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Driskell's 2019 Oral History
Oral History Center University of California The Bancroft Library Berkeley, California David C. Driskell David C. Driskell: Life Among The Pines Getty Trust Oral History Project Interviews conducted by Bridget Cooks and Amanda Tewes in 2019 Interviews sponsored by the J. Paul Getty Trust Copyright © 2020 by J. Paul Getty Trust Oral History Center, The Bancroft Library, University of California, Berkeley ii Since 1954 the Oral History Center of The Bancroft Library, formerly the Regional Oral History Office, has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West, and the nation. Oral History is a method of collecting historical information through recorded interviews between a narrator with firsthand knowledge of historically significant events and a well-informed interviewer, with the goal of preserving substantive additions to the historical record. The recording is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The corrected manuscript is bound with photographs and illustrative materials and placed in The Bancroft Library at the University of California, Berkeley, and in other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. ********************************* Copyright in the manuscript and recording is owned by the J. Paul Getty Trust, which has made the materials available under Creative Commons licenses as follows: Manuscript is licensed under CC-BY (https://creativecommons.org/licenses/by/4.0/) and recording is licensed under CC-BY-NC (https://creativecommons.org/licenses/by-nc/4.0/) Rights to reproduce images must be secured from the original rights- holders: DC Moore Gallery and the National Museum of African American History and Culture. -
Fall 2020 Art @UMGC
FALL 2020 ART @ UMGCUMGC NEWS AND PERSPECTIVES FOR FRIENDS OF THE ARTS AT UNIVERSITY OF MARYLAND GLOBAL CAMPUS A MODEL JUST LOOKIN’ GALLERY CELEBRATES REMEMBERING PHILANTHROPIST 25 YEARS OF SUCCESS DAVID C. DRISKELL 4 10 16 GREETINGS CONTENTS From the President Dear Art Patrons, I hope this message finds you and those you love safe and well. On behalf of University of Maryland Global Campus (UMGC) and the 90,000 students we serve each year, I thank you for your belief in our mission and for your continued support of our Arts Program. As some of you know, in July 2020, after some 20 years with UMGC and more than eight years as president, I announced my intention to retire upon the appointment of a successor. I did so confident in the future of this institution and of its role in the community. As our world has adjusted to the global pandemic, we have been fortunate at UMGC that our online presence has offered us a measure of protection, and we have maintained our operational sta bility while shifting to remote working arrangements to protect our students, faculty, staff, and guests. Our Arts Program, too, is well positioned to continue to support our public mission. While we have postponed on-site exhibitions as we operate remotely, we continue to explore ways that the Arts Program can serve the community—such as through this virtual newsletter. I invite you to visit umgc.edu/art for the latest news and updates. In challenging times in particular, we need the inspiration that art can provide by highlighting Just Lookin’ Gallery the beauty that surrounds us, celebrating the resilience of the human spirit, and testifying to the 10 Celebrates 25 Years power of creativity to reimagine our world in better and brighter ways. -
Marley, Review of Riffs and Relations
ISSN: 2471-6839 Cite this article: Anna O. Marley, review of “Riffs and Relations: African American Artists and the European Modernist Tradition,” Phillips Collection, Panorama: Journal of the Association of Historians of American Art 6, no. 2 (Fall 2020), https://doi.org/10.24926/24716839.10748. Riffs and Relations: African American Artists and the European Modernist Tradition Curated by: Adrienne L. Childs Exhibition schedule: Phillips Collection, Washington, DC, February 29, 2020–January 3, 2021 Exhibition catalogue: Adrienne L. Childs, with contributions by Valerie Cassel Oliver and Renee Maurer, and the foreword by Dorothy Kosinski, exh. cat., Washington, DC: Phillips Collection in association with Rizzoli Electa, 2019. 208 pp.; 108 color illus.; 13 b/w illus. Hardcover: $50.00 (ISBN: 9780847866649) Reviewed by: Anna O. Marley, Kenneth R. Woodcock Curator of Historical American Art, Pennsylvania Academy of the Fine Arts Riffs and Relations: African American Artists and the European Modernist Tradition is a must-see exhibition for scholars of American art. The installation is sensitive, dynamic, and revelatory, and the catalogue is a much-needed contribution to scholarship, a primer on modern and contemporary African American artists’ fraught relations with European modernism. Thankfully, it has been extended through the fall of 2020. For those who cannot travel to see the exhibition in person, I hope this review and images will encourage you to seek out the catalogue. The fact that the exhibition takes place at the Phillips Collection in Washington, DC, and only there, is important. Since the thesis of the exhibition is that African American twentieth- and twenty-first-century art is in deep dialogue with European modernism, it is meaningful that the show is held at an institution known for its collection of European and American masterpieces. -
Press Release for Immediate Release Berry Campbell Presents Lilian Thomas Burwell: Soaring Curated by Melissa Messina
PRESS RELEASE FOR IMMEDIATE RELEASE BERRY CAMPBELL PRESENTS LILIAN THOMAS BURWELL: SOARING CURATED BY MELISSA MESSINA NEW YORK, NEW YORK, March 27, 2021— Berry Campbell is pleased to present Lilian Thomas Burwell: Soaring. This exhibition marks the esteemed Maryland-based artist’s first solo exhibition in New York. The exhibition title, Soaring, is an homage to the late Dr. David Driskell’s essay, Soaring With a Painterly Voice, written on the occasion of Burwell’s 1997 survey exhibition at Hampton University Museum, Virginia. Driskell described Burwell’s work as, “transcendental in showing stylistic diversity of earthly beauty and cosmic vision.” Lilian Thomas Burwell: Soaring, organized by guest curator, Melissa Messina, highlights the dynamic transition in Burwell’s abstract visual language from two-dimensional painterly planes to three-dimensional sculptural forms. Burwell’s paintings from the late 1970s and early 1980s employ a distinctly bold palette and reference organic forms found in natural floral and earthly phenomena. The exhibition centers on the painting Skybound (1984), which marks the first time that the artist cut into her canvas, creating positive and negative space. This pivotal act gave way to Burwell’s examination of form, bringing forth Burwell’s signature style of three-dimensional, painted wall sculpture. These wall sculptures, which would become the artist’s signature focus for more than two decades. Lilian Thomas Burwell: Soaring opens at Berry Campbell, New York April 22 and continues through May 28, 2021. The exhibition is accompanied by a 20-page exhibition catalogue with an essay by Melissa Messina. On the occasion of the exhibition, Berry Campbell will digitally screen the documentary, Kindred Spirits: Artists Hilda Wilkinson Brown and Lilian Thomas Burwell, on Wednesday, April 28, 2021, 4 pm - 10 pm and May 8, 2021, 1 - 5 pm. -
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020
The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 The Mississippi Museum of Art and Tougaloo College Art and Civil Rights Initiative | 2017–2020 edited by Dr. Redell Hearn Mississippi Museum of Art Jackson in partnership with Tougaloo College Art Collections Turry M. Flucker, Director Tougaloo made possible by the Henry Luce Foundation The Art and Civil Rights Initiative is a partnership between the Mississippi Museum of Art and Tougaloo College, supported by the Henry Luce Foundation. The Mississippi Museum of Art and its programs are sponsored in part by the city of Jackson and Visit Jackson. Support is also provided in part by funding from the Mississippi Arts Commission, a state agency, and by the National Endowment for the Arts, a federal agency. Tougaloo College is a private, coeducational, historically black four-year liberal arts, church related, but not church-controlled institution. Copyright © 2020 Mississippi Museum of Art 380 South Lamar Street, Jackson, MS 39201 / www.msmuseumart.org and Tougaloo College 500 County Line Rd, Tougaloo, MS 39174 / https://www.tougaloo.edu/ All rights reserved. No part of this publication may be reproduced or transmitted in any form without written permission from the publisher. Artwork dimensions are given in inches; height precedes width precedes depth. MMA collection numbers 1966.001, 1966.018, 1972.006, and 2005.029 photographed by Gil Ford Photography; 2005.029 photographed by Roland L. Freeman. All other photography of artwork from MMA and Tougaloo collections is by Mark Geil. Creative director for the exhibitions A Tale of Two Collections and The Prize is Latrice Lawson. -
Franklin C. Watkins by Andrew Carnduff Ritchie
Franklin C. Watkins By Andrew Carnduff Ritchie Author Museum of Modern Art (New York, N.Y.) Date 1950 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/3265 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art LIBRARY THE MUSEUM ]OF MODERN ART Received: * > * irpr ii»i fi — — Franklin C. WATKINS Andrew Carnduft Ritchie The Museum of Modern Art New York ACKNOWLEDGMENTS On behalf of the President and Trustees of the Museum of Modern Art the director of the exhibition wishes to thank the collectors and museums whose generosity in lending has made the exhibition possible. Particular thanks are due to Mr. Henry P. Mellhenny for his great kindness in permitting us to borrow his two large paintings, Death and Resurrection , at no small incon venience to himself; to Mr. Frank K. M. Rehn, Mr. Watkins' dealer, for his assistance in connection with all the details of the exhibition; to the Maga zine of Art for permission to reprint excerpts from an article by Franklin C. Watkins; and to the artist himself who has been of inestimable help in the preparation of the catalog. I also wish to thank Miss Alice Bacon and Miss Margaret Miller for their assistance in preparing the exhibition and the catalog. ANDREW CAR N DUFF RITCHIE Director of the Exhibition TRUSTEES OF THE MUSEUM OF MODERN ART John Hay Whitney, Chairman of the Board ; Henry Allen Moe, ist Vice- Chairman; William A. -
List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans
List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans Bhalla John Biggers Mr. and Mrs. Sidney F. Brody Dr. Selma Burke Calvin Burnett Prof. John Burrison Dr. Margaret T. Burroughs Claude Clark Mrs. Terry Dintenfass Prof. and Mrs. David C. Driskell Aaron Douglas William A. Fagaly Prof. Franklin Fenenga Dr. Norbert Fleisig Mr. and Mrs. H. Alan Frank Mr. and Mrs. Melvin Frank Dr. and Mrs. Richard Frates Lewis Glaser Leonard Granoff Mr. and Mrs. Earl Grant Mrs. Morton Goldsmith Mrs. Palmer Hayden Felrath Hines Mrs. Earl J. Hooks Mrs. Grace Jones George E. Jordan Lawrence H. Koffler Mr. and Mrs. Sol Koffler Dr. and Mrs. Charles H. Mandell Mrs. Delmus R. McGill Archibald J. Motley Jr. Matthew Pemberton Myla Levy Perkins Mr. and Mrs. Joseph L. Pierce Mr. and Mrs. William Pierce Dr. Lois Jones Pierre-Noel Dr. Dorothy B. Porter Mr. and Mrs. John Rhoden Louis K. Rimrodt Donald J. Shein Edward L. Shein Willie Starbuck William Taylor Robert H. Tessier Alma W. Thomas Mr. and Mrs. Peter H. Tillou Mr. and Mrs. R. K. Van Zandt Mr. and Mrs. Sid Wallach Mr. and Mrs. Frederick L. Weingeroff James L. Wells Mrs. Edwina Harleston Whitlock Mrs. Ora G.Williams Ed Wilson John Wilson Mrs. Julia Wilson Robert Wilson Institutions Angus Whyte Gallery, Boston The Art Institute of Chicago Brockman Gallery, Los Angeles Cincinnati Art Museum The Cleveland Museum of Art The Detroit Institute of Arts Terry Dintenfass, Inc., New York Fisk University, Department of Art, Nashville Frank Family Collection Frederick S. Wight Art Gallery, University of California, Los Angeles Golden State Mutual Life Insurance Company, The Afro-American Collection, Los Angeles Heritage Gallery, Los Angeles Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C. -
High Museum of Art Names Amy Sherald 2018 Recipient of David C
FOR IMMEDIATE RELEASE HIGH MUSEUM OF ART NAMES AMY SHERALD 2018 RECIPIENT OF DAVID C. DRISKELL PRIZE Sherald to be honored at 14th annual Driskell Prize Dinner on April 27 ATLANTA, Feb. 8, 2018 – The High Museum of Art today announces artist Amy Sherald as the 2018 recipient of the David C. Driskell Prize in recognition of her contributions to the field of African-American art. A Georgia native now based in Baltimore, Sherald is acclaimed for her profoundly creative and distinctive portraits of African-American subjects. In 2017, she received the commission to paint former first lady Michelle Obama’s official portrait for the Smithsonian National Portrait Gallery, which will be unveiled on Feb. 12, 2018. Accompanied by a $25,000 cash award, the Driskell Prize, named for the renowned African-American artist and art scholar, was founded by the High in 2005 as the first national award to celebrate an early- or mid-career scholar or artist whose work makes an original and important contribution to the field of African-American art or art history. Sherald will be honored at the 14th annual Driskell Prize Dinner at the High on Friday, April 27, at 7 p.m. Proceeds from the High’s Driskell Prize Dinner support the David C. Driskell African American Art Acquisition Funds. Since their inception, the funds have supported the acquisition of 48 works by African-American artists for the High’s “A clear unspoken granted collection. magic,” 2017, oil on canvas. “Sherald is a remarkable talent who in recent years has gained the recognition she so thoroughly deserves as a unique force in contemporary art,” said Rand Suffolk, Nancy and Holcombe T. -
The Judgment Day 1939 Oil on Tempered Hardboard Overall: 121.92 × 91.44 Cm (48 × 36 In.) Inscription: Lower Right: A
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS American Paintings, 1900–1945 Aaron Douglas American, 1899 - 1979 The Judgment Day 1939 oil on tempered hardboard overall: 121.92 × 91.44 cm (48 × 36 in.) Inscription: lower right: A. Douglas '39 Patrons' Permanent Fund, The Avalon Fund 2014.135.1 ENTRY Aaron Douglas spent his formative years in the Midwest. Born and raised in Topeka, Kansas, he attended a segregated elementary school and an integrated high school before entering the University of Nebraska-Lincoln. In 1922 he graduated with a bachelor’s degree in fine arts, and the following year he accepted a teaching position at Lincoln High School, an elite black institution in Kansas City. Word of Douglas’s talent and ambition soon reached influential figures in New York including Charles Spurgeon Johnson (1893–1956), one of the founders of the New Negro movement. [1] Johnson instructed his secretary, Ethel Nance, to write to the young artist encouraging him to come east (“Better to be a dishwasher in New York than to be head of a high school in Kansas City"). [2] In the spring of 1925, after two years of teaching, Douglas resigned his position and began the journey that would place him at the center of the burgeoning cultural movement later known as the Harlem Renaissance. [3] Douglas arrived in New York three months after an important periodical, Survey Graphic, published a special issue titled Harlem: Mecca of the New Negro. [4] A landmark publication, the issue included articles by key members of the New Negro movement: Charles S. -
Information to Users
INFORMATION TO USERS This manuscript has been reproducedthe from microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough,margins, substandard and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletioiL Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313.'761-4700 800/521-0600 Order Number 9825472 The consciousness of African American women artists: Rage, activism and spiritualism (1860-1930). Interdisciplinary implications for art education Chappell, Brenda Joyce, Ph.D. -
Driskell Press Release Final
DC M OORE GALLERY FOR IMMEDIATE RELEASE 535 WEST 22ND STREET NEW YORK NEW YORK 10011 212 247.2111 DCMOOREGALLERY.COM FOR IMMEDIATE RELEASE David Driskell: The 1960s and 1970s Art Basel Miami Beach, December 7 – 10, 2017 DARREN WATERSTON Booth S6 REMOTE FUTURES OCTOBER 4 – NOVEMBER 3, 2012 OPENING RECEPTION OCTOBER 4, 6 – 8 PM AcataloguewithanessaybyJimVoorhies will be available. Agony in the Garden, 2012. Oil on wood panel, 36 x 36 inches. DC MOORE GALLERY is pleased to present its first exhibition by Darren Waterston, Remote Futures. This recent body of work explores the allure and menace of utopian fantasy, where an imagined, idealized paradise holds within it a disconcerting future. Waterston has often engaged with mythological, theological, and natural histories while proposing visual depictions of the ineffable that transcend the picture plane. In Remote Futures, there is evidence of human life in the fragments of architecture —temples, cathedrals, ziggurats, bridges—that emerge from the organic detritus. These scenes evoke places of refuge, offering an escape from the processes of time and mortality. For Waterston, however, utopian potential is untenable as such. With abstracted elements that are both corporeal and celestial, Waterston’s scenes become simultaneously Edenic and dystopian. Waterston’s formal approach complements his thematic interest in divergence. His painterly technique is drawn from both the Italian Renaissance—he layers oils and viscous glazes over gessoed wood panels—and traditional Japanese painting methods such as calligraphic brushwork. These moments of technical precision, however, are no sooner perceived than they are obscured.Davi Thed resulting Driskell, Soulethereal X, 1968 visions. -
Memories & Inspiration
MEMORIES & INSPIRATION The Kerry and C. Betty Davis Collection of African American Art TRAVELING EXHIBITION SERVICE A PHILOSOPHY OF ART, COLLECTING, AND LIFE The traveling exhibition Memories & Inspiration: The Kerry and C. Betty Davis Collection of African American Art presents sixty-two selected works from a body of art amassed over thirty-five years by an ordinary working-class couple. Often choosing artworks over material items and other creature comforts, Kerry, a retired mailman, and Betty, a former television news producer, have opted instead to live with drawings, paintings, prints, and sculpture as their principal luxuries. While their stated intention to “preserve cultural memories and provide their community with a source of inspiration” are goals shared by most art enthusiasts, Kerry and Betty do not search exclusively for well-known and/or documented artists, keeping in mind “the importance of gathering and preserving a spectrum of approaches to the black image in order to console the psyche and contribute to a more authentic articulation of the self.” To this end, the Davises continue to be students of the visual arts through visits to galleries and museums and through their voracious reading of exhibition catalogues, artist monographs, books, and online data about artists, art genres, mediums, and history. The Davis Collection has evolved considerably over the years, as its owners went from sifting through entries posted on various auction sites to visiting artists in their studios, dropping by galleries, trading with other collectors, going to estate sales, and receiving artworks from artists as gifts. The result is an eclectic gathering of pieces crossing different mediums, subjects, and styles by a group of artists of the African Diaspora who—in terms of training, experience, and expression—are singularly diverse but unified in their use of cultural and historical narratives.