Maud Gatewood: Re-Visions - Robert Hobbs

endnotes1. Blue Greenberg, "A Southern Treatment for Modernists'Styles," Durham Morning Herald 22 july 1983: 12D.2. Susan W. Knowles, "Southern Realism," Art Papers 9 Uuly­Aug. 1985): 56.3. Ronald Blythe, "Roaming Back Roads in North Carolina: InCaswell County, Climate and Scenery Induce a WelcomeLanguor," New York Times 21 Sept. 1986: xx 15.4. Elizabeth C. Baker, "Southern Exposure," Art in America 64Uuly-Aug. 1976): 49.5. Charles Wheeler, "My Painting Is My Statement," Bulletin[University of North Carolina at Greensboro] 74 (Mar. 1985): 3.6. Wheeler 3.7. Wheeler 3.8. Donald B. Kuspit, "Mythical Regionalism and CriticalRealism," Contemporary Art/Southeast I (Apr.-May 1977): 10-11.9. Donald B. Kuspit, "The Post-War Period, 1950 to 1980: ACritic's View," Painting in the South: 1564- 1980 (Richmond:Virginia Museum of Fine Arts, 1983) 145.10. Kuspit, 'The Post-War Period" 150.II. Kuspit, "The Post-War Period" 158.12. Kuspit, "Mythical Regionalism" I J.13. Kuspit, "Mythical Regionalism" II.14. Kuspit, "Mythical Regionalism" I 0.15. This concept is indebted to jessie Poesch's insightfulintroduction to The Art of the Old South: Painting, Sculpture,Architecture and U1e Products of Craftsmen 1560- 1860 (NewYork: Harrison House, 1983) ix. Poesch writes:"The South is growing more and more like the rest ofAmerica, and many things thought to be peculiarly Southernintricaterace relations, jazz and country music, even Coca­Cola-have, for better or worse, been assimilated into thebroader culture of America. Historians, sociologists, andliterary critics . . . have acknowledged that, given all thedifferences, the South has always been a part of the UnitedStates. Paradoxically, the very definition of the South asseparate has depended upon its being a part of the whole."16. K. Porter Aichele, "An Interview with Maud Gatewood,"Maud Gatewood: In Celebration ofUNCG's Centennial(Greensboro, N.C.: Weatherspoon Art Gallery, 1992) notpaginated.I 7. Maud Florance Gatewood, "Painting: Theory, Choice,Practice," Master's thesis, The Ohio State University, 1955.18. Gatewood I 7.19. Gatewood 15.20. Gatewood 17.21. Maud Gatewood, personal interview, 4 Dec. 1993.22. Andre Malraux, The Voices of Silence, trans. Stuart Gilbert(Garden City, N.Y.: Doubleday and Company, Inc., 1953) 312.23. Harriet Doar, "Artist's Works Renect an Order of Self,"Charlotte Obse!Ver 5 Mar. 1972: 24A.24. Fredric j ameson, Postmodernism, or, The Cultural Logic ofLate Capitalism (Durham: Duke University Press, 199 I) 1 7ff.25. jameson 25.26. Gatewood 12.27. Gatewood, personal interview, 3 Dec. 1993.28. Dee Walston, "With Maud Gatewood, Back Home inYanceyville," Herald-Sun [Durham, N.C] 18 Apr. 1993: E6.29. Bill Chaze, ''A Picture Is a Picture Is a Picture to UNC ArtTeacher: 'I've Got Almost Nothing to Say,"' Charlotte News 20Mar. 1968: I 4B.30. Chaze 148.31. Blue Greenberg, "New Personal Touch Shows inGatewood Exhibit," Durham Morning Herald 22 May 1987: I I D.32. Harriet Doar, "Artist's Brush Brings Out the Big and Littleof Human Life," Charlotte Obse!Ver I I Sept. 1966: Fl.33. Doar, "Artist's Works" 24A.34. Maud Gatewood, personal interview, 3 Dec. I 993.35. Doar, "Artist's Brush" F I.36. Jane Roehrs, '"Most People Shun Modem Art,"' CharlotteNews I 0 Sept. I 966: I 6C.37. Doar, "Artist's Brush" Fl.38. Gatewood has related that she took the plywood patternfor this first cutout to the Mint Museum and used the sabersaw belonging to Herbert Cohen, who was head of installationdesign for the museum. The connection with the Mint stronglysuggests that the first cutout was made either during orshortly after Gatewood's large exhibition that was on viewfrom September I I through October 5. Having the opportunityto assess her recent work in this exhibition may have beena contributing factor in Gatewood's search for a totally newdirection. Personal interview, 3 Dec. I 993.39. Helen Thrush, "Art: Alumni Artists Invitational," AlumniNews [University of North Carolina at Greensboro) 55 (AprilI 967): 20.40. Gatewood, personal interview, 8 Aug. 1993.41. Gatewood, personal interview, 3 Dec. I 993.42. Steven Lilt, "Maud Gatewood, Southern Exposer: Startlingto Savage to Serene-Artist's Images Exhibit Critical Eye,"News and Obse!Ver [Raleigh, N.C] 16 Aug. 1987: C2.43. Gatewood, personal interview, 2 Dec. I 993.44. Gatewood, personal interview, 2 Aug. I 993.45. Harriet Dear, "McNeal Gallery Opens Maud GatewoodExhibit," Charlotte Obse!Ver 29 Dec. 1974: 5B.46. Gatewood, personal interview, 2 Aug. 1993.47. Gatewood, personal interview, 2 Aug. 1993.48. Huston Paschal, Maud Gatewood: Figure Painting (Atlanta:Heath Gallery; Raleigh: North Carolina Museum of Art, I 983) 5.49. Gatewood, personal interview, 2 Aug. I 993.50. Gatewood, personal interview, Dec. 1993.5 I . Gatewood, personal interview, Dec. 1993.52. Aichele n.p.53. Greenberg, "New Personal Touch" I I D.54 . Lilt C2.55. Aichele n.p.56. Gatewood, personal interview, 2 Dec. I 993.57. "Louisiana's Blow-Dried Grand Wizard," Newsweek I 13(23 )an. 1989) 27.58. Gatewood, personal interview, 2 Dec. 1993.59. Gatewood, personal interview, 2 Dec. 1993.60. Barkley, Meredith, "Artist Paints Because She Must," Newsand Record [Raleigh! 21 Apr. 1993: 26 I . Gatewood, fellowship application, 199 1, artist's papers.37