The Turpentine State
Minnie Evans and North Carolina Ecologies
Bibliographic Data
| ID | 15010372 |
|---|---|
| Authors | Colton Klein (corresponding author) |
| Year | 2024 |
| Volume | 38 |
| Issue | 1 |
| Pages | 96-115 |
| Publication date | 2024-03-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | American Art (JOURNAL) |
| Journal identifiers | ISSN: 1073-9300 • E-ISSN: 1549-6503 |
| Publisher | University of Chicago Press (PUBLISHER • US) |
| DOI | 10.1086/729354 |
| OpenAlex | W4393425311 |
| Language | EN |
| References cited | 3 |
North Carolina artist Minnie Evans is well-known for the symmetrical, abstracted floral drawings that she produced from 1930 until her death in 1987. Less well known are her naturalistic compositions of identifiable locations around Wilmington, North Carolina, where she lived. Evans’s choice of local spaces, notable for welcoming Black residents during the Jim Crow era, reminds us of the real issues of access and segregation that she faced as a Black woman in twentieth-century North Carolina. Evans’s images, especially Airlie Oak (1954), recall the histories of enslavement, violence, and refuge in Wilmington’s surrounding forests, particularly those associated with the city’s thriving nineteenth-century turpentine industry and its 1898 White supremacist coup
Art · Turpentine · American Environmental and Regional History · American History and Culture · Appalachian Studies and Mathematics · Chemistry · Organic Chemistry
| Highly cited | No |
|---|