highlights our personal heirlooms – things that hold special value and meaning to us personally, regardless of their monetary value. Alabama Chanin wants to honor things that last and things that we choose to keep in our lives and our homes as reminders of family, friends, or important moments.
This week, our graphic designer, Maggie, shares memories of her grandfather and his special talent for woodworking. Her story reminds me of the words of William Morris: “History has remembered the kings and warriors, because they destroyed; art has remembered the people, because they created.”
My grandfather, who we all called Papa, was an extremely smart and talented man – a skilled artist and craftsman. He really could draw, do, or make anything. He was a gunner on a B-17 during World War II. His plane was shot down over Belgium, where he was captured and held in a few different POW camps for 15 months. He had grown up watching his mother crochet, but he was never formally taught. It was freezing some of the months that he was in Austria and Germany, so he whittled down a stick into a crochet hook so that he could crochet a warm hat and mittens out of holey sweaters he’d found and taken apart. He ended up not only making some for himself, but also for the other prisoners so they could be a little warmer. He was a very caring and thoughtful man.
Last year, we began a series called “Real Women,” an exploration of the real women in our lives (and throughout history) that have made a difference—one way or another—in our world. Today, we are finishing a chapter of that series: real women as seen by men.
Here you find a tribute from son to mother, written by Nashville singer/songwriter (and former English professor) Jon Byrd. Jon grew up just outside of Tuscaloosa, Alabama, and is a dear friend of our editor, Sara. Please welcome Jon and enjoy his beautifully candid account of his mother, Margaret Tidwell Byrd.
The most important woman in my life, past or present, is my mother. I’m adopted; that’s probably why I feel this way. I don’t remember our first meeting, at the Alabama state orphanage in 1955, but it was obviously a life-changing moment for me.
My mother was sweet, but tough. She was not a pushover and didn’t have to win an argument or always be (perceived as) right. She had an amazing way of speaking her mind, calling someone out, and standing up for herself that made the other person in the conversation question why they were resisting her. Her strongest quality was, without question, her determination. She encouraged with empathy, compassion, integrity, and consistency.
Alabama Chanin’s first-ever sewing workshop took place in 2008 alongside a seminar on Southern cooking, organized and presented by our friend and collaborator, Angie Mosier. While the sewing participants stitched and chatted, the food preparers fried up some chicken, steamed collard greens and made pot likker, then baked the most delicious Lane Cake. At each meal, Angie explained the history of each dish and its significance within Southern culture. This is where I first learned the details behind one of Alabama’s culinary specialties, the Lane Cake.
Lane Cake was created by Emma Rylander Lane of Clayton, Alabama, as her entry into a county fair baking competition in Columbus, Georgia. She originally called the recipe, “Prize Cake,” but eventually leant her name to the dessert for all posterity. She self-published a cookbook called Some Good Things to Eat in 1898 and included the recipe as one of her featured desserts. Lane Cake is a white, layered sponge cake (originally designed for 4 layers) iced with a frosting that includes coconut, raisins, pecans, and bourbon. It is often found in the South at receptions, holiday dinners, or wedding showers. Chef Scott Peacock writes in The Gift of Southern Cooking that he was served a Lane Cake every year on his birthday.
Illustrator and author Maira Kalman has long been a personal hero of mine. She visited The Factory a couple of years ago, along with Rosanne Cash and Gael Towey, for a two-day sewing workshop and some adventure. It was then that I learned Maira is not only a talented illustrator, but also an avid embroidery expert. I love everything she creates (but especially her drawings and unique storytelling perspective), and am happy to call her my friend.
In her book And the Pursuit of Happiness, Maira explores American democracy and its workings. Originally published as a 12-part online series for the New York Times, this complete bound volume tells the colorfully illustrated and hand-lettered history of America.
Another month has come and gone. Looking forward to spring and all it brings.
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Alabama Chanin has always aimed to make products that will last a lifetime – even multiple lifetimes. We create things that are both beautiful and durable and we embrace the ideas of Slow Design. But, once upon a time, Slow Design did not exist as a theory or a process; rather, it was simply how things were made. Those that were fluent in “The Living Arts” knew how to make things – food, clothing, shelter, etc. – and they didn’t want to make them more than once, unless they had to. Durability was necessity. Craftsmen and women were born out of requirement. But, often those craftsmen became so skilled that their products were, quite simply, art. Their creations that remain behind and are passed along—heirlooms—still hold meaning.
For some, the word “heirloom” brings to mind a valuable painting or, perhaps, an antique necklace. Certainly both of those things qualify; but, as part of a new series on the Journal, we want to highlight some of our own personal heirlooms – things that are valuable to us on a personal level, regardless of their financial value. As always, we want to celebrate the things that last, the things that we choose to keep in our lives, the things that we assign meaning to, on a personal level.
The blanket above rested on an upstairs bed at my Grandmother Perkins’s—called Gram Perkins—house for as long as I can remember. In my mind, it belonged to my uncle, but I’m not absolutely sure. The upstairs of my grandparents’ home was completed when my mother was already in high school (although they had lived in the house for many years, starting in the basement and building up as they could afford). In the upstairs, there were rooms for each of the four children. The older children were already in college by the time it was finished, so my uncle, the youngest sibling, spent the most time in the space and, though all of the bedrooms were filled with things, his room felt the least “empty.”
Prepare yourself mentally for sewing. Think about what you are going to do… Never approach sewing with a sigh or lackadaisically. Good results are difficult when indifference predominates.
Never try to sew with a sink full of dirty dishes or beds unmade. When there are urgent housekeeping chores, do these first so your mind is free to enjoy your sewing. When you sew, make yourself as attractive as possible. Put on a clean dress. Keep a little bag full of French chalk near your sewing machine to dust your fingers at intervals. Have your hair in order, powder and lipstick put on. If you are constantly fearful that a visitor will drop in or your husband will come home, and you will not look neatly put together, you will not enjoy your sewing.
Sent from our friend and fellow sewist Rosanne Cash—who always looks absolutely gorgeous no matter what she does. And, after reading, our friend Sara recommends following all of the advice so generously given, but to “keep a little bag full of French fries” nearby, instead of the recommended French chalk.