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“I made this …”: The Work of Black American Artists and

Artisans to Open at Colonial Williamsburg in October 2022
WILLIAMSBURG, VA – When “I made this …”: The Work of Black Another featured object in the exhibition is a ca. 1970 quilt by Arlonzia
American Artists and Artisans opens on Oct. 1, 2022, at the DeWitt Wallace Pettway (1923-2008) of Gee’s Bend, Alabama. The Gee’s Bend quilters’
Decorative Arts Museum, one of the Art Museums of Colonial story is uniquely a “women's story” of family legacies and community,
Williamsburg, 28 examples of decorative art and folk art will be on display. although an individual quilt and the work of its maker is personal.
Never before have the Art Museums exhibited together objects made Twentieth-century quilts from this Alabama vicinity are especially well
exclusively by Black artists and artisans from the 18th to the 20th centuries documented and famous for their
across so many genres in both decorative and folk arts. Focusing on the strong designs, innovative use of color
makers, this unique assemblage of paintings, furniture, textiles, decorative and pattern, asymmetry, and free
sculptures, quilts, ceramics, tools, metals, and more will help illuminate adaptation of traditional quilt patterns;
their stories. each design is unique and the fabrics are
Among the highlights to be seen in “I made this …” is a ceramic jar often recycled from family clothing
made by Thomas W. Commeraw (b. ca. 1775- d.?) in New York, New and household textiles with personal
York between 1797 and 1798. Commeraw was a free Black businessman meaning. Arlonzia Pettway, the maker
who operated a stoneware pottery in lower Manhattan from 1797 to 1819. of this example, grew up and quilted in
He made utilitarian vessels, some of which were sold to businesses along the the Gee’s Bend community where she
waterfront, many managed by other free African Americans. Not only was learned to quilt from her mother. Here,
Commeraw successful as a businessman, he was also arguably an even more she combined rectangles of cotton and
interesting citizen with numerous and varied civic interests. silk velvets, textured polyester double
Unfortunately, it became increasingly chal- knits, plain-woven and patterned
lenging for Commeraw to operate his business cottons, and a print that incorporates Quilt, Arlonzia Pettway (1923-
while networking within black and white portions of the phrases “Coca-Cola” 2008), Gee’s Bend, Alabama,
communities in what was also becoming an and “It’s the real thing,” the Coke ca. 1970, cotton and polyester,
increasingly racially charged climate. When he motto from 1969. The rectangles are set Museum Purchase, Dr. and Mrs.
was unable to find a way around the racial on angels to create a lively zigzag pattern T. Marshall Hahn, Jr. Fund
divide, he sought to go elsewhere. In 1820, known as “Coat of Many Colors.”
Commeraw and his family emigrated to Sierra “I made this …”: The Work of Black American Artists and Artisans.
Leone with the American Colonization Society, The exhibition was generously funded by the Americana Foundation.
a move precipitated by the loss of his home and Additional information about the Art Museums and Colonial
pottery. The family returned to America in 1822. Williamsburg visit colonialwilliamsburg.org, or call 855-296-6627, and
Jar, Thomas W. Commeraw (1775-d.?), New York, follow Colonial Williamsburg on Facebook, Twitter, and Instagram.
New York, 1797-1798, ceramic.

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