ART and SOUL ART and 12D 9D 8D 7D - - the Intersection
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Final Project
Brown 1 Pierson Brown ARTH-432 Professor Elder 3 May 2021 Painting Through Faith: Self-Taught Artists of the American South Exhibition Link: https://www.artsteps.com/view/608f03fe51f030f9968b0ed0?currentUser I. Theme The theme for this exhibition proposal is Christianity and its influence on self-taught artists of the American South in the 1970s. II. Project Proposal In this exhibition, entitled Painting Through Faith: Self-Taught Artists of the American South, the focus lies on three artists: Sister Gertrude Morgan, Howard Finster, and Purvis Young. Each of these artists represent different areas of the American South, respectively from New Orleans, Louisiana, Rome, Georgia, and Miami, Florida. As this exhibition will show, their religious conviction and desire to create art permeates barriers of location, racial identity, and gender identity. Each artist is represented by 4 paintings that best exemplify their particular style and religious passion. This provides enough context to place the artists in conversation with one another and allow for thought provoking discussion from the visitors and intellectuals. The theme of this exhibition captures the role of religion in the practices of Southern self-taught artists. More particularly, Painting Through Faith investigates how the practice of Christianity and folk art permeated boundaries of race and gender just after the height of the Civil Rights Movement in the 1970s. Each work included was created in the 1970s and the included text prompts viewers to view the paintings with the Civil Rights Movement in mind. As Brown 2 the country was just recently engaged in a period of both terror and hope, these artists offer a unique perspective of how their environment shaped their perspective. -
With His Work Heading to Next Year's Venice Biennale, the Late Artist
With His Work Heading to Next Year’s Venice Biennale, the Late Artist Purvis Young Transcends the ‘Outsider’ Label The work of the energetic self-taught artist has become increasingly accepted into the institutional art world. artnet Gallery Network, September 5, 2018 Purvis Young, Angel and Warriors (c. 2007). Courtesy of Skot Foreman Gallery. The term “outsider artist” has been controversial since Roger Cardinal first coined it in the early 1970s. While it’s still part of the art-world lexicon, for some gallerists, the phrase feels particularly restrictive. “It’s limiting, for sure. You’re forced to start off conversations with prospective clients by defending the work,” says veteran New York dealer Skot Foreman. “It’s a handicap. It’s an obstacle, but one that I think can be overcome.” Foreman should know a thing or two about overcoming this kind of obstacle. One of his biggest and most successful clients is artist Purvis Young, who has been labeled an outsider artist since first being discovered in Miami in the 1970s. Indeed, Young had all the hallmarks that we associate with the outsider perspective: He came from humble origins, living for much of his life in poverty in Overtown, a predominantly black neighborhood on the outskirts of Miami; he was self-trained, picking up all his skill and knowledge from library books rather than art schools; and he often used found objects in his work, from cardboard to crates to doors to just about anything that paint would stick to. Purvis Young. Courtesy of Skot Foreman Gallery. Some 50 years later, the “outsider” label still clings to his legacy, despite the fact that his career transcended it time and time again. -
Fiamagazine Board of Trustees 1 Elizabeth S
SPRING 2021 fiamagazine Board of Trustees 1 Elizabeth S. Murphy, President From the Executive Director CONTENTS Thomas B. Lillie, First Vice-President Mark L. Lippincott, Second Vice- President When the pandemic’s grip on our patterns programming to be a suitable alternative executive director 1 news & programs 18–24 Elisabeth Saab, Secretary Martha Sanford, Treasurer of socialization and communication is to visiting in person during the pandemic. exhibitions 2–10 education 25 John Bracey Eleanor E. Brownell finally over, we can expect the experience Since June 2020, we’ve seen a 29% increase art on loan 11 art school 26 Ann K. Chan will have changed our behavior in many in our Facebook page’s total impressions James D. Draper, Founders Society acquisitions 12–13 contributions 27–29 President ways. During the March through June and the total number of engagements are Mona Hardas calendar 14–15 membership 30–32 Carol Hurand shutdown at the FIA, social media outlets, up 12.5%. The FIA’s Instagram accounts Lynne Hurand our website, and e-news were the only continue to grow steadily. The open and films 15–17 museum shop 33 Raymond J. Kelly III, FIA Representative to FCCC Board way we could keep the museum “open” click-to-open rates for our eNewsletters Alan Klein Jamile Trueba Lawand to our public. And while the importance are well above the average for Art, Culture, Eureka McCormick of digital or virtual communication has Entertainment. Since the beginning of William H. Moeller Jay N. Nelson been increasingly understood over the March 2020, the website has seen a 16.5% Office Hours Admission Karl A. -
JAMES FUENTES PURVIS YOUNG PART ONE James Fuentes Online
JAMES FUENTES 55 Delancey Street New York, NY 10002 (212) 577-1201 [email protected] PURVIS YOUNG PART ONE PART TWO James Fuentes Online James Fuentes Gallery November 1–December 1, 2020 November 11–December 6, 2020 James Fuentes is pleased to announce an extended exhibition of the work of PURVIS YOUNG (1943–2010), presented at the gallery’s physical location at 55 Delancey St, New York as well as through James Fuentes Online. Spanning work from the mid-1970s through the ‘80s and ‘90s, the exhibition is divided into two parts, each revealing formal and thematic resonances that together reflect the great breadth of Young’s prescient work. Works in the exhibition are for sale from the collection of the William Louis-Dreyfus Foundation. Young was self-taught, producing a remarkable number of works over his lifetime that convey rich scenes—at once pictorial and spiritual—of his life spent in the inner-city Miami neighborhood of Overtown. Informed by an early practice of drawing from life, Young began making paintings in the 1960s. Blending techniques of painting, drawing, and collage, Young collected discarded materials found on the streets and in abandoned buildings across his locale to incorporate as the surfaces for his work. Elements of action, figuration, and storytelling are laid over a series of structural devices, acti- vating the ways in which the found materials onto which Young painted would serve to frame the images placed upon them. While some of these panels are smoother or more straightforward in proportion, others approach a mode of assemblage that reflect the variable and multi-layered narratives found across the artist’s work. -
Objectivity Lies: the Rhetoric of Anthropology,” in the Rhetoric of the Human Sciences: Language and Argument in Scholarship and Public Affairs, Eds
ABSTRACT HUMANITIES JONAS-FOWLER, JOYCELYN J. B.A. CLARK ATLANTA UNIVERSITY, 1996 M.P.A. TROY STATE UNIVERSITY, 2005 IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 Committee Chair: Charmayne Patterson, Ph.D. Dissertation dated May 2018 Research shows that black people watch more television than any other race of people, and, given that television is the most influential media tool, the content of what may affect an audience’s behavior and beliefs deserves analysis. This study examines the black family, alleged pathology, strengths that are specifically associated with them, its portrayal on television, and how television is used as a tool for socialization and influence. A content analysis of the top thirty black family shows that appeared on major network television between 1980 and 2000 was conducted to determine if the family framed was portrayed realistically. Each show analyzed was found to portray some characteristic of strong black families, attributes some media and social critics had not previously recognized or acknowledged. This study suggests that further research is warranted from black family, cultural, and media scholars, as well as social policy and i program makers, and on how television influences entire cultures to shift socially and economically. ii IS THIS BLACK ENOUGH FOR YOU? A COMPARATIVE ANALYSIS OF AFRICAN-AMERICAN FAMILIES PORTRAYED IN BLACK FAMILY TELEVISION COMEDIES BETWEEN 1980 AND 2000 A DISSERTATION SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY BY JOYCELYN JONAS-FOWLER DEPARTMENT OF HUMANITIES ATLANTA, GEORGIA MAY 2018 © 2018 JOYCELYN JONAS-FOWLER All Rights Reserved ACKNOWLEDGMENTS I thank God for his favor and blessings and for being a God of thousands of chances. -
He Looked Like a Lost Soul, but Purvis Young Was a Genius. This Art Show Is Proof
Dinner party-resistant. Scratch-resistant vinyl floors. SHOP OUR VINYL SELECTION VISUAL ARTS He looked like a lost soul, but Purvis Young was a genius. This art show is proof. BY GEORGE FISHMAN MAY 16, 2019 12:39 PM, UPDATED MAY 17, 2019 12:27 PM VIDEOS Purvis Young: Untitled; from Eyes series. Paint on wood and fiberboard; 24 x 48 inches; courtesy Rubell Family Collection. Eyes are regular stand-ins for authority figures, often appearing with protesters. “Their arms are upraised in disgust at the injustices they’re facing, and they’re taking these grievances to the man, to big brother.” Juan Valadez, RFC director. CHI LAM Riding his bicycle around Overtown’s trash-strewn streets in the 1970s, Purvis Young might well have looked like another of the then-blighted neighborhood’s lost souls. But appearances would have been deceiving. Young was a keen observer and eloquent griot, using cast-off materials to create a vast, gritty visual documentation of his stomping grounds and the mortal Miami Metrorail pillars turned into giant struggles he and his neighbors endured. dominoes Young died in 2010, but his paintings are having an enduring “moment” in Miami and abroad. His work currently is featured in a satellite show of the Venice Biennale and in prominent commercial gallery exhibits. Besides numerous Miami institutions, a growing list of other Ad closed by prestigious arts venues have acquired his work. The largest and most encompassing of these can be seen locally – through June 22 – at the Rubell FamilyStop seeing this ad Collection. Along withWhy this ad? work by scores of other celebrated artists, Mera and Don Rubell, and their son, Jason, maintain the largest assemblage of Young’s copious production. -
Purvis Young
,.15326 712- Purvis Young 8880,.5.2,465340 Family Vernacular Artist Gallery Guide ABOUT THE ARTIST Activity: Unscramble the words of describe Purvis and Written & Designed by Zhiju Liu his artworks below. Purvis Young was born on February 4th 1943 in Miami, Florida. He lived most of his life in the collage expressionist Overtown neighborhood of Miami. At a young urban vernacular age, he was introduced to drawing by his uncle storytelling African but later lost interest. Young never attended high school as he dropped out after his ninth grade. Being a self-taught American artist, Young blended collage and painting styles and 1. B R U N A used objects found on the street to describe his experiences in life. 2. A N E R C L A R U V Young was known for his distinctive expressionist vision of urban life based upon the experience of African Americans in the South. Young 3. E A L L O C G used wooden scraps to frame his work. His paintings or drawings were created from found materials as diverse as cardboard, discarded doors, telephone bills, orange crates, manila folders, and printed book pages. 4. I O N S S T S I E E P X R Most of his work depicted cacophonous, urgent representations of urban strife and what he saw around him. His work drew a large 5. following of tourists who would visit the Overtown alley he used to S G N I E L L O T R Y T display his art to purchase paintings. -
Shane Lutzk (American, B
Shane Lutzk (American, b. 1992) Large Black and White Vessel, 2019 Stoneware Collection Nerman Museum of Contemporary Art, 2019.13 Acquired with funds provided by the Barton P. and Mary D. Cohen Art Acquisition Endowment of the JCCC Foundation Shane Lutzk develops his monumental ceramic vessels by integrating the precision and structural components found in diverse architecture. While traveling abroad, he was greatly influenced by the historical buildings in Kecskemet, Hungary. His sculptures create a spatial connection with the viewer in large works like Blue Dripped Vessel because of the undulating forms and anthropomorphic scale. In addition to the towering symmetrical sculptures that demonstrate the artist's wheel throwing capabilities, Lutzk builds wall installations and free-standing amorphous sculpture, and these smaller objects are also wheel thrown at first - they are created with cross sections of thrown clay. Whether they retain the wheel's geometry or they take on an elastic undulatin g character through manipulation, Lutzk's clay works convey a personal message: at the age of nine, Lutzk was diagnosed with juvenile diabetes, and much of his work depicts his struggle with this disease. He wants to bring both the ramifications and the positive outcomes that come from diabetes to the public's attention. In this work, the blue concentric circles signify the international symbol for diabetes awareness. Lutzk earned his MFA at Arizona State University in 2017 and his BFA in ceramics at the Kansas City Art Institute in 2014. Kent Monkman (Canadian First Nations, Cree, b. 1965) Sepia Study for The Deposition, 2014 Watercolor and gouache on paper Collection Nerman Museum of Contemporary Art, 2017 Kent Monkman’s glamorous, gender-fluid alter-ego, Miss Chief Eagle Testickle, appears in much of his work, including in this study for his painting The Deposition. -
The Annual Directory 2011-2012
GEOMETRY and ABSTRACTION OPTICAL ART Jesus Soto, Cuadrados ambiguos, 1990, 153 x153 cm Carlos Anzola. Peter Monahan. José Badia. Ana María Nava. Jorge Blanco. Dario Pérez-Flores. Karin Borjas. Hector Ramírez. Carlos Cruz-Diez. Carolina Sanllehi. Michael Douglas. Jorge Seguí. Amalfy Fuenmayor. Jesús Soto. J.A. García. Luís Torruella. Carmen Herrera. Annette Turrillo. Marcos Marin. Natalia Valera. Luisa Mesa. Victor Valera. 626 Coral Way # 607 Ninoska Huerta Coral Gables, Fl 33134 G ALLERY 305 448 1934 - 305 588 1231 [email protected] www.ninoskahuertagallery.com AC FINE ART Contemporary, Pop & Surreal Art ART IN PUBLIC PLACES ITALIAN AND EUROPEAN CONTEMPORARY ART Andy Warhol Salvador Dali Roy Lichtenstein Jasper Johns GALLERIA CÀ D’ORO Tom Wesselmann Robert Indiana Roberto Matta Damien Hirst Larry Rivers Joan Miro 135 S. LORENZO AVE., Russell Young Rufino Tamayo - SUITE 130 - Philipp Dodard Jim Dine ARTMARIO PERAGALLO | [email protected] DIRECTOR Claus Oldenburg Frank Stella CORAL GABLES, FL 33146 Donald Sultan Purvis Young email:[email protected] Qian Yang Yan Huang Jean-Michel Basquiat & more Phone: 305 898 9153 2911 Grand Avenue, Coconut Grove 305.742.7071 www.acfineartsite.com Tues. - Thurs. 1-5 PM, Fri. - Sat. 1-9 PM www.ca-doro.com Publisher’ Note Collectible 9/51 Miami Art Scene Snapshot he Annual Directory 2011/2012 evergreen edition marks the beginning of our 9th anniversary. It is a guide, so it doesn’t interpret, T just documents Miami Art Scene. The footer of each circuit’s page says <for current exhibits go to artcircuits.com> because the guide is paired with our brand new website. -
Afro-Future Females
Afro-Future Females Barr_final.indb 1 4/15/2008 2:52:25 AM Barr_final.indb 2 4/15/2008 2:52:25 AM Afro-Future Females Black Writers Chart Science Fiction’s Newest New-Wave Trajectory Edited by MARLEEN S. BARR T H E O H I O S TAT E U N I V E R S I T Y P R E ss / Columbus Barr_final.indb 3 4/15/2008 2:52:25 AM Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Afro-future females : black writers chart science fiction’s newest new-wave trajectory / edited by Marleen S. Barr. p. cm. Includes bibliographical references. ISBN-13: 978–0–8142–1078–9 (cloth : alk. paper) 1. Science fiction, American. 2. Science fiction, American—History and criticism. 3. American fiction—African American authors—History and criticism. 4. American fic- tion—Women authors—History and criticism. 5. Women and literature—United States— History—20th century. 6. Women and literature—United States—History—21st century. I. Barr, Marleen S. PS648.S3A69 2008 813.’0876209928708996073—dc22 2007050083 This book is available in the following editions: Cloth (ISBN 978–0–8142–1078–9) CD-ROM (ISBN 978–0–8142–9156–6) Cover design by Janna Thompson Chordas. Text design by Jennifer Shoffey Forsythe. Type set in Adobe Minion. Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Barr_final.indb 4 4/15/2008 2:52:25 AM Contents PRefAce “All At One Point” Conveys the Point, Period: Or, Black Science Fiction Is Bursting Out All Over ix IntRODUctiOns: “DARK MAtteR” MAtteRS l Imaginative Encounters Hortense J. -
Finding Purvis Young
Inspicio art Finding Purvis Young By Alfredo Garcia Courtesy: Miami-Dade Public Library System (Vasari Project) ll my life in Florida, you know where the train tracks is: Colored Town….I been used to seeing the rail- “A roads. I’m scared that I might go to another part of America and they ain’t got no railroads! [laughs] I love railroads! I put it in my artwork. Railroads. Run-down hous- es. It’s all in my artwork.” Purvis Young mural, Everyday Life, at Miami-Dade Culmer/Overtown Branch Library. Courtesy: The Vasari Project. Walk into the special collections archive at Florida International University’s Green Library and ask to watch VHS no. 1568. Purvis Young appears in the video, sitting in a familiar pose — slightly hunched over, looking tired but happy, with a green plaid shirt unbuttoned halfway down his chest. He speaks soft- ly and slowly, as always. The camera does not pick up all of his words at first, and it seems as though the audience does not as well. But after a while, the audio improves and his raspy voice is finally fully audible. “Sometimes I paint royals,” he says, “and I fantasize because I feel like I was a royal.” With those simple words in the first few seconds of the record- ing, Purvis Young captivates the audience. The room is silent in the video, both out of respect for Purvis and out of necessity to hear his voice. “People tell me this – you don’t look like nothin’. But I always look towards the sky and pray: ‘make me famous.’ They don’t know I pray. -
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 .....................................................................................................