Aunt Jemima – vintage slip, rust dye, hand embroidery
October 25, 2025 – January 3, 2026
“I would have girls regard themselves not as adjectives but as nouns”
Elizabeth Cady Stanton
From the Civil War through the middle of the 20th century, so much of a woman’s experience was intended to be kept out of view, lest she or her family be shamed. Women had been ingrained to be submissive, question their own voices and to prize appearance. When I came upon a vintage slip at a flea market, I immediately knew her name – Betty Crocker – and her story under the apron. Betty’s tale wasn’t about some perfect concoction of womanhood, but she had a tale to tell. I wanted to tell her story and amplify her – and others’ – voice and what better way to do that than with the most intimate of clothing. Intimates are worn closest to the skin every day, and they encounter all that is unseen in a woman’s life.
And so it went: I sought out more underwear, choosing those whose stories came alive at first touch, and even to this day, women struggle to find the best undergarments. Does any women own a comfortable bra?
Using dying techniques I took away a pristine appearance of these vintage undergarments and used iron tools to create rust dye results that are a perfect metaphor for the plight of my subjects. Sewing and stitching have been a required skill for women – some to make and repair clothing, others to pass the time. Hand stitching is a slow process, sometimes painful – needle pricks, hand cramps – but intentional. I became more attached and aware of each women’s story the longer I worked the piece.
You are invited to touch and examine these pieces for an intimate encounter with our tightly laced past and ask yourself if we still have some “dirty laundry” to address.
Julie Thurber will lead an artist’s talk exploring her work at the Cayuga Museum on Saturday, December 6 at 2 PM. Go to cayugamuseum.org/events-programs to learn more.
About the Artist
I am daughter and sister to two accomplished visual artists, and have been surrounded by creative female figures who have taught me to embrace creative expression. A strong female voice tends to speak in much of my work.
I gravitate towards textiles, paper, stitching, paint, and materials found in nature. I find that tactile and dimensional materials work to make things appear one way from afar and another upon closer inspection. Outward appearances often are deceiving.
I am originally from Ohio, but have lived in the Finger Lakes Region of New York for the past 30 years. The history and beauty of this area never fails to inspire me.
Exhibit Highlights
These are samples of some of the stories and pieces included in this exhibit. To read the full descriptions and learn more, be sure to visit this exhibit in-person!
Aunt Jemima
Institutional racism is sewn into our American history. It can be so subtle, ingrained, and camouflaged. Lyrics to the minstrel song that was used to conjure up the now iconic Aunt Jemima brand are hiding under the lace overlay.
For many African American women, Aunt Jemima represented the reality of life in post Civil War America – servitude and no other real choices. This ode to Nancy Green, a formerly enslaved woman and the first of many live spokespersons for the Aunt Jemima brand, celebrates how women of color took opportunity where it was given to make a better life for themselves, their families, and their communities.
Nancy Green was born enslaved in 1834. She lived through the Civil War and after emancipation she became a domestic for a family in Kentucky. The family later moved to Chicago and, at the age of 56, her employer urged her to audition to be the spokesperson for the Aunt Jemima brand. She played Aunt Jemima until her death in 1923 at the age of 89.
Many Black women came after Nancy Green to serve as the Aunt Jemima spokesperson. Very little is known about them. Aylene Lewis appears to be the last spokesperson appearing as the Aunt Jemima Pancake House in Disneyland up until 1964.
A new song is stitched upon this garment. A song to celebrate Nancy Green, the other ‘Jemimas’, and all strong Black women whose contributions have gone unsung.
Thurber came upon the story behind Aunt Jemima while doing research for this project. She often uses garments that she alters and stitches upon for her storytelling. They are ubiquitous and approachable, intimate and full of narrative. Thurber encourages handling the work to read, examine, and to connect with the history it contains.
Betty Crocker Under the Apron
The character of Betty Crocker was developed, in part, by Marjorie Husted a home economist who worked for General Mills in 1921 and gave cooking advice via a radio show. In 1936 Betty’s first portrait appeared. Her wholesome looks reflected the ideal homemaker who could whip up baked goods with ease thanks to the Betty Crocker brand. Adelaide Hawley brought Betty to life on TV from 1949-1964. This televised Betty at once became more dimensional with perhaps an appetite for more than just baking brownies.
