Bill Traylor
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Bill Traylor David Zwirner
David Zwirner New York London Paris Hong Kong Bill Traylor October 29, 2019–February 15, 2020 34 East 69th Street, New York Press preview: Tuesday, October 29, 5 PM Opening reception: Tuesday, October 29, 6-8 PM Bill Traylor, Brown House with Multiple Figures and Birds, 1939–1942. © Bill Traylor artwork is used by permission of Bill Traylor Family, Inc., and The Artistry of Bill Traylor, LLC David Zwirner is pleased to present works by Bill Traylor (c. 1853–1949) from the William Louis-Dreyfus Foundation and Family Collections. Organized in collaboration with the Foundation, the exhibition offers a comprehensive look at the self-taught artist’s distinctive imagery, which mixes subjects and iconography from the American South with a strong formalistic treatment of color, shape, and surface. As part of the Foundation’s broader philanthropic mission, proceeds from the sales of its artworks will benefit the Harlem Children’s Zone as well as the Foundation itself. Born into slavery, Traylor spent much of his life after the 1863 Emancipation Proclamation working as a farm laborer in rural Alabama, and, later, as a shoemaker and factory worker in Montgomery. In 1939, at approximately the age of 85, having never previously trained or studied art in any formal way, Traylor began making drawings and works on paper using gouache and other media. Though he continued to make art for the remainder of his life, Traylor was most prolific between 1939 and 1942, creating a body of work that offers a unique and rich registry of his life, experience, and insights. As Kerry James Marshall writes, “By any measure the twelve hundred or so drawings that are the total known output of Bill Traylor’s brilliant but meteoric artistic moment is unprecedented.” Elaborating further, he notes, “I happen to agree with the late philosopher art historian Ernst Gombrich, that ‘great art is rare … but that where we find it we confront a wealth and mastery of resources’ that are transcendent. -
Walks to the Paradise Garden, a Lowdown Southern
July 1, 2019 Walks to the Paradise Garden: A Lowdown Southern Odyssey, ed. Phillip March Jones Richard B. Woodward JTF (just the facts): Published in 2019 by Institute 193 (here) to coincide with the exhibition Way Out There: The Art of Southern Backroads at the High Museum of Art in Atlanta (March 2-May 19, 2019). Hardcover, 352 pages, with 100 color and 80 black-and-white photographic reproductions. Organized as a collection of writings by Jonathan Williams with photographs by Roger Manley and Guy Mendes. (Cover and spread shots below.) Comments/Context: Jonathan Williams (1929-2008) was one of the wild cards of American arts and letters. Poet, publisher, photographer, folklorist, gadfly, he devoted his sizable energies and learning as an adult to seeking out and championing the culturally marginalized. Williams wrote this manuscript in the early 1990s, an account of journeys made in the 1980s with friends Roger Manley and Guy Mendes, as they rode around the backroads of the Southeastern United States (except for Florida where Williams refused to go) in search of native oddballs and visionaries. This was an era before Outsider Art Fairs became regular events and self-taught artists were esteemed by museum curators and collectors. We are therefore given early and privileged access to numerous figures (Howard Finster, Martha Nelson, Thornton Dial, Henry Speller, Harold Garrison, Annie Hooper, Edgar Tolson, James Harold Jennings, Vollis Simpson, Sister Gertrude Morgan) prior to their academic and monetary validation. In his Editor’s Note, Phillip March Jones, who has worked to preserve the tangy flavor of Williams’ vinegary prose while correcting a few errors, writes that this book offers “one last look at the artists and place-makers of the Southern United States before the arrival of a new and interconnected world.” Although in some ways an art historical document of the period, with time-stamped references to the 1991 Iraq War, among other Bush-era asides, it is also a self-portrait. -
July 1, 2015–June 30, 2016 FY16: a LOOK BACK
Georgia Museum of Art Annual Report July 1, 2015–June 30, 2016 FY16: A LOOK BACK This fiscal year, running from July 1, 2015, a dramatic uptick in attendance during the to June 30, 2016, was, as usual, packed with course of the show. Heather Foster, an MFA activities at the Georgia Museum of Art. The student at UGA in painting and an intern in exhibition El Taller de Gráfica Popular: Vida y our education department, created a series of Arte kicked off our fiscal year, providing the Pokemon-inspired cards highlighting different inspiration for our summer Art Adventures objects in the exhibition. We also embarked programming in 2015 as well as lectures, upon our first Georgia Funder, using UGA’s films, family programs and much more. We crowd-funding platform to raise money for the engaged in large amounts of Spanish-language exhibition’s programming. Caroline Maddox, programming, and the community responded our director of development, left for a position positively. at the Los Angeles County Museum of Art, and Laura Valeri, associate curator, for Georgetown In July, the Friends of the Georgia Museum University Press. of Art kicked off a three-month campaign to boost membership by 100 households. Through In November, we focused attention on three carefully crafted marketing emails and the first major gifts from the George and Helen Segal in a series of limited-edition mugs available only Foundation, devoting an entire exhibition to through membership, they did just that and them. Other major acquisitions included a more. painting by Frederick Carl Frieseke (due to the generosity of the Chu Family Foundation), one In August, with the beginning of the university’s by Anthony Van Dyck and studio (from Mr. -
The New York Times the Outsider Fair Made Art 'Big' Again
The Outsider Fair Made Art ‘Big’ Again By ROBERTA SMITH JAN. 19, 2017 One of Morton Bartlett’s half-size anatomically correct prepubescent girls from 1950. Morton Bartlett, Marion Harris New York’s Outsider Art Fair, which opened Thursday, is celebrating its 25th anniversary. It made its debut in 1993 in the 19th-century Puck Building in SoHo’s northeast corner. I saw the first iteration, reviewed the second and wrote about it many times after that. I enjoy most art fairs for their marathon-like density of visual experience and information, but the Outsider fair quickly became my favorite. It helped make art big again. An untitled painting by Henry Darger of his intrepid Vivian Girls. 2017 Henry Darger/Artists Rights Society (ARS), New York; Andrew Edlin Gallery The focus of the fair, according to its founder, Sanford L. Smith, known as Sandy, was the work of outsider artists, a catchall phrase for many kinds of self-taught creators. (Mr. Smith credited the phrase to Roger Cardinal, the art historian and author of “Outsider Art,” published in 1972.) Outsider work connoted a certain purity — an unstoppable need to make art that was unsullied by the “insider” art world, with its fine-art degrees and commercial machinations that always struck me as rather hoity-toity. Distinct from folk artists who usually evolved within familiar conventions, outsider artists often worked without precedent in relative isolation. They could be developmentally disabled, visionary, institutionalized, reclusive or simply retirees whose hobbies developed an unexpected intensity and originality. The term has long been the subject of debate, and its meaning has become elastic and inclusive. -
The E.S.C. Quarterly
The E. S. C. Quarterly VOLUME 7, NO. 3-4 1949 SUMMER-FALL # Merchandising Set New Record in North Carolina Last Year, Retail and Wholesale; History of Development ** One of North Carolina's many fine and modern department stores (see inside cover) PUBLISHED BY Employment Security Commission of North Carolina jpttm^awm FROM RALEIGH, N. C. - B^Y L : ;sTy im PAGE 82 THE E. S. C. QUARTERLY Summer-fall, 1949 The E. S. C. Quarterly MERCHANDISING IN STATE (Formerly The U.C.C. Quarterly) Merchandising in North Carolina is big business. Both wholesale and retail trade has developed and Volume 7, Numbers 3-4 Summer-Fall, 1949 expanded in the State to keep pace with the ever Issued four times a year at Raleigh, N. C, by the growing demands of the State's citizenship for more and EMPLOYMENT SECURITY COMMISSION OF better merchandise. Retail trade exceeded $2,- NORTH CAROLINA 137,000,000 during the fiscal year ended last June 30, and the North Carolina Department of Revenue does Commissioner:-;: Mrs. Quentin Gregory, Halifax; Dr. Harry D. not claim that these figures tell the complete story. Wolf, Chapel Hill; R. Dave Hall, Belmont; Marion W. Heiss, Much trading does not go on the records. Greensboro; C. A. Fink, Spencer; Bruce E. Davis, Charlotte. But the retail trade produced through the 3% sales and use State Advisory Council: Dr. Thurman D. Kitchin, Wake For- tax more than $40,000,000 in taxes, which is the est, chairman; Mrs. Gaston A. Johnson, High Point; W. B. Horton, Yanceyville; C. P. Clark, Wilson; Dr. -
Ten Galleries Whose Founders Quit the Big City to Become Cultural
November 30, 2018 Ten Galleries Whose Founders Quit The Big City To Become Cultural Trailblazers in the Heartland by Laura van Straaten “I’m the Gagosian of Memphis now,” jokes Matt Ducklo whose gallery Tops recently expanded to a second space. Six years ago, he opened the first location in the basement of a printing and stained-glass factory — to get down there, it’s a treacherous spelunk through a junk-filled hallway. The newer location is tucked into a small park nearby. Of course, the foot traffic in Memphis doesn’t quite compare to the throngs of gallerygoers in Chelsea. “If five people show up on a Saturday, I’m happy,” admits Ducklo. After an MFA at Yale and almost a decadelong career in photography in New York, economic pressures forced Ducklo to reconsider his priorities, “I thought, My goal in life was not to live in New York City but to do creative things, he recalls. He headed home to Tennessee where he quickly discovered, as he puts its, “the joy and despair of having a gallery that is far from a major art capital.” Ducklo’s in good company. He is one of ten gallerists I’ve discovered over the last few years who renounced their big-city careers on the coasts to create new art spaces in their heartland hometowns, or, in one case, the small town where a spouse’s career is. I first met most of these gallerists at art fairs like those opening next week in Miami — including NADA, Untitled, Pulse, and others in New York and even internationally. -
Inner Visions Selections from the Collection
Selections from the Collection Inner Visions of Beverly Stearns Bernson '55 Selections from the Collection Inner Visions of Beverly Stearns Bernson '55 OCTOBER 12 - DECEMBER 10, 2017 The Bill and Sonja Carlson Davidow '56 Gallery Center for Art + Design Colby-Sawyer College New London, New Hampshire Introduction Joy can be hard to find. As I write this, in a precarious Most artists I know are studio nest builders. The environment colleagues in the Department of Fine and Performing Arts I would also like to thank Professor Craig Greenman, former time for the arts in America, I feel this more acutely. Yet it they create in their work spaces reflect and enhance for their support, and especially to Chairman and Professor chair of the Cultural Events Committee, and the committee is joy that most often compelled the creation of the works their efforts. The work embraces its surroundings and fits Jon Keenan, who has been instrumental in the realization members, for their support of the catalog’s production. Their in this exhibition, and joy that I felt when I first saw Beverly into an interior whole cloth. My only regret in mounting of our new facility. This catalog would not exist without ongoing engagement in the college’s cultural and artistic life Bernson’s amazing collection, which fills every wall, nook this exhibition is that we were unable to include the complete the stewardship of Professor Hilary Walrod, head of our is deeply appreciated. and cranny of her home. The expressive power of making has Bernson collection, which would have allowed viewers to Graphic Design Program. -
Report to Donors 2019
Report to Donors 2019 Table of Contents Mission 2 Board of Trustees 3 Letter from the Director 4 Letter from the President 5 Exhibitions and Publications 6 Public, Educational, and Scholarly Programs 11 Family and School Programs 16 Museum and Research Services 17 Acquisitions 18 Statement of Financial Position 24 Donors 25 Mission he mission of the Morgan Library & Museum is to preserve, build, study, present, and interpret a collection T of extraordinary quality in order to stimulate enjoyment, excite the imagination, advance learning, and nurture creativity. A global institution focused on the European and American traditions, the Morgan houses one of the world’s foremost collections of manuscripts, rare books, music, drawings, and ancient and other works of art. These holdings, which represent the legacy of Pierpont Morgan and numerous later benefactors, comprise a unique and dynamic record of civilization as well as an incomparable repository of ideas and of the creative process. 2 the morgan library & museum Board of Trustees Lawrence R. Ricciardi Susanna Borghese ex officio President T. Kimball Brooker Colin B. Bailey Karen B. Cohen Barbara Dau Richard L. Menschel Flobelle Burden Davis life trustees Vice President Annette de la Renta William R. Acquavella Jerker M. Johansson Rodney B. Berens Clement C. Moore II Martha McGarry Miller Geoffrey K. Elliott Vice President John A. Morgan Marina Kellen French Patricia Morton Agnes Gund George L. K. Frelinghuysen Diane A. Nixon James R. Houghton Treasurer Gary W. Parr Lawrence Hughes Peter Pennoyer Herbert Kasper Thomas J. Reid Katharine J. Rayner Herbert L. Lucas Secretary Joshua W. Sommer Janine Luke Robert King Steel Charles F. -
“Love Will Find a Way” the Plaints & Acclamations of Alabama Artists
“Love Will Find A Way” The Plaints & Acclamations of Alabama Artists Richard J. Powell, John Spencer Bassett Professor of Art & Art History, Duke University Presented in conjunction with the symposium Bearing Witness: Art of Alabama Saturday, November 16, 2019 Montgomery Museum of Fine Arts, Montgomery, Alabama Kerry James Marshall, Untitled (16th Street Baptist Church Sign with Flowers), 1998. Acrylic on plastic vase with silk flowers. Left: Photo of Bill Traylor (c. 1853- 1949) and his art in Montgomery Advertiser, March 31, 1940. Above: Bill Traylor, Yellow Chicken, ca. 1939-40. Gouache and pencil on cardboard. The Museum of Modern Art, New York. Above: Lee Miller, Joseph Cornell (1903- 1972), Paris, 1933. Gelatin silver print. National Galleries of Scotland. Right: Joseph Cornell, Medici Slot Machine: Object, 1942. Mixed media construction. Photo courtesy of Christies. Arthur Rothstein (1915-1985), Girl at Gee’s Bend, Alabama, 1937. Gelatin silver print. Art Institute of Chicago. Left: George Washington Carver (1864- 1943). Below left: George Washington Carver in Etta Budd’s art class, Simpson College, Indianola, Iowa, 1890. Photograph of George Washington Carver posing with paint brushes, artist’s palette, and a floral still life painting, early 1900s. Left: George Washington Carver, Yucca and Cactus, ca. 1941. Oil on canvas. Above: Photo of Carver with Yucca and Cactus, published in Time magazine, November 24, 1941. Left: George Washington Carver, Floral still life, nd. Oil on canvas. Right: George Washington Carver, Illustration of root system of cow peas, 1910. Pen and ink. Counter-clockwise from upper right: William Christenberry (1936-2016). William Christenberry, Side of Palmist Building, Havana Junction, Alabama, 1973. -
Extravaganza
Curadoria / Curator 13 abril — 15 setembro 2019 Colecção / Collection Antonia Gaeta 13 April — 15 September 2019 Treger / Saint Silvestre EXTRAVAGANZA Agatha Wojciechowsky maioritariamente, por desenhos executados Alemanha / Germany, 1896 – 1986 a grafite ou lápis de cor sobre papel onde prevalecem cenários nos quais convivem Agatha Wojciechowsky viveu em Steinach figuras masculinas e femininas com animais de Saale até 1923, ano em que emigrou para identificáveis ou imaginários. As composições os Estados Unidos para desempenhar funções apresentam uma particularidade: a personagem na casa de um barão alemão. Lá viria a casar-se principal, normalmente em destaque pelo seu e a obter a cidadania. No início da década de posicionamento ou pelo tamanho que ocupa no 1950, Wojciechowsky desenvolveu os seus papel, manifesta uma soberania face à(s) outra(s) primeiros desenhos numa linguagem abstrata, personagem(ns) representada(s). no entanto, é possível destacar-se alguma figuração. O exercício do desenho está Little is known about the life of Albino Braz before relacionado com a sua condição de medium he was committed to the psychiatric hospital of espiritual na medida em que Wojciechowsky Juquéri (São Paulo), specialized in the treatment explica que o ato de desenhar não é consciente of schizophrenia, besides the fact that he was nem ditado pelas suas motivações mas algo of Italian descent. He began drawing after being que Zé realizado pelas diferentes entidades hospitalised. His work consists mainly of graphite que habitam o seu corpo. O seu trabalho pode or coloured pencil drawings on paper in which ser encontrado em várias coleções públicas, we find scenarios where masculine and feminine como no Museum of Modern Art (MoMA), no Art figures coexist with identifiable or imaginary Institute of Chicago e no Whitney Museum. -
Conceptualizing African-American Art: the Market, Academic Discourse and Public Reception
CONCEPTUALIZING AFRICAN-AMERICAN ART: THE MARKET, ACADEMIC DISCOURSE AND PUBLIC RECEPTION Shawnya L. Harris A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art Chapel Hill 2012 Approved by: Lyneise E. Williams John P. Bowles Jan Hannig Carol Magee Hans Van Miegroet © 2012 Shawnya L. Harris ALL RIGHTS RESERVED ii ABSTRACT SHAWNYA L. HARRIS: Conceptualizing African-American Art: The Market, Academic Discourse and Public Reception (Under the direction of Dr. Lyneise E. Williams) The concept of an ‘African-American art market’ presents a new field of scholarly inquiry. However, objects labeled and fashioned as ‘African American art’ allude to a broader visual culture composed of objects, buyers, sellers and critics than previously acknowledged in scholarly literature. This dissertation will provide a nuanced picture of how an ‘African-American art market’ has been conceptualized and how this understanding reflects a complex web of tensions and relationships between objects, consumers, sellers and even scholars and critics of the work. Since the current literature on the field of African- American art provides only scant attention to the consumption of African-American art and virtually nothing about its place in the art market, this study will demonstrate how art historians could critically interpret African-American art in relation to market dynamics through an investigation of art related publications, oral interviews, public display venues. iii ACKNOWLEDGMENTS The undertaking of writing a dissertation is a complex one in concept, process and completion, yet not without the involvement of several players, who may or may not know the power of their influence on this work and hopefully more work to come. -
VERNACULAR ART from the Gadsden Arts Center Permanent Collection
VERNACULAR ART from the Gadsden Arts Center Permanent Collection Leepa-Rattner Museum of Art February 21–May 15, 2016 Tarpon Springs, Florida VERNACULAR ART from the Gadsden Arts Center Permanent Collection Vernacular Art from the Gadsden Arts Center Permanent Collection Gadsden Arts Center 13 North Madison Street Quincy, Florida 32351 850.875.4866 www.gadsdenarts.org © Gadsden Arts, Inc. 2016 All rights are reserved. No portion of this catalog may be reproduced in any form by mechanical or electronic means (including photocopying, recording, or information storage and retrieval) without permission in writing from Gadsden Arts, Inc. Photography by Ed Babcock and Roger Raepple Edited by Charlotte Kelley Cover image: Thornton Dial Sr., Everything is under the Black Tree, n.d., paint on wood, 48 x 31.5 inches, Gadsden Arts Center Permanent Collection, 2009.1.2 1 VERNACULAR ART from the Gadsden Arts Center Permanent Collection ThornTon Dial Sr. arThUr Dial Table of Contents ThornTon Dial Jr. Essays The Creative Spirit .............................................................................................5–8 hawkinS BolDen Art as an Expression of Place ........................................................................ 9–12 richarD BUrnSiDe Works of Art in the Exhibition ...........................................................13 archie Byron Artist Biographies and Works alyne harriS Thornton Dial Sr. .......................................................................................... 14–17 Arthur Dial .....................................................................................................