Pittsburg, PA
Marie Watt I-Beam Quilts At Carnegie Art Museum In Pittsburgh
Installation view of “Marie Watt: LAND STITCHES WATER SKY,” Carnegie Museum of Art, Pittsburgh … [+]
Marie Watt’s latest installation comes with a soundtrack. Visitors won’t hear it in the gallery, but listen close, and you can read it.
That’s right. Read it.
“Auntie, auntie”
“Sister, sister.”
Sound familiar?
“Mother, mother.”
“Brother, brother.”
Watt (Seneca Nation; b. 1967, Seattle) refers to this as “twinning language” and took as one starting point to her presentation at Pittsburgh’s Carnegie Museum of Art Marvin Gaye’s 1971 smash hit “What’s Going On?”
“That song calls out ‘mother, mother,’ ‘brother, brother,’ and I thought, well, in a Seneca way and in an indigenous way, that call continues and it includes ‘auntie, auntie,’ and ‘grandmother, grandmother,’ and ‘uncle, uncle,’ and it includes ‘sky, sky,’ and ‘water, water,’ and ‘deer, deer,’ and ‘bobcat, bobcat,’” Watt told Forbes.com “This intersection between Marvin Gaye thinking about our relatedness and an indigenous way thinking about our relatedness, which is to say that we’re all connected, and we’re all related.”
Hear it now?
“When Marvin Gaye doubles those words, I started thinking, when he’s calling ‘mother, mother,’ it’s about making this urgent call go further in space, but it also is connected intimately to this history of call and response,” Watt continues. “In an indigenous way, I’ve started thinking of it as a way of calling back to our ancestors and calling forward to future generations.”
Watt sourced the words through collaborations with the museum’s educators, the Pittsburgh Poetry Collective, and invitations to community members of all ages. Her simple prompt was, “what’s going on?”
The words appear on steel I-Beam fragments salvaged around Pittsburgh–historic and reigning steel manufacturing capital of the world.
“(Watt) started thinking about words that we associate with what steel means today in this region,” Liz Park, Richard Armstrong Curator of Contemporary Art at the Carnegie Museum of Art, told Forbes.com. “She had an incredible list of words that are associative and inspired and informed by research and she referred to the words as a bank of words, which again, I thought was a very beautiful way of building language around the material that she’s collecting because these words are also material in the same way the I-Beams are material.”
Soot, soot.
Pride, pride.
Labor, labor.
Carbon, carbon.
Blast, blast.
Words selected, community members were invited to write them on the beams to be subsequently be welded on.
One of the hundreds of I-beams incorporated into Watt’s two sculptures was cast in glass, another industrial material Pittsburgh has long excelled at manufacturing. The artist found casting glass more finicky than expected.
What was supposed to read “Ghost Ghost” instead reads “Host Ghost” as a result of a crack in the glass beam forcing it to be cut.
“It is so perfect in so many ways; the word ‘host’ is so much a part of my ethos as an artist,” Watt explains. “When I do a collaborative project, I set the table and what is created is made by everybody.”
As TV painter Bob Ross used to say, no mistakes, just “happy accidents.”
I-Beam Quilts
“Marie Watt: LAND STITCHES WATER SKY” installation view detail.
It’s doubtful anyone other than the artist will initially view her room filling steel sculptures as quilts. I-Beam quilts. Watt’s use of quilts and blankets is what she’s best known for.
“I don’t know if they chose me or if I chose (them), and I guess that speaks to the way that I like to work with materials,” Watt said of her predilection for perceiving the world through the prism of quilts and blankets. “My initial interest in working with blankets came from how I see them functioning in my family and community. We give away blankets to honor people for being witness to important life events, but I quickly realized as I started working with salvage blankets from thrift stores and tag sales and things that people would give me knowing that was a base material for me, that we’re received in these objects, we depart the world in these objects, and we’re constantly imprinting on them.”
Watt’s “Blanket Story” sculptures–stacks of neatly folded blankets, each with a unique story to tell, sometimes rising nearly 20 feet–fill the most prestigious art museums from coast-to-coast.
“I think they have a life and energy of their own and I want to be a good listener,” Watt said. “Blankets were the beginning of this deep interest I have in listening to materials and working with materials that are often organic in nature, and that connect to our stories.”
Like steel.
Helping inspire the commission in Pittsburgh, and an offshoot of Watt’s “Blanket Stories,” are her Skywalker/Skyscraper sculptures featuring blankets wrapped around an erect I-Beam. She was drawn to the I-Beam’s interwoven history with generations of Haudenosaunee ironworkers, known as “Skywalkers,” who built many of the iconic landmarks in the Manhattan skyline and other urban infrastructure.
“When I visited Marie in her studio, the thing I was struck by is how she surrounds herself with materials, and she’s been collecting materials with intention, she doesn’t just source it from anywhere she wishes,” Park said. “She approaches that as an important part of her practice and process… literally, there were stacks of blankets (in her studio) that she described as a library of blankets.”
A library of blankets. A bank of words. I-Beams. All seemingly very different, but in Watt’s perspective, all materials.
“One thing I love about working with (I-Beams) on this scale and at this site is that I’ve become so keenly aware of the history that’s embedded in this fabric–this material,” Watt explained. “This material has been touched by so many different people and when we see it without text, it oftentimes presents as cold and structural and engineered, we forget about the human hand and the stories connected to that material.”
Just like–you guessed it–quilts and blankets.
Marie Watt Takes America
“Marie Watt: LAND STITCHES WATER SKY” installation view detail.
“Marie Watt: LAND STITCHES WATER SKY” at the Carnegie Museum of Art through September 22, 2024, is one of three major, solo exhibitions of the artist’s work on view across the country presently. It joins “Storywork: The Prints of Marie Watt, from the Collections of Jordan D. Schnitzer and His Family Foundation,” (through May 18, 2024) at Print Center New York, the artist’s first traveling retrospective and the first reflecting on the role of printmaking in her interdisciplinary work, and “Marie Watt: SKY DANCES LIGHT” at the Blanton Museum of Art in Austin, TX (through October 20, 2024) featuring sculptural works composed of thousands of tin cones sewn on mesh netting creating abstract cloud-like forms hanging from the ceiling.
That degree of institutional attention is rare for a living artist. Exceedingly rare for a living female artist. Nearly unprecedented for a living, female, Indigenous artist.
“I’m making up for lost time,” Watt said of the attention. “I’ve always been making this work, so what is present to other people or institutions is not necessarily what I see or experience.”
The kind of 20-year-in-the-making “overnight success” typical in the arts or music. Despite a pedigree no less esteemed than receiving her Master of Fine Arts degree from Yale University, only recently has Watt felt like her career stands on solid ground.
“This sounds strange even when I say it out loud, but I think it took turning 50 where I told myself that it looks like this is what I’m going to do when I grow up,” she said laughing. “I don’t know why I felt like this career of being an artist was something that somebody could suddenly pull the rug out from under me and then I would have to go back to another type of day job.”
As long as Watt has materials, she’ll continue finding unique ways of sharing stories through them, and a career. Lucky for us, there is no shortage of quilts, and words, and steel waiting for her.
On Sept. 17, multi-platinum country music star Luke Bryan will bring his Farm Tour to 1846 Farms near Latrobe.
Westmoreland County is no stranger to large outdoor concerts. Some may remember the Rolling Rock Town Fair in the early 2000s, while others may recall Luke Bryan’s stop at a farm in South Huntingdon Township just two years ago. Now the country music superstar is returning to the area.
The Unity Township farm’s general manager, Aleisha Stas, gave KDKA a tour of the family farm, which dates back to before the Civil War. She says Bryan’s team first reached out after finding the farm on social media, but she says at first, she and her family thought it was too good to be true.
“This was around April Fools, so we thought it was an April Fools prank,” Stas said. “My whole family, we were like, there’s no way this is about to happen. But this has been incredible.”
Stas says Bryan’s team is handling everything logistically from parking and bathrooms to deciding exactly where the concert will be staged.
“If we have it on this side of the property, we can hold 12,000 people,” Stas said. “And if we have it on (the other side) of the property, it can be up to 20,000. But we have not determined that yet.”
Many of those decisions will be made as September gets closer. In the meantime, however, the farm is holding off on planting in certain fields until the final concert location is selected.
And while hosting thousands of people may sound a little intimidating, Stas says her family is excited to welcome fans to the farm for what they hope will be a memorable night.
“Obviously, we’ve never had this many people here before, so it will be a new thing for all of us, but we are not worried,” said Stas. “Luke Bryan’s team are experts with this, and I think it will go great.”
Tickets for this concert are currently on sale, and they will run you about $77 per person, plus tax for general admission.
Pittsburg, PA
2025 Steelers Offseason Recall: Garrett shutdown as Pittsburgh bullied Browns in Week 6 | Steel City Underground
Steel City Underground presents post-game takeaways in our Steelers Offseason Recall series, revisiting key moments from the 2025 season and how they shaped the year that followed.
AFC North football rarely looks pretty, and the Pittsburgh Steelers’ Week 6 matchup against the Cleveland Browns at Acrisure Stadium followed that familiar formula. What started as a defensive slugfest on a torn-up field eventually turned into another frustrating afternoon for Cleveland as Pittsburgh pulled away for a 23-9 victory.
The win improved the Steelers to 4-1 and extended their remarkable regular season home winning streak against the Browns to 22 games. More importantly, it reinforced an early-season identity centered around disruptive defense, efficient quarterback play, and winning the battle in the trenches.
Looking back, these were the biggest surprises from Pittsburgh’s victory.
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Jalen Ramsey stole the show from Watt and Garrett
Nobody expected Jalen Ramsey to leave Week 6 with more sacks than T.J. Watt and Myles Garrett combined, but that’s exactly what happened.
Ramsey entered the game after missing practice time earlier in the week and proceeded to deliver one of the more unexpected stat lines of the season. The veteran defensive back recorded two sacks and six combined tackles while frequently helping confuse Cleveland’s protection schemes.
Meanwhile, Watt recorded half a sack while Garrett failed to register one entirely.
Ramsey even admitted afterward that the performance surprised him. His production highlighted an emerging trend within Pittsburgh’s defense: pressure was coming from everywhere.
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The Steelers defense overwhelmed Cleveland’s offense
While Ramsey grabbed headlines, the collective defensive effort suffocated Cleveland for most of the afternoon.
The Steelers finished with six sacks as Nick Herbig led the team with two sacks while Ramsey added two of his own. Derrick Harmon, Watt, and Alex Highsmith also got involved as Pittsburgh repeatedly collapsed the pocket around rookie quarterback Dillon Gabriel.
Gabriel never looked comfortable. The rookie completed 29 of 59 passes for 221 yards and struggled once Cleveland became one-dimensional after falling behind. He finished with a passer rating of 66.3 while absorbing constant punishment.
Pittsburgh didn’t rely solely on edge pressure either. Defensive backs blitzed, interior rushers collapsed protection, and disguised looks forced Cleveland into mistakes.
Perhaps equally impressive was how the Steelers handled Browns rookie running back Quinshon Judkins. Entering the matchup, Judkins had averaged 4.6 yards per carry and looked like one of Cleveland’s few consistent offensive weapons. Pittsburgh erased that advantage, holding him to a season-low 36 rushing yards on 12 carries while limiting him to 3.0 yards per attempt.
Through five games played after their bye week, the Steelers had already amassed 20 sacks and were rapidly becoming one of football’s most disruptive defenses.
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Myles Garrett disappeared
The Browns needed a game-changing performance from Myles Garrett. Instead, Pittsburgh’s offensive line turned in one of its best performances of the season.
Garrett moved around the formation throughout the game, but he spent much of the afternoon lined up across from Broderick Jones. With occasional help early and more one-on-one opportunities later, Jones and company neutralized Cleveland’s biggest defensive weapon.
Garrett finished with only two combined tackles. He failed to record a solo tackle, sack, forced fumble, quarterback hit, or pass defended.
Keeping Garrett quiet fundamentally changed how Cleveland could attack Rodgers and allowed Pittsburgh’s offense to remain balanced throughout the afternoon.
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Rodgers stayed efficient and upright
Aaron Rodgers didn’t deliver a vintage statistical masterpiece: he simply controlled the game.
The veteran quarterback completed 21 of 30 passes for 235 yards while distributing the football efficiently and trusting Arthur Smith‘s offensive approach. Rodgers leaned heavily on his tight ends early before taking advantage of favorable matchups later in the game.
His biggest moments arrived in the second half. Rodgers connected with Connor Heyward for a touchdown strike before finding D.K. Metcalf for another score that helped create separation on the scoreboard.
Equally important, Rodgers stayed upright. For only the second time that season, Pittsburgh allowed zero sacks. Cleveland hit Rodgers only three times despite him attempting 30 passes.
Compare that with Dillon Gabriel, who absorbed six sacks and 16 total quarterback hits.
The offensive line, aided by extra blocking looks featuring Spencer Anderson, kept Cleveland’s front from controlling the game and allowed Rodgers to operate comfortably. Metcalf benefited from the protection, turning four receptions into 95 yards while the Steelers spread touches across Jonnu Smith, Pat Freiermuth, Roman Wilson, Darnell Washington, and Heyward.
Meanwhile, Jaylen Warren, Kenneth Gainwell, and Kaleb Johnson combined for 89 rushing yards to maintain offensive balance. Pittsburgh averaged 5.8 yards per play and controlled possession despite both teams having the same number of drives.
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The officiating nearly stole the spotlight
Not everything about the victory came without frustration. Ron Torbert’s officiating crew inserted itself into the game repeatedly as Pittsburgh absorbed ten accepted penalties during an afternoon filled with questionable decisions.
Several pass interference rulings frustrated players and fans alike.
Jerry Jeudy appeared to drag Brandin Echols down by both shoulder pads on one play, yet the result went against Pittsburgh. Later, Browns cornerback Denzel Ward appeared to pin D.K. Metcalf’s arm without drawing a flag.
Even Watt found himself repeatedly flagged for alignment penalties despite checking positioning with officials beforehand, leading to visible frustration from Mike Tomlin on the sideline.
The most controversial moment arrived on special teams. Ke’Shawn Williams appeared to spark the crowd with a 47-yard punt return before an illegal blindside block penalty on Jabrill Peppers erased the play. The penalty not only wiped away field position but also backed Pittsburgh up an additional ten yards.
Despite the officiating frustrations, the Steelers remained composed, and by the end of the afternoon, that discipline, paired with suffocating defense and efficient offense, delivered another divisional win and continued building momentum heading into a critical AFC North stretch.
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