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Sunday Puzzle – Summer 80 VI

Each week we will share a new puzzle featuring an artwork from the Museum’s collection. Whether a solo personal challenge or joint family effort, we make it easy for you to get started solving—simply play on your computer, smartphone, or tablet.

This week’s puzzle is Ellen de Mello Weiland’s abstract Summer 80 VI.

Last Week’s Puzzle

Nora Ezell’s bursting with color Star Puzzle quilt

How to Play

Click with a mouse or drag with your finger the digital puzzle pieces into place. Correct alignments will snap together.

Icons

On the Bottom Left

    • Image icon – click to see the work you are putting together
    • Ghost icon – click to see an opaque image of the work on the puzzle board
    • Dotted Square icon – click to arrange or disarrange the puzzle pieces
    • Three Dots icon – click to select to restart the puzzle, change your background color, adjust settings, or get help

On the Bottom Right

  • Puzzle icon – click to play on Jigsaw Planet
  • Window icon – click to play in full-screen mode

Easy (35 Pieces)

Medium (99 Pieces)

Hard (252 Pieces)

Extreme (300 Pieces + Rotation)

How to Rotate Pieces

  • Mouse + Keyboard: 
    • Move the mouse wheel up (left rotation) or down (right rotation).
    • Or, press the left (left rotation) or right (right rotation) arrow key.
  • Touch: Tap on the piece and then tap on the appeared left or right rotation icon.

Credit

Ellen de Mello Weiland (American, 1913–2009), Summer 80 VI, 1980, acrylic on canvas, Montgomery Museum of Fine Arts, Gift of Edward Lee Hendricks, 1986.9

Responding to the Moment – Community Insights

As Faith Ringgold said, “No other creative field is as closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing that I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.”

To hear how works by African-American artists in our collection, including Ringgold, are speaking to our shared humanity and calls for equality at this moment in American history, we invited members of our community – artists, writers, students, teachers, advocates, leaders of arts programs and Civil Rights Museums – to share personal reflections on selected works of art. Thank you to each of our guest writers for joining with the Museum to lend their visions and voices. What they saw and heard in the works included meditations on being a black father, the wisdom of an elderly woman, the need to organize and take action, the power of art in the struggle for equal justice, the presence and relevance of history, and in the face of violence and resistance, a belief in the possibility for lasting change.

We hope you enjoy reading the reflections and arriving at your own.

Father and Child

John Woodrow Wilson (American, 1922–2015), Father and Child, 1965, lithograph on paper, Montgomery Museum of Fine Arts Association Purchase, 2010.3

Hush little baby. Daddy’s got you.
Don’t you cry, Baby. Daddy’s got you.
Daddy’s got you, today.
But, I cry in anguish and pain because I can’t promise you tomorrow.

Georgette M. Norman
Retired Director of Troy University Rosa Parks Museum

 


 

When I saw the piece, Father and Child, I was instantly overwhelmed by the emotion that welled up in me. Too often, African-American men are painted in the nation’s consciousness as “deadbeat, delinquent, or uncaring.” Though for sure that happens, the vast majority of men of color that I am acquainted with express a heartfelt, deep-seated, unconditional love for their offspring, even those men without the financial resources to adequately demonstrate it according to the strictures of our consumer society.

The tenderness and joy in this piece is evident, even though the image is basically featureless and undefined. I thought of that moment when I first held my infant daughter in my arms and beamed at the memory, in the next instant, I thought of the feelings of security and strength when I, myself was held in my own father’s arms. This too, created a joy for the bond of a parent and child, usually only broken by the passing of the parent or in tragic cases the child.

On the heels of these pleasant reveries, this nation’s ugly history barged its way into my psyche. I thought of the many untold numbers of men of color who were taken away from their children by being sold on the auction block, this could be that last embrace before his departure, never to embrace his child again; not to even mention being murdered for a perceived transgression, large or small.

George Floyd was a father, he will never again hold his child, nor will she be able to find that sense of security and joy in his arms that I still sense when holding my grown daughter in my embrace, and the sense I shared with my own father until his death.

The more things change, the more some stay the same.

Bill Ford
MMFA Board Member, artist, retired WSFA

Rosa Parks I

Yvonne Wells, (American, born 1939), Rosa Parks I, 2005, cotton/polyester blend, polyester, and cotton, plastic buttons, Montgomery Museum of Fine Arts Association Purchase, © Yvonne Wells, 2008.9.6

This piece inspires the need to get organized. To make positive change, We The People must get organized. We must communicate the problem and detail the actions we want to see completed to provide a long-standing solution—a change in culture, practice, and policy.

To me, this piece represents the power of alignment. While there are various illustrations arranged across the quilt, they all have one focus and objective. Many pieces, many parts, with one common goal.  For this, Rosa Parks and the Montgomery Bus Boycott symbolizes the power and influence of an organized nonviolent action movement. The blueprint for change has already been designed and illustrated in this piece by Alabama-born artist Yvonne Wells.

Kalonji Gilchrist
President and Founder of 21 Dreams

Sharecropper

Elizabeth Catlett (American, 1915–2012), Sharecropper, 1970, color linocut on paper, Montgomery Museum of Fine Arts Association Purchase, © The Estate of Elizabeth Catlett / Artists Rights Society (ARS), New York, 2002.14.1

Jamaal Barber, To be Free, 2018, woodcut, Photograph courtesy of the artist

Elizabeth Catlett’s piece, the Sharecropper, has been transcendent and vital imagery in the long-winded fight in activism for black rights. Aside from being an artist that I look to as an example for women artists or black artists, she’s a multidisciplinary creator that manipulates materials to speak on a narrative about struggle, power, and perseverance.

Last summer I met a printmaker from Georgia, Jamaal Barber, whose work evoked the similar feelings I get from Catlett’s work. His pieces revolve around black history, black strength, and modern-day tropes saturated in systemic racism.

Jamie Harris
Alabama State University student and artist

Shugg Lampley at the Gate

Chester Higgins (American, born 1946), Shugg Lampley at the Garden Gate, negative 1968; printed 2007, platinum print on paper, Montgomery Museum of Fine Arts Association Purchase, 2007.14

If you ask her, she will tell you the stories of her girlhood. Walk through the gate kind hands have opened for you. Accept the meal that waits for you at her table. Take and eat all that she offers: love and loss, beauty and sorrow, heartbreak, and joy.

Jacqueline Trimble
Chair, Department of Languages and Literatures, Alabama State University

V4

John L. Moore (American, born 1939), V4, 1992, oil on canvas, Montgomery Museum of Fine Arts Association Purchase, 1996.7

To me, the V4 is primarily about dominance and individuality. The ovals are egg or head-shaped and easy to see as symbolic of individuals. In this case, literally black and white individuals – and some in-between. The grey, black or white colors and outlines also suggest the lack of anything that is “pure” 100% black or white. There are a couple of ways to look at the issue of dominance here; first and most obviously the large mostly white vertical oval near the center is literally overlapping and seems to be dominating a large collection of smaller black and white ovals. The large vertical nature of the white oval implies an ‘authority’ and a ‘stability’ in the blockage of the movement of the others. The smaller ovals behind the large white one appear more active due to the changes in their directions/orientations and varieties in their sizes, and color/values. They could be trapped, pushing forward or disengaging from the dominant relationship and finding individual freedom. The ovals that are separate/free seem to be rising higher, perhaps traveling further and faster without the blockage. The smaller free ovals also appear to be engaging in relationships with other different colored ovals of similar sizes without the issue of dominance as a barrier.

At present, with the daily news being what it is, this makes me think primarily about individual responses to oppression and domination, the larger themes in the image of parts that were previously held together starting to break away, and the dynamics of a relationship changing – evolving and moving out of an established recognized pattern and into a new one. Everything changes, but the process can often cause anxiety, confusion, and fear of the unknown – even when the change is for the better.

Nathaniel Allen III
Chair, Department of Visual Arts, Alabama State University

Yesterday: Civil Rights in the South III

Yvonne Wells (American, born 1939), Yesterday: Civil Rights in the South III, 1989, cotton, cotton/polyester blend, wool, polyester, and plastic buttons, Gift of Kempf Hogan, © Yvonne Wells, 2004.20.8

Yvonne Wells’ story quilt narrates, through vivid images, the African American civil rights journey in the South—yesterday—from slavery through the civil rights movement of the 1960s. But the images are also very much a depiction of today, of the current nationwide, nonviolent protests calling for justice and being met with violent responses, even murder. The most striking image of all is the circle of protesters—united and diverse—surrounding a speaker (Martin Luther King, Jr.) centered within a golden sun. Can this symbolize a plea and a ray of hope for “equal justice under law,” for positive civic and social change through peaceful, nonviolent action today as for yesterday?

Alma Freeman
Former MMFA Board Member, Docent, retired from Alabama State University

The 1920’s…The Migrants Arrive and Cast Their Ballots

Jacob Lawrence (American, 1917–2000), The 1920’s…The Migrants Arrive and Cast Their Ballots, 1974, screen print on paper, Gift of Lorillard, a Division of Loews Theatres, Inc., © The Jacob and Gwendolyn Lawrence Foundation. Licensed by ARS, New York, NY, 1976.158

Jacob Lawrence’s work is a visual representation of the resourcefulness and resilience of the human spirit. As a designer, I appreciate his ability to communicate his messages with simple shapes and unmixed colors. I can’t help but see his raw approach to painting and printmaking foreshadowing the invention of hip hop, where artists would craft narratives over minimalistic production. Lawrence, who also grew up during the Great Depression, found liberation in painting scenes that captured the plight of African Americans. It is a great thing that he has left us with a roadmap on how to capture beauty and perspective in difficult times.

Christian Hardy
Illustrator and Design Teacher, Lanier High School

Local Artists Live – Barbara Davis

Have you ever wondered what goes on behind-the-scenes in studios of local artists? On Saturday, July 25, Montgomery artist Barbara Davis will broadcast live on the Museum’s Instagram—opening her studio space to share her artwork, reflect on her inspirations, and offer a live Q&A with her audience! This is a great chance to meet one of our local artists and learn about her creations.

Live Stream Event

Saturday, July 25
10–10:30 AM

Follow the Museum on Instagram

Local Artists Live – Toni Toney

Have you ever wondered what goes on behind-the-scenes in studios of local artists? On Saturday, July 11, Montgomery artist Toni Toney will broadcast live on the Museum’s Instagram—opening her studio space to share her artwork, reflect on her inspirations, and offer a live Q&A with her audience! This is a great chance to meet one of our local artists and learn about her creations.

Live Stream Event

Saturday, July 11
10–10:30 AM

Follow the Museum on Instagram

Get to Know the Artist

Toni Toney is the featured artist on Local Artists Live this coming weekend, and in preparation for her live stream segment, she has shared some insight about her journey in becoming an artist. Toni, a public school art teacher for 16 years, surprisingly only began identifying as an artist herself just two years ago. Less surprisingly, this born-creative recalls that in her youth she was constantly doing something artistic, from fashioning clothes for Barbies using mismatched socks and making custom bedding out of dryer lint to designing paper dolls with brightly colored clothes.

Toni grew up in Compton, California, before moving to the East side of Long Beach with her family when she was in 8th grade; creating was her escape from the chaos around the neighborhood outside her home. Toni’s love for art flourished through drawing and coloring after her father started taking her on weekend visits to the California African American Museum. After moving to Alabama in 2000, Toni continued her artistic pursuits at Troy University, earning her Bachelor of Science in Art.

As an adult, Toni’s main focus shifted from nurturing her personal creativity to helping her students grow through making their own art. Throughout all of her years of teaching, she has found herself focused on her students’ artistic evolutions. Toni says, “I’m always doing something, if not for myself, for somebody else. I enjoy bringing my own ideas to life and helping others do the same…it’s like my superpower.” This superhero teacher has received continued encouragement from her family (much like that foundational introduction to art visiting the CAAM with her father) and from artists whom she met at an ArtWalk event organized by the local nonprofit arts organization 21 Dreams. Fueled by a community of encouragement, Toni has been able to return to putting energy into her own art practice.

Toni recently collaborated in the creation of the Black Lives Matter mural located around the Court Square Fountain downtown. She states that taking part in painting the words ‘Black Lives Matter’ at the same location where Black people were once bought and sold as slaves was an overwhelming experience she will never forget. Continue reading to find out more about Toni, her artistic inspirations, and her belief of how consistently putting energy into creating is an important part of her own process. Don’t miss Toni’s feature on Local Artists Live this Saturday, July 11, at 10 AM on the Museum’s Instagram account, @MontgomeryMFA.

What is your favorite thing about living in the South?

My favorite thing about the South is the history and culture. My son is able to visit where historic events have happened, events that have shaped our history as we know it.

What excites you most about the growth of Montgomery’s art scene?

I love that so much has changed! You actually see that art is here in the city! That wasn’t the case a few years ago.

What is your favorite work of art from the MMFA’s collection, and what specifically about the artwork speaks strongly to you?

My favorite piece from MMFA’s collection is Negro Baptising. It’s the first piece I [go to] see when I walk into the museum. I love how Fitzpatrick captures everything, from the reflection of light on the faces of the onlookers to the personality he gives each subject. I feel like I’m a part of the painting whenever I see it like I’m witnessing the baptism along with them.

What piece of art that you have created is your favorite, and why?

My favorite work is titled Pink Ponytails (pictured above). She reminds me of the little girls I grew up with, still holding on to her childhood, still wearing her hair in ponytails and playing jump rope outside. She has a questioning look about her face which makes the viewer wonder who she’s looking at. I love the mystery behind that look.

Do you have an all-time favorite work of art, and have you seen it in person?

Hands down, Miss America by Ernie Barnes. I saw it for the first time as a child and I remember thinking, “That’s a strong woman”. I saw it again a few years ago and fell in love with it all over again. When I look at her I’m reminded that no matter what, you have to keep going; even when your load is heavy, keep going… hold your head up high and keep going.

Tell us about your most preferred place to be on earth. What role, if any, does that place play in shaping you as an artist?

My preferred place to be is anywhere near water. I love the beach. Growing up in Southern California, we went all the time. It’s something about the smell of the ocean and the sand at my feet that calms me, almost like a reset button. I feel alive there, a lot of my paintings have a bit of blue in them because of my love for the ocean.

What drives your creativity?

My creativity is innate. I’m a born creative. I’m always doing something, if not for myself, for somebody else. I enjoy bringing my own ideas to life and helping others do the same…it’s like my superpower.

What is your preferred medium?

I love acrylics. I can be impatient a lot of times, so when I have something I need to get out, acrylics are the way to go for me.

Do you listen to any particular music when you create?

I grew up listening to all kinds of music. From jazz and classical to funk and rock. It really depends on what my mood is. Right now, I like listening to Neo-Soul from the early 1990’s.

What advice would you give to beginning artists?

My advice would be to connect with other artists. Find a community of like-minded people who will give you constructive criticism about your work. I’d also say to create something every day. Even if it’s a sketch on a napkin or the back of an envelope, do something every day.

Above: Toni Toney, Pink Ponytails, 2019, acrylic

Sunday Puzzle – Star Puzzle

Each week we will share a new puzzle featuring an artwork from the Museum’s collection. Whether a solo personal challenge or joint family effort, we make it easy for you to get started solving—simply play on your computer, smartphone, or tablet.

This week’s puzzle is Nora Ezell’s bursting with color Star Puzzle quilt.

Last Week’s Puzzle

Frederick Warren Freer’s wistful Lady in Blue

How to Play

Click with a mouse or drag with your finger the digital puzzle pieces into place. Correct alignments will snap together.

Icons

On the Bottom Left

    • Image icon – click to see the work you are putting together
    • Ghost icon – click to see an opaque image of the work on the puzzle board
    • Dotted Square icon – click to arrange or disarrange the puzzle pieces
    • Three Dots icon – click to select to restart the puzzle, change your background color, adjust settings, or get help

On the Bottom Right

  • Puzzle icon – click to play on Jigsaw Planet
  • Window icon – click to play in full-screen mode

Easy (36 Pieces)

Medium (100 Pieces)

Hard (252 Pieces)

Extreme (289 Pieces + Rotation)

How to Rotate Pieces

  • Mouse + Keyboard: 
    • Move the mouse wheel up (left rotation) or down (right rotation).
    • Or, press the left (left rotation) or right (right rotation) arrow key.
  • Touch: Tap on the piece and then tap on the appeared left or right rotation icon.

Credit

Nora Ezell (American, 1919–2007), Star Puzzle, 2001, cotton and cotton/polyester blend, Montgomery Museum of Fine Arts Association Purchase, 2008.9.2

Sunday Puzzle – Lady in Blue

Each week we will share a new puzzle featuring an artwork from the Museum’s collection. Whether a solo personal challenge or joint family effort, we make it easy for you to get started solving—simply play on your computer, smartphone, or tablet.

This week’s puzzle is Frederick Warren Freer’s wistful Lady in Blue.

Last Week’s Puzzle

Edward Hicks’s bucolic Peaceable Kingdom

How to Play

Click with a mouse or drag with your finger the digital puzzle pieces into place. Correct alignments will snap together.

Icons

On the Bottom Left

  • Image icon – click to see the work you are putting together
  • Ghost icon – click to see an opaque image of the work on the puzzle board
  • Dotted Square icon – click to arrange or disarrange the puzzle pieces
  • Three Dots icon – click to select to restart the puzzle, change your background color, adjust settings, or get help

On the Bottom Right

  • Puzzle icon – click to play on Jigsaw Planet
  • Window icon – click to play in full-screen mode

Easy (36 Pieces)

Medium (100 Pieces)

Hard (252 Pieces)

Extreme (300 Pieces + Rotation)

How to Rotate Pieces

  • Mouse + Keyboard: 
    • Move the mouse wheel up (left rotation) or down (right rotation).
    • Or, press the left (left rotation) or right (right rotation) arrow key.
  • Touch: Tap on the piece and then tap on the appeared left or right rotation icon.

Credit

Frederick Warren Freer (American, 1849–1908), Lady in Blue, date unknown, watercolor on paper, Montgomery Museum of Fine Arts, Gift of Mrs. Margaret Freer, 1936.71

MMFA Responds

Dear Museum + Montgomery Community:

In mid-March, we reached out with our concerns for the community’s wellbeing as the public health crisis began to emerge. Today, we reach out again with concern for the community—this time in the wake of the demonstrations in our nation, state, and city protesting the senseless death of George Floyd and far too many others.

Just as COVID-19 has required us to take comprehensive measures to ensure everyone’s health and safety as we prepare to welcome you back, these persistent and painful issues and incidents of inequity call us to rethink and recraft the ways we engage with you at the Museum and in our community. Know that we approach this work with equal resolve and rigor.

American philosopher and activist Cornel West charges us to “never forget that justice is what love looks like in public.” We will turn to the transformative power of the arts as we redouble our intentions and actions to seek just such justice. We have a sense of what our next few steps might be and trust that you—our fellow Montgomerians, our creative companions—will join us in community as we continue on that path toward a more just and beautiful walk for all.

In peace and with love—

Your Montgomery Museum of Fine Arts

Exhibitions

Personal to Political: Celebrating the African-American Artists of Paulson Fontaine Press

May 22 through July 26, 2020

The artists of Personal to Political capture the many personal narratives and political battles of African American artists across the country, reflecting a collective experience expressed in uniquely individual ways. Read More

Collection

Souls Grown Deep Acquisition

During the summer of 2019, the Museum is celebrated the addition of five works by contemporary African American artists from Alabama to its permanent collection. The pieces are a part of the Atlanta-based Souls Grown Deep Foundation William S. Arnett Collection and include a major work by Thornton Dial, Sr.; an early work by Jimmy Lee Sudduth; and three quilts made by Gee’s Bend quiltmakers Minnie Sue Coleman, Emma Mae Hall Pettway, and Joanna Pettway. Read More

Responding to the Moment – Community Insight

To hear how works by African-American artists in the Museum’s collection are speaking to our shared humanity and calls for equality at this moment in American history, we invited members of our community—artists, writers, students, teachers, advocates, leaders of arts programs and Civil Rights Museums—to share personal reflections on selected works of art. Read More

Programs

Artists+Activism: Let’s Talk

Saturday, June 6 at 3:30 PM

More than just a vehicle of aesthetic beauty, art has the power to evoke emotion and invoke contemplation. Artists+Activism brings artists and community members together to do just that: share ideas and consider the feelings of others. Read More

Creative Conversations: Personal to Political

Wednesday, June 17 at 5:30 PM
Wednesday, July 8 at 5:30 PM

Creative Conversations brings together MMFA staff, artists, and members of our community and beyond in a casual setting to discuss their work, reflect on the Museum’s collection and exhibitions, and dialogue about current issues. We encourage you to tune in live, ask questions, and engage creatively from the comfort of your own homes. Read More

Home Studio: Honoring Juneteenth

Juneteenth is the oldest celebration of the end of slavery in our nation. This project invites you to use art not only as a celebratory outlet but also as an educational tool by creating an original work of art that reflects why Juneteenth should be honored and celebrated. Read More

Art of the Civil Rights Movement in Montgomery

Saturday, July 18; 10 AM

Madeline Burkhardt of the Rosa Parks Museum, Dorothy Walker of the Freedom Rides Museum, Artist Bill Ford, and Curator of Education Alice Novak will discuss artists’ representation of the Civil Rights Movement in Montgomery. The conversation will focus on works held by our partners’ institutions including representations of Rosa Park’s participation in the Bus Boycott (1955), the Freedom Rides (1961), and Bill Ford’s murals at the Bertha P. Williams Library, which commemorate the Selma to Montgomery March (1965).

This event will be held on Facebook Live.

Recommendations

Book Recommendations

Amid the significant movement of our nation and in efforts to lift Black voices, our June book recommendations address and highlight the lack of Black representation in the art world, underline how systematic racism has contributed to this and other injustices for Black Americans, and offer insights on how art can contribute to much-needed change. Read More

Film Recommendations

We’ve chosen to spotlight films that both challenge our own entrenched ways of thinking, as a people and society, and celebrate Black artists, heritage, and culture in honor of Juneteenth. Read More

Public Art: Protest + Justice

Please join us in exploring art related to protest and racial justice located downtown and in West Montgomery. This post features works grounded in key historical moments—such as the one we are living in—including public art and works on display in partner organizations. Read More

Home Studio: Honoring Juneteenth

Juneteenth is the oldest celebration of the end of slavery in our nation. Traditionally celebrated on the third Sunday of June, this momentous occasion has been widely celebrated by African Americans since 1866 but it is only recently gaining broader recognition. For example, last Friday, Mayor Steven Reed issued a proclamation encouraging Alabamians to use Juneteenth as a day for remembrance and reconciliation. Through education and reflection, we are all learning to do better, to be better. For some of us, this takes the form of engaging in educational experiences in regards to respecting the history of African Americans and encouraging and providing the tools for those who want to move forward with more respect and mindfulness.

Objective

To use art not only as a celebratory outlet but also as an educational tool by creating an original work of art that reflects why Juneteenth should be honored and celebrated. If you are Black, you stand with strong wisdom of why Juneteenth is celebrated, and we invite you to express whatever it is you want through this project. If you are not Black, this is an opportunity to further educate yourself and your family, to reflect upon the African-American experience through your creation. Together we can all start repairing bridges that were long ago burned by racism.

Material Suggestions

Introduction

Begin by learning about Juneteenth—Why is it important to our nation’s history and why is it honored and celebrated? If you are doing this project as a family, talk about your discoveries, then use this discussion to prompt creative expressions.

Activity

Gather your chosen art supplies, then use what you’ve learned (or what you already know) to create an inspired work of art! This can take the form of a painting, drawing, or even a mixed-media collage. Use whatever you have to express your ideas and feelings.

If a prompt is needed to create, one idea is to write down the following phrase: “I celebrate Juneteenth because…”  or “I honor Juneteenth by…” then complete your sentence by either writing personal thoughts or using images that visually communicate your ideas.

Conclusion

Discuss your original creations as a group (as few or many as that may safely be!), sharing about why you honor Juneteenth, or what you’ve learned through participating in this project.

Submit Your Work

We would love to see your creations! Share your work with us by taking a photograph and emailing it to us at pr@mmfa.org.

Sunday Puzzle – Peaceable Kingdom

Each week we will share a new puzzle featuring an artwork from the Museum’s collection. Whether a solo personal challenge or joint family effort, we make it easy for you to get started solving—simply play on your computer, smartphone, or tablet.

This week’s puzzle is Edward Hicks’s bucolic Peaceable Kingdom.

Last Week’s Puzzle

Ford Crull’s dazzling In the Realm of the Fantastic

How to Play

Click with a mouse or drag with your finger the digital puzzle pieces into place. Correct alignments will snap together.

Icons

On the Bottom Left

  • Image icon – click to see the work you are putting together
  • Ghost icon – click to see an opaque image of the work on the puzzle board
  • Dotted Square icon – click to arrange or disarrange the puzzle pieces
  • Three Dots icon – click to select to restart the puzzle, change your background color, adjust settings, or get help

On the Bottom Right

  • Puzzle icon – click to play on Jigsaw Planet
  • Window icon – click to play in full-screen mode

Easy (35 Pieces)

Medium (99 Pieces)

Hard (252 Pieces)

Extreme (300 Pieces + Rotation)

How to Rotate Pieces

  • Mouse + Keyboard: 
    • Move the mouse wheel up (left rotation) or down (right rotation).
    • Or, press the left (left rotation) or right (right rotation) arrow key.
  • Touch: Tap on the piece and then tap on the appeared left or right rotation icon.

Credit

Edward Hicks (American, 1780–1849), Peaceable Kingdom, ca. 1830–1832, oil on canvas, Montgomery Museum of Fine Arts, Montgomery, Alabama, The Blount Collection, 1989.2.18

Book Recommendations – June 2020

Amid the significant movement of our nation and in efforts to lift Black voices, our June book recommendations address and highlight the lack of Black representation in the art world, underline how systematic racism has contributed to this and other injustices for Black Americans, and offer insights on how art can contribute to much-needed change.

Click here to browse May’s recommendations.

About Ekphrasis

The Museum’s reading group is expanding! ​All individuals are invited to join Ekphrasis regardless of Museum membership. If you would like to join Ekphrasis, please complete ​the form​ below​.

Membership Form

Vote for 2020–2021 Reading Selections

If you have​ any questions, please contact Brandy Morrison at bmorrison@mmfa.org.

Related Program

This Is What I Know About Art Discussion [via Zoom]
Wednesday, August 12; Noon

More details to come.

Art and Upheaval

Book

Art and Upheaval: Artists on the World’s Frontlines

Author

William Cleveland

Why You Should Read

“This beautifully written book reads like a collection of stories from voices across the world, woven together to exemplify the power of art as a tool for activism. It helps us understand that activist art isn’t just a thing in countries often thought of as being in peril, and art for change isn’t limited to visual arts. Art and Upheaval sheds light on stories from Australia, South Africa, the United States, Serbia, and more, and lifts up voices of artists who create with purpose through visual, performance, and language arts. Art is a universal language; even when words can’t be understood, creative expressions speak loud and clear.” – Laura Bocquin, MMFA Assistant Curator of Education

Where to Purchase

Physical: Amazon, Bookshop | Digital: Kindle

Related Content

Artists+Actvisim: Let’s Talk

Exhibiting Blackness

Book

Exhibiting Blackness: African Americans and the American Art Museum

Author

Bridget R. Cooks

Why She Wrote It

“Visiting and working in mainstream museums, I found the regular omission of art on view that had been created by African American artists. When there was an art exhibition of their work, I noticed a few other things: First, African American artists were featured in museums within group exhibitions about Black identity. They were not regularly shown in thematic-based exhibitions organized around a style of art or specific topic. And rarely was their work shown alongside artists who were not Black; Second, the object labels for art by African American artists stated that the artists were Black, however, labels for art by White artists did not identify them as White. Third, when an exhibition of works by African American artists was on view, the majority of White museum visitors who commented to me about the exhibition stated that they had never seen art by an African American artist before. They believed that the exhibition was the first of its kind, and they wanted to know more.

What most people did not know was that there have been African American artists for hundreds of years. There has also been a history of White supremacy in museums since their origins in the nineteenth century. I wanted to create a well-researched text and critical analysis that would make the history of African Americans and art museums accessible. My hope was for American art museums and art critics to do better work in the future.” – Bridget R. Cooks

Where to Purchase

Physical: Amazon, Bookshop

Related Content

Interview with Bridget Cooks, UC Irvine

This Is What I Know About Art

Book

This Is What I Know About Art

Author

Kimberly Drew

Why You Should Read

“This book delves into the hidden (or not so hidden) obstacles that minorities face when trying to enter the art realm. In this book, Drew exposes the realities of Black professionals entering the art world–the wage disparities, the lack of opportunities, the absence of Black artists in a variety of appropriate spaces, the burden of dealing with white guilt. She also discusses why and how Black people do not engage with art and museums in the same way. Through this work, the reader becomes enlightened and empowered, something that is greatly needed in today’s world.” – Cassandra Cavness, MMFA Development Assistant

Where to Purchase

Physical: Amazon, Bookshop | Digital: Apple Books, Kindle | Audiobook: Apple Books, Audible

Related Content

Kimberly Drew’s Instagram

Related Program

Book Discussion [via Zoom]
Wednesday, August 12; Noon

More details to come.

White Fragility

Book

White Fragility: Why is it so Hard for White People to Talk About Racism?

Author

Robin DiAngelo

Why You Should Read

“It’s an excellent read. She gives thorough and diverse examples of racism in society. The book addresses many issues including white supremacy and how all people can work together to engage more constructively. I read it in two days!

As for how it applies to the art world? I think it will give everyone a different perspective on why black artists and their artwork are crucial and should be represented in museums and galleries.” – Cynthia Milledge, MMFA Director of Marketing and Public Relations

Where to Purchase

Physical: Amazon, Bookshop | Digital: Apple Books, Kindle | Audiobook: Apple Books, Audible

Related Content

‘Interrupt The Systems’: Robin DiAngelo On ‘White Fragility’ And Anti-Racism

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