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As part of its “Mucha Inspiring Beauty” campaign, the NCMA taps three diverse female artists to join its groundbreaking Mucha exhibit to redefine what beauty means to them.
Czech-born art nouveau legend Alphonse Mucha (1860–1939) is billed with transforming the streets of Paris into open-air art exhibits with his sumptuous posters promoting the likes of tea biscuits and cigarette papers—and beautiful women. As one of the most celebrated artists in Paris at the turn of the 20th century, Mucha is arguably best known for his decorative panels of graceful women, and, according to The Mucha Foundation, his “distinctive approach, characterized by harmonious compositions, sinuous forms, organic lines and muted colors, which became synonymous with the decorative style called art nouveau.”
Now, the Mucha Trust Collection’s first major U.S. tour in two decades, Alphonse Mucha: Art Nouveau Visionary will open Oct. 23 at the North Carolina Museum of Art, featuring myriad Mucha materials en masse—think some 100 posters, illustrations, rarely seen sculptures, self-portraits, photography and ornamental objects.
As part of the exhibit, the NCMA has commissioned three local artists as part of its “Mucha/Inspiring Beauty” campaign to reinterpret the artist’s designs while answering the question “What does beauty mean to you?”
“Mucha’s subjects are undeniably beautiful,” says Kat Harding, NCMA’s assistant director of communications and marketing. “After all, he wanted his advertisements to be works of art available for all citizens to enjoy. But the beauty he displayed portrays a very narrow representation of beauty” (think: Western white woman). She adds, “We wanted our marketing of the exhibition to expand on his definition of beauty and create updated versions of his famous work of art, ‘Reverie,’ done in 1897, as an extension of a portion found in the exhibition that examines this very topic.”
Mucha no doubt pushed the boundaries of what was beautiful and what was considered high art. “But in the 100+ years since then, so much has changed, evolved and expanded about what we as a society consider beautiful,” says Michele Frederick, the show’s curator, “and it was vital that we allowed space in the exhibition for other perspectives.” The Mucha Foundation was thrilled at the possibility of expanding the applications of Mucha’s ideas on beauty, says Frederick: “to argue for the continuing relevance of Mucha’s vision for what a beautiful work of art can do. … Ultimately, Mucha believed that a beautiful work of art would make the world a better, more peaceful place, and part of that is including in this conversation work by artists like these, who expand and even challenge Mucha’s ideas of what is beautiful.”
Beyond being displayed in the NCMA exhibition galleries, the images created for this campaign will also be installed outside in select Raleigh locations in the spirit of Mucha’s work.
Here, Raleigh Magazine gets the exclusive reveal of the three local artists—a purposefully selected group of diverse women—tapped to reinterpret “Reverie”—and chats them up on what it was like to be selected for this project, what beauty means to them, their inspiration and more.
“I didn’t come across Black women artists until I was in college—and that exposure really showed me it was possible. I hope that I’m able to touch someone in the same way.”
ABOUT LAKESHIA REID | @ltreid
Growing up in Raleigh, Reid never dreamed she would be included in an NCMA exhibition. “I feel extremely honored and beyond thankful for the opportunity,” says Reid.
What beauty means to you? Unapologetically being yourself—exuding strength, confidence and vulnerability, self-acceptance, and respect. It’s a celebration of the things that make each person unique. How that’s reflected in your piece? In her demeanor—how she’s looking at the viewer head on. In how the fabric is draped around her body; it’s in the bold reddish highlights in her hair, and the soft pink polish on her nails. Your inspiration? Beyond the aforementioned, my personal struggle with weight and mental health during the pandemic. At 32, I’m at a point where I’m becoming more comfortable with who I am and how I want to see myself reflected in this world. Message you hope it conveys? A balance of strength and vulnerability, highlighting how features like full lips and broad shoulders are beautiful—that people who look like this are beautiful. How did you “reinterpret” Mucha’s vision? I tried to incorporate his simple color palette (though mine may be a little more vibrant) and his use of a variety of lines and simple shapes. I also included wording/typography. It was important for me to include ‘La Representation Compte’ (Representation Matters). The most notable change is in my subject and her dark skin.
TORI “FNoRD” CARPENTER | @apostasy_fnord
For Carpenter, at 54, this achievement is epic. Having “only” started creating at 45, and without classical training, “it’s just amazing to be chosen,” she says. “It’s an honor and a joy to do this work for this special project.”
What beauty means to you? Beauty is poise; it’s confidence. If I see a woman who looks like she’s comfortable with who she is, that’s beautiful. For me, also, a person can become more beautiful as I get to know them and their spirit of ‘self’ shines through. How that’s reflected in your piece? I tried to choose a pose that showed self-confidence, then I gave her the curves and roundness of a fuller-figured woman. I wanted to steer clear of any sort of fetishized version of plus-size though (large breasts and butt, but tiny waist). I gave her a piercing and some tattoos too because I feel like these things are beautiful and speak to the times. Your inspiration? I’m enjoying the inclusionary looks used by many companies—some smaller companies especially that put all sorts of people in their ads. It gives me hope. Message you hope it conveys? A sense of beauty in the everyday average woman. I hope someone sees themselves in that pose, looking confident and gorgeous. How did you “reinterpret” Mucha’s vision? I took his usual lithe and unadorned model and thickened her up and made her more up-to-date.
“The beauty in this is knowing who you are and not apologizing for it. So many times Native people are put in a box, and in Khinsley’s series, the girls are free and really seem to embrace their place in the world today.”
ALISHA LOCKLEAR MONROE
Locklear Monroe, who has worked with the UNC Pembroke Museum of the Southeast American Indian, loves the idea of having artists reinterpret 100-year-old work, and considers her selection an absolute honor. “This is a great way to introduce master artists to contemporary artists of today. In doing so, you influence the art of today,” she says, adding: “It is always important to showcase diverse perspectives when working on a project such as this.”
What beauty means to you? Beauty to me comes from within. There is light that exudes from someone who has a beautiful heart and spirit. Obviously, beauty is ultimately in the eye of the beholder. How that’s reflected in your piece? The young lady I chose for inspiration has one of the purest hearts I know. She is definitely not someone who likes to have a spotlight on her, and that is what drew me to this image even more. The photo was shot in a series of works by a young Lumbee photographer, Teri Khinsley Locklear. Your inspiration? As soon as I was contacted about participating in this project, my first thought was this body of work. Khinsley chose to have the participants wear all white dresses and did a photoshoot with them at the river. The images and concept were breathtaking to me, and I thought using one of these images could help me portray what is beautiful in my eyes. Message you hope it conveys? I hope that my work brings forth an image of a modern Native voice. We don’t have to be photographed in a regalia to be Native, we can simply be who we are. How did you “reinterpret” Mucha’s vision? I interpreted Mucha’s work as being very ethereal looking and all of the women looked graceful. I look at how he married design so well with his realistic illustrations. His work is magnificent.
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