ANNUAL REPORT
JULY 1, 2017–JUNE 30, 2018 JULY 1, 2018–JUNE 30, 2019 Compiled by the Souls Grown Deep Foundation & Souls Grown Deep Community Partnership www.soulsgrowndeep.org
ATLANTA 1040 W Marietta Street NW Atlanta, GA 30318
NEW YORK 10 Liberty Street, Suite 24G TABLE OF CONTENTS New York, NY 10005
PARIS Preface | 5 42, rue de la Tour d’Auvergne
75009 Paris, FRANCE Executive Summary | 6
© Copyright 2019 Souls Grown Deep Foundation & Community Partnership | 20 Souls Grown Deep Community Partnership All rights reserved. No part of this book may be Foundation | 21 reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or Collection Transfer Program | 22 otherwise, without the prior written permission of the Museum Exhibitions and Displays of SGDF Works | 26 Souls Grown Deep Foundation & Souls Grown Deep Community Partnership. Internship Program | 28
All photography by Stephen Pitkin/Pitkin Studio Deaccessioned Artworks | 31 unless otherwise noted. Endowment and Grant Recipients | 64 Printed and bound in Canada in 2019 by the Prolific Group Statement of Finances | 67 Design by iota (www.iota-books.com) Souls Grown Deep in the Media | 68
Front cover: Board of Directors | Staff, Fellow, and Interns | 71 Thornton Dial, Art of Alabama, 2004 Wood, steel, clothing, concrete sculpture, wire, oil cans, bottles, glove, license plate, found metal, paper collage, enamel, spray paint, and Splash Zone compound 129 x 40 x 66 inches Collection of the Souls Grown Deep Foundation © Estate of Thornton Dial / Artists Rights Society (ARS), NY
Page 4: Ronald Lockett, The Enemy Amongst Us (detail), 1995 Paint, pine straw, metal grate, tin, nails, on wood 50 x 53 inches Collection of The Metropolitan Museum of Art, Gift of the Souls Grown Deep Foundation © Estate of Ronald Lockett / Artists Rights Society (ARS), NY
2 PREFACE
In 2010, 1,300 artworks were donated by collector William S. Arnett to a newly formed Souls Grown Deep Foundation (SGDF). The gift included nearly every object that had to date been exhibited or published, representing the entirety of “museum-quality” works by African American artists accumulated in the course of his travels across the Black Belt of the American South. The goals of Souls Grown Deep were bold. The Foundation was born of a belief that art history needed to be rewritten to include the creativity of some 160 artists of the 20th century who had toiled in oppression, poverty, and obscurity, far from the mainstream art world. SGDF was formally incorporated in the state of Georgia on January 21, 2010. During its first four years, its activities were dedicated to the documentation and care of the collection, and to supporting a series of exhibitions: Hard Truths: The Art of Thornton Dial (2011), Creation Story: Gee’s Bend Quilts and the Art of Thornton Dial (2012), and Thornton Dial: Thoughts on Paper (2012). SGDF then turned to its next objective: prompting a revision of art history by museum curators, academics, and the press. To accomplish that, the Foundation advocated the display of works by these artists alongside already lauded protagonists of Post-War American art. In May of 2014, the Foundation was led by Trustee Michael Sellman to donate 57 works of art to The Metropolitan Museum of Art’s Department of Modern and Contemporary Art. This acquisition was subsequently heralded in the Met’s landmark exhibition History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift (May 22–September 23, 2018). Over the course of 2014–2016, the Foundation clarified its potential and aspirations. With the expansion of full-time staff in June 2016, including the undersigned, the Board approved its Collection Transfer Program, a multi-year program to transfer hundreds of artworks to dozens of museums. The Collection Transfer Program was conceived to generate much-needed revenue for the conservation, storage, docu- mentation and promotion of the Souls Grown Deep collection. The program has also enabled the start of grant-making to improve the quality of life of the communities that gave rise to the art in the Foundation’s care. This report recounts the past two years of Souls Grown Deep activities and its emergence as an artist-focused foundation dedicated to righting wrongs both reputational and economic. ACE
Maxwell L. Anderson PREF President
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4 5 EXECUTIVE SUMMARY
2017–2018 HIGHLIGHTS and persistence bore fruit in the Revelations exhibition, described by San Francisco Chronicle The 2017–2018 fiscal year was book-ended by art critic Charles Desmarais as “… an engaging two landmark exhibitions. Revelations: Art from look at a moment in American art that looks in- the African American South (June 3, 2017–April 1, creasingly significant with every passing year.” 2018), celebrated the debut of a major acquisition In 2018, several other museums acquired of 62 works from the Foundation by the Fine bodies of work from the Foundation, including Arts Museums of San Francisco. The fiscal year Atlanta’s High Museum of Art, the New Orleans concluded with a much-heralded exhibition at Museum of Art, the Philadelphia Museum of The Metropolitan Museum of Art drawn from its Art, the Virginia Museum of Fine Arts, and the acquisition of 57 works, titled History Refused University of North Carolina at Chapel Hill’s to Die: Highlights from the Souls Grown Deep Ackland Art Museum. Each institution brought a Foundation Gift (May 22–September 23, 2018). unique focus to the works acquired, and already The Fine Arts Museums of San Francisco had a long history with the collection. (FAMSF) had long been in dialogue with the The New Orleans Museum of Art had earlier Foundation. Curator of American Art Timothy acquired a work from the collection by Thornton
Burgard was an early, informed, and enthusiastic Dial commemorating Hurricane Katrina and Revelations: Art from the African American South, 2017, Fine Arts Museums of San Francisco, title page featuring: advocate of the artists whose works ultimately has a demonstrated commitment to the field, Ralph Griffin (1925–1992), Noah’s Ark, c. 1980, found wood, nails, and paint, 18¾ x 69 x 14½ inches
found a home in FAMSF’s de Young Museum. having long celebrated artists working outside COLLECTION OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO, MUSEUM PURCHASE AND GIFT OF THE SOULS GROWN DEEP FOUNDATION The Museums’ director Max Hollein embraced the mainstream art world, especially those from © ESTATE OF RALPH GRIFFIN / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK Burgard’s efforts, and the curator’s determination the American South. The Montine McDaniel Freeman Director of the New Orleans Museum exhibition Fever Within: The Art of Ronald Lockett, of Art, Susan Taylor, championed her museum’s curated by Bernard Herman and drawn primarily 2017 acquisition in various contexts, including from the Souls Grown Deep collection, which the city’s tercentenary celebrations. opened at New York’s American Folk Art Museum Rand Suffolk, the Nancy and Holcombe T. (June 21–September 18, 2016) and subsequently Green Jr. Director of the High Museum of Art, and traveled to the High Museum of Art, before curator Katherine Jentleson made a persuasive closing at the Ackland. case to acquire exceptional examples of the Souls The Virginia Museum of Fine Arts joined Grown Deep collection, and gave several of them the list of museums making significant acqui- pride of place in the High’s reinstalled permanent sitions for its influential permanent collection. collection. Displayed alongside works by Robert The Museum’s Sydney and Frances Lewis Family Rauschenberg, Thornton Dial’s work was given Curator of Modern and Contemporary Art, Valerie its due in the Foundation’s hometown. Cassel Oliver, serves on the Souls Grown Deep Professor Bernard Herman, a trustee of Souls board, and assembled a group of works that add Grown Deep, built on his early advocacy in significantly to the Museum’s large holdings of attracting the Foundation’s archives to the Wilson American art. Her director, Alex Nyerges, was Library’s Southern Folklife Collection in the instrumental in bringing these works to the University of North Carolina at Chapel Hill, and largest art museum in the South. prompted the Ackland Art Museum’s acquisition. The Philadelphia Museum of Art’s acquisition The Ackland anticipated its acquisition with the in January 2018 represented a watershed for the EXE
| CUTIVE SUMMARY < History Refused to Die: Highlights of the Souls Grown Deep Foundation Gift, exhibition at The Metropolitan Museum of Art, May 22–September 23, 2018 PHOTO: SCOTT BROWNING 6 7 Foundation, with the validation of another of the world’s leading encyclopedic museums, following that of the Metropolitan and San Francisco’s Fine Arts Museums. Timothy Rub, George D. Widener Director and Chief Executive Officer, was a strong advocate of the acquisition, and devoted much time and effort to giving it pride of place in the Philadelphia Museum of Art’s storied holdings. In the autumn of 2017, Souls Grown Deep initiated a strategic planning process that cul- minated in the Board’s adoption of a three-year plan in May 2018. The plan highlighted four primary goals:
• Enhance the recognition of artists in our collection
• Focus on financial strength and stewardship Reinstallation of the High Museum of Art’s permanent modern and contemporary galleries. Left: Thornton Dial’s Crossing Waters, 2006–2011; right: Thornton Dial’s Driving to the End of the World series, 2004 BOTH COLLECTION OF • Focus on leadership in research THE HIGH MUSEUM OF ART, MUSEUM PURCHASE AND GIFT OF THE SOULS GROWN DEEP FOUNDATION; PHOTO: SCOTT BROWNING and education
• Realize positive economic and social outcomes for the collection’s artists exhibition Outliers and American Vanguard multiple museums, Souls Grown Deep is intent and their communities Art (January 28–May 13, 2018). In presenting on fostering deepened understanding of the this provocative, forward-looking exhibition, artistic legacy it promotes. The Foundation’s Over the course of the plan’s first full year, the National Gallery of Art’s curatorial staff launch of an Internship Program for students of major strides have been made towards achieving pointed the way towards a different future for color at leading museums, and the development these four goals. the nation’s namesake museum, now helmed of enduring ties to those institutions that have The recognition of artists in the collection by Kaywin Feldman. Her last day as director acquired artworks from the Foundation, are only has taken hold not only within the museum of the Minneapolis Institute of Art included a the most visible evidence of that commitment. community and the media, but also in contexts as collections committee meeting that approved the At the Annual Meeting in May 2018, Mary far afield as popular culture and the fashion arts. acquisition of 33 works from Souls Grown Deep. Margaret Pettway was elected chair of the Board of Musician David Byrne illustrated a work by Purvis Souls Grown Deep’s financial position Trustees. Pettway, a third-generation quiltmaker Young on the cover of his 2018 album American improved significantly over the course of its first and member of the Gee’s Bend Quilters Collective, Utopia. Amy Sherald’s portrait of Michelle Obama year under professional leadership. By the close of has been a trustee of the Foundation since 2017. (together with Kehinde Wiley’s portrait of the that year, thanks to the steady hand of Treasurer She leads quilting workshops and is an instructor 44th president) drew some one million visitors to Michael Sellman, it had a $707,640 surplus, and at the Black Belt Treasures Cultural Arts Center in S Washington’s National Portrait Gallery, presenting was on a path to predictable annual surpluses Camden, Alabama, and was named a 2018 Alabama the First Lady in a Michelle Smith dress with sufficient to begin making grants towards Humanities Fellow. Her appointment reflected motifs excerpted from Gee’s Bend quilts. internships, artist travel, conservation of art envi- another milestone in the Foundation’s deepening The Foundation was the largest single lender ronments in the South, and the communities that commitment to fostering positive economic and to the National Gallery of Art’s ground-breaking gave rise to artists represented in the Foundation’s social outcomes for the communities that gave collection. rise to the art in our care. EXE From top: Revelations: Art from the African American Research and education are ongoing priori- 2017’s year-end issue of The Art Newspaper in 2017-2018 HIGHLIGHT South, 2017, Fine Arts Museums of San Francisco; My Soul ties of Souls Grown Deep. With support for London looked back at what it described as the
| CUTIVE SUMMARY Has Grown Deep: Black Art from the American South, 2018, exhibitions and accompanying publications at top 10 acquisitions of museums worldwide. The | The Metropolitan Museum of Art; Outliers and American Vanguard Art, 2018, National Gallery of Art 8 9 Clockwise from top left: Amy Sherald, First Lady Michelle Obama, 2018; Lucy T. Pettway, Birds in the Air, 1981; Nettie Young, “H” variation (quiltmaker’s name: “Milky Way”), 1971; Nell Hall Williams, “Stacked Thornton Dial (1928–2016), Two Coats, 2003, bedding, coats, found metal, oil, enamel, and spray paint Bricks” in columns with borders on two sides, c. 1955 on canvas, 81 x 71 x 9 inches © ESTATE OF THORNTON DIAL / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK
second acquisition of 10 that it illustrated was acquisitions and exhibitions of work from (2003), an assemblage that had been lent by Souls collectors who have committed the work in Jessie Pettway’s Bars and String-Pieced Columns Souls Grown Deep. A solo exhibition titled Mr. Grown Deep, the Foundation’s board elected to question to a museum of abiding interest to the (1950s) acquired by the Fine Arts Museums of Dial’s America (January 25–March 18, 2018) make the work available to her in compliance Foundation. San Francisco from Souls Grown Deep. This at David Lewis Gallery in New York included with a new Promised Gift Purchase Policy. Hoffman, who is among the world’s leading imprimatur helped trigger a reappraisal of the works by Dial of a caliber that had previously The policy enables the Foundation to make an collectors of contemporary art, effectively gave
quilts of Gee’s Bend. been unavailable in a gallery show. When Dallas exception to the Collection Transfer Program— notice through her purchase that Thornton Dial’s EXE In March of 2018, the art market stirred Museum of Art patron Marguerite Hoffman which is dedicated to museums—and affords oeuvre could no longer be confined to the exile of
awake in recognition of significant museum expressed interest in purchasing Dial’s Two Coats the possibility of selling works to select private “non-mainstream” artists. | CUTIVE SUMMARY
10 11 HISTORY REFUSED TO DIE: HIGHLIGHTS FROM THE SOULS GROWN DEEP FOUNDATION GIFT
MAY 22–SEPTEMBER 23, 2018
The 2017–2018 fiscal year ended as it began, “A sharply focused, elegantly installed with an acclaimed exhibition. The effect of The selection of 30 stellar works…” Metropolitan Museum of Art’s exhibition History —The Wall Street Journal Refused to Die was seismic. Sheena Wagstaff, “Neither folk, outsider, self-taught, nor outlier, the Museum’s Leonard A. Lauder Chairman of this work by little-known artists touched with Modern and Contemporary Art, was an early greatness is exhibited on its own merits.” and ardent champion of the artists represented —The Nation in the Foundation’s collection, and saw to it that the nation’s largest art museum became “A validation” its most visible advocate to date, stating: “From —Hyperallergic Thornton Dial’s magisterial constructions to the emblematic compositions by the Gee’s Bend “It is a salve to see an exhibition as succinct, as purposeful, intelligently designed quilters from the 1930s onwards, this extraor- and filled with good art…” dinary group of works contributes immeasur- —The Art Newspaper ably to the Museum’s representation of works by
contemporary American artists and augments on This and the FAMSF exhibition, one on each coast, a historic scale its holdings of contemporary art.” exponentially expanded the Foundation’s reach The art press took notice: and visibility. FAMSF director Max Hollein’s April 2018 appointment as director of The Metropol- “… transforms the Met’s itan Museum of Art elicited a welcome tribute encyclopedic footprint…” to Souls Grown Deep. In The New York Times —The New York Times article announcing his hire, Hollein offered only one example of his artistic plans for the nation’s leading art museum: “ At a time when museums are making a concerted effort to expand the cultural conversation to include more women and people of color, Mr. Hollein said it was also important to him that the Met ‘open up’ to incorporate a range of perspectives. He cited his current institution’s acquisition last year of 57 works by African-American artists, from the Thornton Dial (1928–2016), History Refused to Die, 2004, okra stalks and roots, clothing, collaged Souls Grown Deep Foundation in Atlanta. drawings, tin, wire, steel, Masonite, steel chain, enamel, and spray paint, 102 x 87 x 23 inches COLLECTION OF THE METROPOLITAN MUSEUM OF ART, GIFT OF THE SOULS GROWN DEEP FOUNDATION
© ESTATE OF THORNTON DIAL / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK EXE
”
—The New York Times, April 10, 2018 | CUTIVE SUMMARY
12 13 2018–2019 HIGHLIGHTS
The 2018–2019 fiscal year included many In furtherance of the goal of improving life milestones, both consequential and symbolic. in the under-resourced Black Belt, Souls Grown Souls Grown Deep continued its transfer of Deep embraced notable changes that enlarged its hundreds of artworks to multiple leading art reach and impact. museums. The next round of museums included Most signifcant was the incorporation of the Museum of Fine Arts, Boston, the Dallas Souls Grown Deep Community Partnership, Inc. Museum of Art, The Morgan Library & Museum, In recognition that our founding ambition is well the Brooklyn Museum, the Minneapolis Institute underway—the art historical canon’s revision to of Art, The Phillips Collection, the Montgomery include overlooked African American artists—we Museum of Fine Arts, Spelman College Museum have formalized our second goal: to improve the of Fine Art, and Clark Atlanta University Art quality of life of the communities that gave rise Museum. Each acquisition was heralded in the to the art in our care. local press, and were collectively announced in More details on this enhanced mission of The New York Times, along with this news item: Souls Grown Deep are provided in the body Cosmologies from the Tree of Life: Art from the African American South, 2019, Virginia Museum of Fine Arts of this Annual Report. But as Chairman and “ President, we are excited by this evolution in Addressing longtime criticism that our governance structure, and wish to express preserving and bringing to light the remarkable our gratitude to everyone involved in making it contributions of over 160 previously unheralded the popularity of the Gee’s Bend possible. The hard work lies ahead—attracting the artists will stand as a major milestone in American quilts has not adequately benefited resources necessary to make significant impact— art history and American history. their makers, who are still living but we are confident that the twin facets of Souls in the impoverished Alabama Grown Deep, the Foundation and the Community When Laura Bickford set off for a new challenge county, the foundation will direct Partnership, will work together seamlessly in as curator at the Kohler Arts Center in Sheboygan, future grants toward community achieving our artistic and philanthropic ends. Wisconsin, in September 2018, we lost a valued improvements and the women Nine years after the incorporation of Souls colleague who had brought unerring judgment Grown Deep by William S. Arnett, we mark and scholarly acumen to the Foundation. Bick- there looking to sell their work. another transition: the cycling off the board ford’s departure was bittersweet, representing of Harrison Arnett and Paul Arnett. With their both the closing chapter of her long involvement ” completion of nine years of service as trustees, with the organization and her simultaneous —The New York Times, April 10, 2018 the torch is passed to those trustees currently elevation to a curatorial position allowing her and newly seated, who are now the keepers of the to pursue her passion for art environments. The Among the artists championed by the Founda- Arnett family’s remarkable legacy. board and staff are keen to follow her accomplish- tion, Joe Minter, at 76 years of age, was invited to Over three decades since William S. Arnett ments during this next assignment. present work in the landmark Whitney Biennial in began assembling what would become the fore- Following an international search for her 2019. Prior to the opening of the exhibition, the most collection of its kind, fiduciary oversight successor, we were delighted to attract as our new Foundation’s Interns paid a visit to his large-scale falls to a governing body comprised of artists, curator Raina Lampkins-Fielder. As an art historian, Raina Lampkins-Fielder, Curator, outdoor environment, African Village in America, art historians, collectors, and advocates of eco- museum educator, and curator of 20th century Souls Grown Deep Foundation in Birmingham. Lonnie Holley, another major nomic equity and social justice. As committed and contemporary American art, with particular PHOTO: ANA BLOOM figure represented in the Foundation’s collec- champions for the artists in our care, we continue focus on African American creative expression, tion, continued his much-lauded performances, to honor the Arnett family’s founding vision and Lampkins-Fielder has spent some twenty-five including one in Paris at the contemporary art incomparable generosity, and wish to express our years dedicated to supporting the exhibition and EXE
scholarly investigation of American art as well
and performance space Lafayette Anticipations. enormous gratitude to them. Their dedication to | CUTIVE SUMMARY
14 15 as the reconsideration of prevailing narratives surrounding Black artistic production. Her famil- iarity with our collection is longstanding. She presided over the educational programs accompa- nying the Whitney Museum of American Art’s As transfers of artworks proceeded apace in 2002–2003 exhibition The Quilts of Gee’s Bend, 2018–2019, with details in the Report below, while serving as the Whitney’s Associate Director, the board created a new fund intended for Helena Rubinstein Chair of Education. grant-making from our new Community Partner- As Artistic Director and Curator at the Mona ship. An initial investment of $1 million has Bismarck American Center for Art (MBAC) in been guided by the inspired leadership of Laura Paris, she provided a clearly defined artistic Callanan, Founding Partner of Upstart Co-Lab, trajectory by re-envisioning the exhibition and a program under the auspices of Rockefeller educational program; established sustainable Philanthropy Advisors. Callanan is a preeminent programmatic and financial partnerships with expert in the emerging field of impact investing, museums and other cultural institutions nation- and we were pleased to be the first institutional ally and internationally; enhanced the profile investor in a new portfolio of impact investment and extended the reach of MBAC in the field funds focused on advancing racial equity and and in the media; and furthered cross-cultural social justice. In announcing the new fund, Souls communication between Europe and the United Grown Deep stated: States through the arts. Lampkins-Fielder’s role builds on our fullest potential, stewarding “ relationships with museum curators throughout We are very pleased to put our funds to the United States as well as in European capitals work in support of racial and social equity including Paris, London, Berlin, Brussels, in the regions that gave rise to artists Amsterdam, Madrid, and Rome. represented in our Foundation. As cultural Over the course of 2018–2019, Director of institutions grapple with misgivings Collections Scott Browning continued to bring about sources of philanthropy, our board incomparable expertise and diligence to a variety decided that it’s not just where we give of fronts. These included meticulous attention away support, but how and with whom to the handling and conservation of the nearly 1,000 artworks remaining in our collection; the we invest that matters. logistical challenges of preparing hundreds of objects for packing, crating, and shipping ” works to multiple museums; the documenta- tion of each and every object by means of digital records, communication with multiple organiza- tions requiring our assistance in the Collection Transfer Program; and the continuing project of adding materials from our collection to the In the furtherance of legal and economic equity, archives of the University of North Carolina Souls Grown Deep staff continued to sign up Library System. With his unflappable work ethic artists and estates represented in its collec- and good humor, Browning has insured the tion with the Artists Rights Society to insure smooth functioning of the Foundation and the copyright protection and economic opportu-
burnishing of its excellent reputation for profes- nity through the licensing of images, with 85 EXE
sionalism for many years. signatories now in place. New design for the Gee’s Bend Quilt Trail by Pentagram | CUTIVE SUMMARY
16 17 Alabama-born artist who died in 2016. Though long thought of as an outsider or self-taught artist, Dial has recently been included in broad-topic contemporary art fairs in the U.S.—but, until now, Another project underway, in partnership with not in Europe. ‘For Americans who are aware The University of Alabama Center for Economic of the work, it’s been validating, and Europeans Development, is the replacement and expansion aren’t aware of the work at all, so for them it’s an of signage along the Gee’s Bend Quilt Trail in introduction,’ Lewis said.” Wilcox County, Alabama. The existing signs, erected to commemorate the 10 Gee’s Bend quilts These are but a few of the positive develop- that appeared on U.S. postage stamps in 2006, ments over the past two fiscal years. Each gives will be replaced with versions designed by the us increased confidence in the potential of Souls internationally renowned firm Pentagram. From Grown Deep to contribute to the reputation of there, signs will be erected throughout the Gee’s artists to whom we are devoted, and to the better- Bend community to commemorate quilts placed ment of the communities that gave rise to their by Souls Grown Deep in the permanent collec- creativity. At a time when museums interna- tions of major museums. tionally are rethinking their mandate to more adequately represent the breadth and diversity of art-making, the board, staff, and volunteers of Souls Grown Deep feel great pride in our mission, and unflinching determination to meet our goals in the near and long term.
The Community Partnership has also prompted collaboration with the non-profit Nest to add Gee’s Bend to the creative offerings of multiple other artists and artisans made available to the general
public. This collaboration should lead to economic Mary Margaret Pettway opportunity for active quiltmakers in the Bend, Chairman with visible access to international retail sales. The art market took notice in its most- watched venue: in June 2019, New York gallerist David Lewis’s Feature exhibit at Art Basel in Switzerland featured only works by Thornton Dial. “The gallery,” wrote Artsy, “brought a Maxwell L. Anderson wonderful survey of works by Thornton Dial, the President
Eldren M. Bailey (1903–1987), Dancers, c. 1960, concrete, plaster, paint, 291/2 x 29 x 17 inches
COLLECTION OF THE SOULS GROWN DEEP FOUNDATION, © ESTATE OF ELDREN M. BAILEY; PHOTO: DAN JURGENS EXE
| CUTIVE SUMMARY
18 19 COMMUNITY PARTNERSHIP FOUNDATION
Effective February 27, 2019, the Souls Grown The Souls Grown Deep Community Partner- The Souls Grown Deep Foundation continues its In 2019 the Foundation enlarged its scope of Deep Community Partnership, Inc. was formally ship is the new parent organization of Souls Grown primary activity: transferring its artistic holdings activity with the hiring of Raina Lampkins-Fielder incorporated in the state of Georgia. This new Deep. It has re-incorporated the Souls Grown into the permanent collections of leading art as its curator. Based in Paris, Lampkins-Fielder’s entity defines its mission as follows: Deep Foundation, which continues to operate as museums. Its mission statement reads: charge includes working not only with art its supporting organization. museums across the United States, but also with Souls Grown Deep Community Partnership These twin entities—the Foundation and Souls Grown Deep Foundation is dedicated to institutions in Europe. Her extensive network is dedicated to improving the quality of life the Community Partnership—represent the two documenting, preserving, and promoting the promises progress in enhancing the reputations of the communities that gave rise to the art features of Souls Grown Deep’s overarching contributions of African American artists of of artists in the collection internationally, and in our care made by African American artists mandate: 1) to advance the reputations of artists, the South, and the cultural traditions in which insuring that the collection’s legacy expands in of the South. We advance our mission by and 2) to address the social and economic inequi- they are rooted. We advance our mission by step with the Foundation’s aspirations. fostering economic empowerment, racial and ties that contributed to their disenfranchisement. advocating the contributions of these artists social justice, and educational advancement To put it even more simply: the Foundation in the canon of American art history, accom- in select regions across the Southeast. focuses on the first part of the mandate—the plished through collection transfers, scholar- artistic—and the Partnership focuses on the ship, exhibitions, education, public programs, second part—the philanthropic. and publications. C From left: Lonnie Holley, Louisiana P. Bendolph, Thornton Dial, and Mary Lee Bendolph, in 2006 Installation view of Souls Grown Deep: Artists of the African American South, Philadelphia Museum of Art,
PHOTO: MATT ARNETT June 8–September 2, 2019 PHOTO: JUAN ARCE, 2019 COURTESY OF THE PHILADELPHIA MUSEUM OF ART | | FOUNDATION PARTNERSHIP OMMUNITY
20 21 COLLECTION TRANSFER PROGRAM
BACKGROUND
The SGDF collection today contains nearly 1,000 works by more than 160 African American artists from across the South, two-thirds of whom are women. Ranging from large-scale assemblages to works on paper, the Foundation is particularly strong in works dating from the death of Martin Luther King Jr. to the end of the 20th century. The roots of these works can be traced to slave cemeteries and secluded woods. Following the Civil War, when the southern agrarian economy collapsed and rural African American sharecrop- pers and tenant farmers were forced to migrate for survival to major population centers—particu- larly in and around Birmingham, Alabama, where iron and steel production created jobs—a new and more public language of quilts, funerary, and yard arts arose. Beyond painting, sculpture, assemblage, drawing, and textile-making, this tradition also included music, dance, oral literature, informal theater, culinary arts, and more. Much like jazz musicians, the artists of this tradition reflect Emmer Sewell (1934–), Untitled, early 1990s, the rich, symbolic world of the black rural South automobile tire, plastic chair, cinder-block fragment through highly charged works that address a wide 43 x 28.5 x 22 inches
range of revelatory social and political subjects. COLLECTION OF THE METROPOLITAN MUSEUM OF ART, GIFT OF THE SOULS GROWN DEEP FOUNDATION Clockwise from top left: Souls Grown Deep: African American Vernacular Art, vol. 2, 2001, Tinwood © EMMER SEWELL / ARTISTS RIGHTS SOCIETY (ARS), NEW YORK Books; The Quilts of Gee’s Bend, 2002, Tinwood Books in association with the Museum of Fine Arts, Houston; Fever Within: The Art of Ronald Lockett, 2016, University of North Carolina Press; Hard ORIGINS OF THE COLLECTION Truths: The Art of Thornton Dial, 2011, Indianapolis Museum of Art, DelMonico Books, Prestel
Souls Grown Deep Foundation was founded majority of the works and ephemeral documents in 2010, but traces its roots to the mid-1980s, held by the Foundation were compiled by Arnett The subsequent two-volume publication Souls of Fine Arts, Boston, High Museum of Art, and when William S. Arnett, an art historian and and his sons over three decades, with the goal of Grown Deep: African American Vernacular Art of four other museums; Thornton Dial in the 21st collector, began to collect the artworks of under- creating a collection that could serve as a record the South remains the most in-depth examina- Century at the Museum of Fine Arts in Houston recognized African American artists across nine and legacy of this culture. tion of the movement. Several exhibitions in in 2006; Hard Truths: The Art of Thornton Dial, southeastern states. Developed outside of the By the mid-1990s Arnett’s efforts culminated recent years have drawn works primarily from the organized by the Indianapolis Museum of Art in structure of schools, galleries, and museums, in an ambitious survey exhibition of this tradition collection today in the care of Souls Grown Deep, 2011, which traveled to the New Orleans Museum these rich yet largely unknown African American titled Souls Grown Deep: African American Verna- including The Quilts of Gee’s Bend, organized of Art, the Mint Museum, and the High Museum visual art traditions present a distinct post-Civil cular Art of the South, presented in conjunction by the Museum of Fine Arts in Houston and the of Art; and Fever Within: The Art of Ronald Rights phenomenon that offers powerful insight with the 1996 Olympic Games in Atlanta and Whitney Museum of American Art in 2002, which Lockett, organized by the Ackland Art Museum and fresh perspectives into the most compel- in partnership with the City of Atlanta and the traveled to the Corcoran Gallery of Art, Cleveland in 2016, which traveled to the American Folk Art C
ling political and social issues of our time. The Michael C. Carlos Museum of Emory University. Museum of Art, Chrysler Museum of Art, Museum Museum and the High Museum of Art. | PROGRAM TRANSFER OLLECTION
22 23 COLLECTION TRANSFER PROCESS
In 2014 SGDF began a multi-year program to • The Museum’s goals in making an transfer the majority of works in its care to the acquisition from the Foundation; “ permanent collections of leading American • The names, titles, and relevant We want to applaud the Souls Grown Deep Foundation for their vision. and international art museums. Acquisitions credentials of curators overseeing They could have created their own museum. They could have added from SGDF are equal parts gift and purchase, the care, documentation, and yet another museum to the landscape. But instead they felt the best way or 50% of the fair market value of the work. The presentation of the acquisition; process begins with a conversation between to really honor these artists was to make sure they did in fact become • Plans for display in permanent museum and Foundation staff. It culminates in widely recognized pieces and part of larger, smarter art history. They collection galleries, if any; a written proposal, reviewed by the Foundation’s decided to err on the side of generosity and created a very advantageous staff, which is then forwarded to its Collections • An approximate timetable of prospective gift purchase program as a way of distributing these pieces to all of us. Committee. If recommended, it is sent to the exhibition(s) and publication(s) Board of Trustees for approval. heralding the acquisition, if any. ” The proposal includes: —Angie Dodson, Director In the two years under review, the Foundation Montgomery Museum of Fine Arts transferred 234 artworks by 91 artists to 14 museums, bringing the total since 2014 to 355 artworks by 108 artists to 16 museums.
Installation view of Revelations: Art from the African American South, de Young Museum, June 3, 2017–April 1, 2018
COURTESY OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO C
| PROGRAM TRANSFER OLLECTION
Installation view of Revelations: Art from the African American South, de Young Museum, June 3, 2017–April 1, 2018 24 COURTESY OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO 25 MUSEUM EXHIBITIONS AND America Will Be! Surveying the PERMANENT COLLECTION GALLERIES Contemporary Landscape DISPLAYS OF SGDF WORKS Dallas Museum of Art, Dallas, TX The Metropolitan Museum of Art (2014) (April 6–September 15, 2019) EXHIBITIONS Outliers and American Vanguard Art Fine Arts Museums of San Francisco (2017) National Gallery of Art, Washington, DC Alvaro Barrington: Artists I Steal From High Museum of Art (2017) Galerie Thaddaeus Ropac, London, UK Ackland Art Museum (2017) Southern Accent: Seeking the American (January 28–May 13, 2018) (June 5–August 17, 2019) New Orleans Museum of Art (2017) South in Contemporary Art High Museum of Art, Atlanta, GA Philadelphia Museum of Art (2017) Nasher Museum of Art at Duke University, (June 24–September 30, 2018) Cosmologies from the Tree of Life: Durham, NC Los Angeles County Museum of Art, Los Angeles, CA Art from the African American South Virginia Museum of Fine Arts (2018) (September 1, 2016–January 8, 2017) (November 18, 2018–March 18, 2019) Virginia Museum of Fine Arts, Richmond, VA Museum of Fine Arts, Boston (2018) Speed Art Museum, Louisville, KY (June 8–November 17, 2019) Spelman College Museum of Fine Art (2018) (April 29–October 14, 2017) History Refused to Die: Highlights from the Souls Grown Deep Foundation Gift Brooklyn Museum (2018) Souls Grown Deep: Artists of the African Dallas Museum of Art (2018) Revelations: Art from the African The Metropolitan Museum of Art, New York, NY American South The Morgan Library & Museum (2018) American South (May 22–September 23, 2018) Philadelphia Museum of Art, Philadelphia, PA de Young Museum, Fine Arts Museums (June 8–September 2, 2019) The Phillips Collection (2019) of San Francisco, CA Specters of Disruption Montgomery Museum of Fine Arts (2019) (June 3, 2017–April 1, 2018) de Young Museum, Fine Arts Museums of San Francisco, CA Feature Exhibition of Thornton Dial Clark Atlanta University Art Museum (2019) David Lewis Gallery, Art Basel, Switzerland Minneapolis Institute of Art (2019) Mr. Dial’s America (August 15, 2018–November 10, 2019) (June 13–June 16, 2019) David Lewis Gallery, New York, NY (January 25–March 18, 2018) Epic Abstraction: Pollock to Herrera The Metropolitan Museum of Art, New York, NY (September 17, 2018–Ongoing)
Installation view of Cosmologies from the Tree of Life: Art from the African American South, Virginia Museum of Fine Arts, June 8—November 17, 2019 PHOTO: DAVID STOVER © VIRGINIA MUSEUM OF FINE ARTS M
| OF SGDF WORKS EXHIBITIONS AND DISPLAYS USEUM
Visitors viewing work by Thornton Dial Jr., The Slave Ship, in Revelations: Art from the African American 26 South at the de Young Museum, June 3, 2017–April 1, 2018 27 PHOTO BY DREW ALTIZER PHOTOGRAPHY; COURTESY OF THE FINE ARTS MUSEUMS OF SAN FRANCISCO INTERNSHIP PROGRAM SPRING 2019 Museum partners hosting an SGDF Intern for the 2019–2020 academic year are the Baltimore The partner museums for the inaugural SGDF Museum of Art, the Museum of Fine Arts, Boston, In light of an expanding mandate, and to pro- Andrew W. Mellon Foundation, along with the Internship Program were the New Orleans and the Minneapolis Institute of Art. mote diversity in the museum field, the Souls Association of Art Museum Directors and the Museum of Art, the Philadelphia Museum of Art, Grown Deep Foundation inaugurated its Intern- American Alliance of Museums, noted the lack and the Virginia Museum of Fine Arts. ship Program in Spring 2019. The Internship of gender and ethnic diversity in museums.1 SGDF Interns were provided with part-time FUNDING FOR SGDF Program provides three students of color with Non-white people account for only 28 percent experience in a partner museum, a $5,000 stipend, INTERNSHIP PROGRAM both financial support and professional develop- of all American museum employees, and just and a trip to the Foundation’s headquarters in ment during the academic year. 16 percent of positions “most closely associated Atlanta, Georgia, and to Birmingham, Bessemer, The Spring 2019 Sponsors of the inaugural SGDF Through a competitive application process, with the intellectual and educational mission,” Gee’s Bend, and Montgomery, Alabama, where Internship Program were the generous donors successful candidates are selected based on their such as curators, conservators, educators, and they met with artists Joe Minter, Richard Dial, and Karen Elizaga and Jay Ptashek. Their donation academic and artistic achievements, as well as leadership. Hence, the report pointed to the need Mary Margaret Pettway. supported internships at the New Orleans their strong interest in exploring professions to support students at the undergraduate level. Museum of Art, the Philadelphia Museum of Art, related to museums and the visual arts. They are Through the SGDF Internship Program, we and the Virginia Museum of Fine Arts. subsequently placed in partner museums in our actively address these challenges in concert with FALL 2019 Additional support for the multi-year Intern- Collection Transfer Program. There, SGDF Interns museums that have demonstrated a commit- ship Program was provided by the sale of are afforded the opportunity to work alongside ment to innovative research and community Following the successful launch of the Spring 2019 Thornton Dial’s Fading (2002) at Christie’s in curators, conservators, educators, registrars, and engagement. In so doing, our Internship Program Internship Program, SGDF expanded the program November 2018. This was the first time a work administrators, and gain experience in museum is unique in that it both promotes the further to the full academic year beginning in September from the collection was auctioned to support the work in general. The internship includes a trip to study and display of Souls Grown Deep artists 2019–offering a $10,000 stipend per student. Foundation’s advocacy initiatives. visit the Foundation in Atlanta and the artists and while nurturing emerging critical and creative communities it serves in the Southeast, including thinkers—who themselves represent the diversity an excursion to Gee’s Bend, Alabama. of the communities in which the museums serve. According to a 2015 pioneering study on the 1. See https://mellon.org/resources/shared-experiences challenges of diversifying museum staff, the -blog/measuring-success-data-collection/
“ Being a Souls Grown Deep Intern has been a transformative experi- ence. As the Souls Grown Deep curatorial intern at the Philadelphia Museum of Art, I had the opportunity to be a co-curator on the exhibi- tion Souls Grown Deep: Artists from the African American South.
Working on this exhibition of artwork from Souls Grown Deep has AM been like a return home for me. When I left the South for college, I never imagined myself returning. Now, through studying these works, I can see the South in an entirely new light, and I find myself impassioned to continue uplifting Southern art for the rest of my career.
” INTERNSHIP PROGR
—Akili Davis, Souls Grown Deep Intern |
2019 SGDF Interns with Joe Minter in Birmingham, AL PHOTO: SCOTT BROWNING
28 29 SPRING 2019 INTERNS DEACCESSIONED ARTWORKS
NEW ORLEANS MUSEUM VIRGINIA MUSEUM OF OF ART FINE ARTS THE METROPOLITAN MUSEUM OF ART, New York, NY Dorthy Ray was born and raised Jacynth Serrano Rodriguez Gift of the Souls Grown Deep Foundation in Baton Rouge, Louisiana. She recently received her Bachelor recently completed her Bach- of Arts in English from Virginia Abrams, Willie “Ma Willie,” Campbell, Emma Lee 1897–1987 Pettway, 1928–2002 Commonwealth University with elor of Arts in art history at “Roman Stripes” variation, Blocks and strips work- Louisiana State University. She worked primarily minors in both art history and media studies. c. 1975 clothes quilt, 1950s Corduroy Denim and cotton twill with Futures Fund, a program offering training in Previous to her SGDF internship, Rodriguez 94 x 76 inches 87 x 66 inches the arts to middle- through high-school students. interned at the Blackbird Literary Journal and 017–021 054–01 As a curator, photographer and mixed-media Virginia Commonwealth University’s Recrea- artist, Ray’s work seeks to challenge viewers to tional Sports Program. In 2016, she received explore the ambiguities of identity, gender, and awards and accolades for her visual and written work including the First Place and Purchase Bendolph, Annie, 1900–1981 Dial, Thornton, 1928–2016 sexuality as they relate to the Black body. “Thousand Pyramids” 9/11: Interrupting the Award, the Vincent Hammond Visual Arts variation, c. 1930 Morning News, 2002 Cotton sacking material Pencil, charcoal, watercolor, Scholarship, and the Chadab Foundation Scholar- PHILADELPHIA MUSEUM and chambray and coffee stains on paper OF ART ship for the Arts at Northern Virginia Community 83 x 70 inches 41 x 29 inches 103–04 TD_WOP_10_16 Akili Davis is a junior sociology College. After graduation, Rodriguez was hired major and visual studies minor by the Development Department of the Virginia at Bryn Mawr College. Her aca- Museum of Fine Arts. demic interests include museum Bendolph, Annie, 1900–1981 Dial, Thornton, 1928–2016 studies and moving image media. Davis had “Wild Goose Chase” African Athlete, 1998 variation with “Flying Pencil, charcoal, and pastel previously interned with Philadelphia cultural Geese” border, c. 1930 on paper institutions including the Slought Foundation Cotton 44 x 30 inches 82 x 74 inches TD_WOP_10_23 and Till Arts Project, and she is currently on the 103–03 Barnes Foundation Campus Outreach Council. On her college campus, she is the Civic Engage- ment Representative to the Student Government
Association. Although she is originally from Bendolph, Louisiana, 1960– Dial, Thornton, 1928–2016 Greenville, South Carolina, Davis calls Philadel- “Housetop” variation, 2003 Celebration, 2004 Cotton and cotton blends Pencil, pastel, and phia home and hopes to continue working in the 98 x 68 inches watercolor on paper 015–10 29 x 41 inches arts community there after graduation. TD_WOP_10_12
Dial, Thornton, 1928–2016 Bennett, Linda Diane, History Refused to Die, 2004 1955–1988 Okra stalks and roots, “Bricklayer” variation, clothing, collaged drawings, c. 1970 tin, wire, steel, Masonite, Denim steel chain, enamel, and 80 x 62 inches spray paint 038–01 102 x 87 x 23 inches TD_15_180 DEA
| CCESSIONED ARTWORKS 1. Object ID.
30 31 Dial, Thornton, 1928–2016 Holley, Lonnie B., 1950– Light, Joe Lewis, 1934–2005 Murray, John B., 1908–1988 January 20, 2009 (Turtle African Mask, 2004 Pony, 1988 Untitled, early 1980s Holding Flag), 2009 Automobile tires, welder’s Enamel on wood Paint, crayon, pencil, on Pencil, pastel, and coffee mask, electrical outlets, 36 x 38 inches paper on paper electrical cord, door lock JL_15_026 24 x 18 inches 441/4 x 305/8 inches and lace fabric JBM_14_1508 TD_WOP_10_08 42 x 38 x 10 inches LH_11_142
Dial, Thornton, 1928–2016 Holley, Lonnie B., 1950– Lockett, Ronald, 1965–1998 Perkins, Mertlene, Out of the Darkness, the Grown Together in the The Enemy Amongst Us, 1917–2015 Lord Gave Us Light, 2003 Midst of the Foundation, 1995 “Birds in Flight” variation, Carpet, cloth, Splash Zone 1994 Paint, pine straw, metal 1940s compound, enamel, and Root, steel, wires, concrete, grate, tin, nails, on wood Cotton spray paint on canvas on PVC pipe 50 x 53 inches 76 x 64 inches wood 961/2 x 37 x 29 inches RL_14_148 060–01 721/2 x 74 x 3 inches LH_12_41 TD_14_1533
Dial, Thornton, 1928–2016 Holley, Lonnie B., 1950– Mingo, Lucy, 1931– Pettway, Lola, 1941– Powder Plant, 2013 Ruling for the Child, 1982 Blocks and strips work- “Housetop”—eight-block Sheet metal, sawdust, Sandstone clothes quilt, 1959 variation, c. 1975 commercial paint, and 20 x 91/2 x 15 inches Cotton and denim Corduroy adhesive on canvas on LH_12_29 79 x 69 inches 86 x 71 inches wood 025–05 032–08 66 x 60 inches TD_14_006
Dial, Thornton, 1928–2016 Kennedy, Mary Elizabeth, Minter, Joe, 1943– Pettway, Loretta, 1942– Shadows of the Field, 2008 1910–1991 Four Hundred Years of Free “Housetop,” 1963 String, twine, synthetic “Housetop”—”Log Cabin” Labor, 1995 Cotton twill and synthetic cotton batting, wood, variation, c. 1935 Welded found metal material (men’s clothing) burlap, sheet metal, cloth Cotton and rayon 105 x 58 x 54 inches 80 x 74 inches rags, nails, staples, and 84 x 79 inches JWM_12_08 002–07 enamel on canvas on wood 079–01 79 x 105 x 5 inches TD_15_093
Dial, Thornton, 1928–2016 The End of November: The Birds That Didn’t Learn How Kennedy, Nettie Jane, Murray, John B., 1908–1988 Pettway, Loretta, 1942– to Fly, 2007 1916–2002 Untitled, early 1980s “Lazy Gals” (“Bars”), c. 1965 Quilt, wire, fabric, and “Basket Weave,” 1973 Ballpoint pen, marker, and Denim and cotton enamel on canvas on wood Corduroy point, on paper 80 x 69 inches 72 x 72 inches 80 x 80 inches 24 x 18 inches 002–04 TD_12_21 024–03 JBM_14_1494
Dial, Thornton, 1928–2016 Victory in Iraq, 2004 Mannequin head, barbed Light, Joe Lewis, 1934–2005 Murray, John B., 1908–1988 Pettway, Loretta, 1942– wire, steel, metal grating, Hobo # Birdman, 1988 Untitled, 1987 Medallion, c. 1960 clothing, tin, electrical wire, Place mats, class, enamel, Marker and paint on paper Synthetic knit and cotton wheels, stuffed animals, spray paint, on wood 233/4 x 173/4 inches stacking material toy cars and figures, plastic 48 x 96 inches JBM_14_1504 80 x 70 inches spoon, wood, basket, oil JL_15_025 002–18 enamel, spray paint, and Splash Zone compound on DEA canvas on wood
831/2 x 135 x 161/2 inches | CCESSIONED ARTWORKS TD_15_078
32 33 Pettway, Lucy T., 1921–2004 Rowe, Nellie Mae, Smith, Mary T., 1905–1995 Tolliver, Mose, c. 1921–2006 “Housetop” and “Bricklayer” 1900–1982 Untitled self-portrait, 1988 Bill Traylor People, 1987 blocks with bars, c. 1955 Empty Chair, 1981 Paint on wood Housepaint on wood Cotton, corduroy, cotton Pencil, crayon, pastel, on 48 x 32 inches 291/4 x 231/2 inches knit, flannel, even weave paper MTS_14_1515 MT_14_2051 90 x 78 inches 18 x 233/4 inches 048–11 NMR_14_1497
Rowe, Nellie Mae, Pettway, Martha, 1911–2005 1900–1982 Speller, Georgia, 1931–1988 Tolliver, Mose, c. 1921–2006 “Housetop” variation, 1930s Nellie’s Birthday, 1981 Dancing People in a Line, Self-portrait, 1987 Cotton Colored pencil and crayon 1986 Paint on wood 80 x 73 inches on paper Tempera and pencil on 273/4 x 273/4 inches 063–05 18 x 24 inches paper MT_14_2053 NMR_14_1500 18 x 24 inches GS_14_2108
Rowe, Nellie Mae, Speller, Georgia, 1931–1988 1900–1982 Head of the Penitentiary, Pettway, Martha, 1911–2005 Woman Scolding Her 1986 Young, Annie Mae, “Housetop”—”Half-Log Companion, 1981 Tempera and pencil on 1928–2013 Cabin” variation, 1930s Pastel, colored pencil, paper Work-clothes quilt with Cotton crayon, marker, on 173/4 x 233/4 inches center medallion of strips, 80 x 75 inches cardboard GS_14_1501 1976 063–07 291/4 x 32 inches Denim, corduroy, synthetic NMR_14_1416 blend (britches legs with pockets) Speller, Georgia, 1931–1988 108 x 77 inches Minnie and Her Friends, 026–10 Seltzer, Sue Willie, 1987 1922–2010 Acrylic, tempera, pencil, on Pettway, Pearlie Kennedy, “Housetop”—nine-block paper Young, Purvis, 1943–2010 1920–1982 “Half-Log Cabin” variation, 18 x 24 inches Locked Up Their Minds, Triangles creating squares- c. 1955 GS_14_1502 1972 within-squares motif, Cotton and synthetic blends Paint and wood on wood c. 1960 80 x 76 inches 84 x 84 inches Cotton sacking material 140–03 PY_12_904 76 x 76 inches Speller, Henry, 1900–1997 078–02 Boat on the Mississippi, 1987 Marker, crayon, pencil, on Sewell, Emmer, 1934– paper Untitled, early 1990s 18 x 24 inches Proctor, Mary, 1960– Automobile tire, plastic HSP_14_1498 Young, Purvis, 1943–2010 The Keys, 1996 chair, cinder-block Ocean, mid-1970s Coins, jewelry, buttons, fragment Paint and wood on keys, glass cabochons, 43 x 281/2 x 22 inches Masonite wood, toys, paint, on wood ES_12_1067 Speller, Henry, 1900–1997 16 x 141/4 inches 80 x 30 inches Untitled, 1985 PY_14_1490 MP_12_07 Colored pencil, marker, crayon, pencil, on paper 24 x 18 inches HSP_14_2182 Smith, Mary T., 1905–1995 Untitled, 1987 Rowe, Nellie Mae, Paint on wood 1900–1982 48 x 32 inches Atlanta’s Missing Children, MTS_14_1510 1981 Paint, pencil, pastel, crayon, paper, on cardboard 32 x 30 inches DEA NMR_14_4124
| CCESSIONED ARTWORKS
34 35 FINE ARTS MUSEUMS OF SAN FRANCISCO, San Francisco, CA Dial, Thornton, 1928–2016 Griffin, Ralph, 1925–1992 New Light, 2004 Panama Jack, c. 1984 Museum purchase and gift of the Souls Grown Deep Foundation Wood, wire, twine, caning, Paint, nails, rubber bands, cloth, wire screen, cow bone, wood Aaron, Jesse, 1887–1979 Dial Jr., Thornton 1953– enamel, and Splash Zone 37 x 16 x 15 inches Pig’s Head, c. 1972 The Slave Ship, 1988 compound on wood RG_16_17 Charred wood and cast resin Welded steel, rope, wood, 811/2 x 94 x 8 inches 171/2 x 131/2 x 101/4 inches caulk and paint TD_15_077 JA_16_03 45 x 64 x 38 inches TDJ_15_001
Dial, Thornton, 1928–2016 Strange Fruit: Channel 42, 2003 Griffin, Ralph, 1925–1992 Dial, Thornton, 1928–2016 Spray can tops, clothes, Wizard, 1986 Blood and Meat: Survival for wood, artificial flowers, Found wood, nails, paint the World, 1992 found metal, wire, tools, oil, 48 x 19 x 21 inches Aaron, Jesse, 1887–1979 Rope carpet, copper wire, enamel, spray paint, and RG_16_22 Untitled, c. 1970 metal screen, canvas scraps, Splash Zone compound on Wood, cast resin, and nails enamel, and Splash Zone com- canvas on wood 32 x 233/4 x 21/2 inches pound on canvas on wood 99 x 78 x 26 inches JA_16_09 65 x 95 x 11 inches TD_15_460 TD_15_499
Dial, Thornton, 1928–2016 First Butterflies, 2002 Harvey, Bessie, 1929–1994 Clothing, plastic, carpet, oil, Dial, Thornton, 1928–2016 African Woman (Twella), enamel, and spray paint on The Big Ship (Negroes 1986 canvas on wood Coming and Going), 2002 Wood, glitter, wood putty, Abrams, Willie “Ma Willie,” 62 x 98 x 3 inches Pencil, pastel, and costume jewelry, paint 1897–1987 TD_15_470 watercolor on paper 321/2 inches “Roman Stripes” variation, 22 x 30 inches BH_16_01 c. 1975 Dial, Thornton 1928–2016 TD_WOP_14_331 Corduroy Full Sack, 2004 94 x 76 inches Pencil, pastel, and 017–03 watercolor on paper Dial, Thornton, 1928–2016 30 x 22 inches When I Lay My Burdens TD_WOP_16_016 Down, 2000 Harvey, Bessie, 1929–1994 Pencil and graphite on paper Beast from Revelation, 1988 30 x 22 inches Found wood, plastic beads, TD_WOP_16_050 putty, nails, and paint Bendolph, Mary Lee, 1935– 251/2 x 29 x 14 inches Strips and strings, 2003 BH_16_02 Cotton and cotton blends 74 x 49 inches Dial, Thornton, 1928–2016 030–29 In the Roosevelt Time: Penned In, 2003 Pencil, acrylic, and Griffin, Ralph, 1925–1992 watercolor on paper John Getting Graduated, Harvey, Bessie, 1929–1994 44 x 30 inches c. 1983 I Didn’t Hear Nobody Pray, TD_WOP_16_053 Found wood, nails, paint 1987 241/2 x 71/2 x 113/4 inches Found wood, cowrie shells, RG_16_10 plastic beads, and paint Butler, David, 1898–1997 54 x 40 x 20 inches Untitled (Nativity), late 1960s BH_16_06 Found plastic fragments, steel wire, and paint on Dial, Thornton, 1928–2016 sheet steel Lost Cows, 2000–2001 271/2 x 421/2 x 3 inches Cow skeletons, steel, golf DB_15_01 bag, golf ball, mirrors, Griffin, Ralph, 1925–1992 enamel, and Splash Zone Noah’s Ark, c. 1980 Harvey, Bessie, 1929–1994 Byron, Archie, 1928–2005 compound Found wood and paint The Poison of the Lying Black Roses, 1979 761/2 x 91 x 52 inches 183/4 x 683/4 x 141/2 inches Tongues, 1987 Sawdust and glue relief with TD_15_166 RG_16_04 Found wood, cowrie shells, pigment, on wood with plastic beads, nails, and plastic frame paint 331/2 x 281/2 x 13/4 inches 19 x 141/2 x 18 inches AB_15_02 BH_16_15 DEA
| CCESSIONED ARTWORKS
36 37 Holley, Lonnie B., 1950– Light, Joe Lewis, 1934–2005 Lockett, Ronald, 1965–1998 Smith, Mary T., 1905–1995 A Box for Woman: The Pure Jealousy, 1987 Rebirth, 1987 I See 2, 1988 White Spirit Trapped in Her Enamel on wood Wire, nails, and paint on Paint and marker on wood Space, 1989 15 x 29 inches Masonite 24 x 18 inches Mousetrap, mouse skeleton, JL_15_030 12 x 181/2 inches MTS_15_005 syringe, animal bones, RL_14_090 leaves, organic debris, wood, paint Light, Joe Lewis, 1934–2005 141/2 x 101/2 x 41/4 inches Red Bird, 1988 Minter, Joe, 1943– LH_16_01 Enamel on wood Camel at the Water Hole, 1995 48 x 96 inches Welded found metal JL_15_038 46 x 47 x 51 inches Holley, Lonnie B., 1950– JWM_16_03 Smith, Mary T., 1905–1995 Climbing for Power, 1996 Untitled, 1987 Found wood and found Lockett, Ronald, 1965–1998 Paint on pressboard metal Coming Out of the Haze, 331/2 x 233/4 inches 631/4 x 25 x 451/2 inches 1994 MTS_15_016 LH_16_05 Found tin, nails, pencil, on wood 641/2 x 51 x 7 inches RL_14_146 Minter, Joe, 1943– The Hanging Tree, 1996 Welded found metal 831/2 x 491/2 x 491/2 inches Holley, Lonnie B., 1950– JWM_16_12 Smith, Mary T., 1905–1995 Him and Her Hold the Root, Untitled, 1987 1994 Lockett, Ronald, 1965–1998 Paint on wood Rocking chairs, pillow, root Conspiracy, 1995 24 x 24 inches 451/2 x 73 x 301/2 inches Tin and steel on wood MTS_15_012 LH_16_14 52 x 52 x 4 inches RL_14_132
Holley, Lonnie B., 1950– Pettway, Jessie T., 1929– Mith, 1993 Bars and string-pieced Granite headstone fragment columns, 1950s Smith, Mary T., 1905–1995 and concrete Cotton Untitled, 1987 10 x 653/4 x 311/2 inches Lockett, Ronald, 1965–1998 95 x 76 inches Paint on wood LH_16_22 England’s Rose, 1997 080–05 32 x 24 inches Tin and paint on wood MTS_15_030 481/4 x 481/4 inches RL_14_134 Light, Joe Lewis, 1934–2005 Dawn, 1988 Enamel and spray paint on wood Pettway, Plummer T., 48 x 96 inches 1918–1993 JL_15_001 “Roman Stripes” variation Tolliver, Mose, c. 1921–2006 (local name: “Crazy Quilt”), Mae Hand, Small Face, Light, Joe Lewis, 1934–2005 Lockett, Ronald, 1965–1998 c. 1967 18 Years Old, 1986 Elvis, 1992 Fever Within, 1995 Cotton twill, denim, cotton/ Housepaint on wood Enamel on wood Found tin, colored pencil, polyester blend, synthetic paneling 511/4 x 361/4 inches nails, on wood knit (pants materials) 30 x 221/2 inches JL_15_043 661/2 x 30 x 3 inches 89 x 68 inches MT_16_13 RL_14_131 010–02
Smith, Florine, 1948– Four-block strips, c. 1975 Corduroy Tolliver, Mose, c. 1921–2006 81 x 68 inches Me and Willie Mae, 1987 Light, Joe Lewis, 1934–2005 Lockett, Ronald, 1965–1998 050–04 Housepaint and marker on Flat Mountain, 1987 Poison River, 1988 wood Paint on tabletop Wood, tin, nails, stones, 30 x 24 inches 271/2 x 351/2 inches industrial sealing MT_16_15 JL_15_012 compound, enamel, on wood DEA 481/2 x 611/4 x 21/2 inches
RL_14_1579 | CCESSIONED ARTWORKS
38 39 Tolliver, Mose, c. 1921–2006 Young, Annie Mae, HIGH MUSEUM OF ART, Atlanta, GA Rainy Sunshine, Cats and 1928–2013 Museum purchase and gift of the Souls Grown Deep Foundation Dog, Drum Beater, 1987 Strips, c. 1975 Housepaint on wood Corduroy 263/4 x 29 inches 95 x 105 inches Aaron, Jesse, 1887–1979 Bendolph, Mary Lee, 1935– MT_16_31 026–14 Untitled, early 1970s Lonnie Holley’s Freedom Deer antlers, wood putty, [intaglio print], 2005 nails, wood Color aquatint, spitbite 67 x 211/2 x 111/2 inches aquatint, and softground JA_16_16 etching 32 x 36 inches Tolliver, Mose, c. 1921–2006 Young, Deborah Pettway, 030–P05 Self-Portrait of Me, 1987 1916–1997 Housepaint on wood Two-sided quilt: [1] 25 x 24 inches Nine-block “Log Cabin” MT_16_32 variation and [2] “Roman Stripes” variation, c. 1960 Bennett, Agatha, 1919–2006 Cotton twill, print, jersey “Cross in Square” and “Bear knit, denim, polyester Paw”—nine-block variation, 83 x 64 inches Bailey, Eldren M., 1903–1987 c. 1985 076–01 Countdown, 1950s Cotton, cotton/polyester Oil on Masonite blend, cotton knit, corduroy 24 x 18 inches 80 x 78 inches Tolliver, Mose, c. 1921–2006 Young, Purvis, 1943–2010 EMB_16_06 108–08 Windmill Down at Old Pike A Good Man, c. 1980–1981 Road and a Man Got a Gun Paint on wood Trying to Shoot That Bird, 271/2 x 813/4 inches 1988 PY_16_02 Housepaint on wood Bennett, Polly, 1922–2003 261/4 x 22 inches Young, Purvis, 1943–2010 Blocks and strips with MT_16_43 Angels and Their Horses, medallion strip center, 2001 1985 Cotton and cotton/polyester Paint on wood Bailey, Eldren M., 1903–1987 blend 593/4 x 48 inches Pyramid, 1970s 81 x 99 inches PY_16_04 Concrete, plastic beads, 084–11 Westbrook, Gearldine, pennies, jewelry, buttons, 1919–2016 wood “Housetop” variation, 1982 11 x 123/4 x 121/2 inches Corduroy and cotton EMB_16_01 94 x 78 inches 042–20 Young, Purvis, 1943–2010 Burwell, Vernon, 1916–1990 Blues City, 1972 Bendolph, Louisiana, 1960– Martin Luther King Jr. Paint and crayon on wall “Bricklayer” variation, 2003 and Coretta Scott King, board Cotton 1987–1988 32 x 431/2 inches 89 x 68 inches Painted concrete over wire PY_16_33 015–07 and metal armature Young, Annie Mae, 271/2 x 111/2 x 10 inches 1928–2013 VB_16_01 “Bars” work-clothes quilt, c. 1970 Young, Purvis, 1943–2010 Denim, corduroy, cotton/ Talking to the System, c. 1975 polyester blend Paint on board 108 x 76 inches 48 x 35 inches Byron, Archie, 1928–2005 026–06 PY_16_22 DNA, 1987 Bendolph, Mary Lee, 1935– Sawdust and glue relief, Blocks and strips, 2005 nails, screws, bullets shells, Corduroy metal beads, pigment on 82 x 78 inches wood Young, Annie Mae, 030–63 23 inches 1928–2013 AB_15_19 Blocks and strips, c. 1970 Cotton, polyester, synthetic Young, Purvis, 1943–2010 blends They Going to Send Us 83 x 80 inches Home, late 1970s 026–09 Paint on cardboard 24 x 48 inches DEA PY_16_25
| CCESSIONED ARTWORKS
40 41 Dial, Richard, 1955– Dial, Thornton, 1928–2016 Dial, Thornton, 1928–2016 Holley, Lonnie B., 1950– The Comfort and Service Driving to the End of the Surviving the Frost, 2007 Condition Within (Looking My Daddy Brings to Our World: Oil, 2004 Industrial plastic, straw, Through the Old Blinds), Household, 1988 Auto body parts, cloth, wire, metal, fabric, wire, nails, and 1989 Welded steel, plastic tubing, enamel, spray paint, and enamel on canvas on wood, Wood, clothespins, metal wheels, and paint Splash Zone compound on 105 x 74 x 11 inches chain, artificial plants, leaves, 703/4 x 25 x 65 inches found office partition TD_15_100 pine straw, paint, nails RD_15_04 85 x 65 x 17 inches 201/2 x 12 x 5 inches TD_15_488 LH_16_07
Dial, Thornton, 1928–2016 Dial, Thornton, 1928–2016 Dial, Thornton, 1928–2016 Holley, Lonnie B., 1950– Beaver Dam, 1987 Driving to the End of the The Old Ku Klux: After All Not Olympic Rings, 1994 Found wood, bark, tin, World: Sheik, 2004 Their Fighting, Where’s the Steel rod, wire, plastic enamel, industrial sealing Auto body parts, cloth, Profit?, 1988 bracelets, can lids, washers, compound artificial flowers, wood, and Plastic can lids, hemp rope, television dial, machine 82 x 271/4 x 8 inches enamel Bondo, and enamel on wood parts, metal and plastic rings TD_16_005 55 x 96 x 461/2 inches 48 x 481/2 x 3 inches 503/4 x 27 x 24 inches TD_15_484 TD_15_559 LH_16_25
Dial, Thornton, 1928–2016 Driving to the End of the World: Silver, 2004 Dial, Thornton, 1928–2016 Auto parts, car seat springs, Dial, Thornton, 1928–2016 Holley, Lonnie B., 1950– Birmingham News, 1997 wood, steel drum, enamel, Turkey Tower, mid-1980s What’s on the Pedestal Wood, rope, fabric, rope spray paint, and Splash Zone Welded metal, paint, Today?, 1990 carpet, enamel, spray paint, compound on wood industrial sealing Plaster pedestal, picture and Splash Zone compound 781/2 x 52 x 101/2 inches compound, and concrete frames, wire, soda bottles, on canvas on wood TD_15_485 941/4 x 441/2 x 28 inches plastic tubing, hairbrush, 83 x 100 x 7 inches TD_15_046 cloth, mirror glove, found TD_11_058 materials 50 x 27 x 27 inches LH_16_53 Dial, Thornton, 1928–2016 Dial, Thornton, 1928–2016 Crossing Waters, 2006–2011 Looking Out the Windows, Wire fencing, clothing, cloth, 2002 wood, metal, corrugated tin, Metal grating, fabric, plastic Doyle, Sam, 1906–1985 Light, Joe Lewis, 1934–2005 shoe, ceramic figurines, and toys, stuffed animals, rope A Dream, 1970s Giant Beauties, 1986 paint on canvas on wood carpet, wire fencing, carpet Paint on metal medicine Enamel on wood door 96 x 169 inches scraps, metal, corrugated cabinet 273/4 x 783/4 inches TD_15_012 metal, metal screening, wire, 31 x 223/4 x 53/4 inches JL_15_039 nails, paint cans, Splash Zone SD_16_08 Dial, Thornton, 1928–2016 compound, enamel, and spray Light, Joe Lewis, 1934–2005 Driving to the End of the paint on carpet on wood Indian, 1987 World: American Money, 100 x 50 x 13 inches Enamel and found metal on 2004 TD_15_471 wood Auto body parts, wood, 34 x 151/2 inches enamel, and spray paint on Dial, Thornton, 1928–2016 JL_15_048 wood Mrs. Bendolph, 2002 Griffin, Ralph, 1925–1992 50 x 721/2 x 91/2 inches Clothing, bedding, carpet, Big Bird, c. 1980 TD_15_487 enamel, and spray paint, on Found wood, bark, nails, canvas on wood paint Dial, Thornton 1928–2016 84 x 50 x 4 inches 531/4 x 32 x 15 inches Driving to the End of the TD_15_117 RG_16_01 World: Gold, 2004 Light, Joe Lewis, 1934–2005 Auto body parts, tin, paint Untitled, 1987 rollers, wheels, carpet, spray Seashells, stones, artificial paint, and Splash Zone plants, wood, glass currency, compound on wood television console, enamel 611/2 x 61 x 101/2 inches 301/2 x 161/4 x 30 inches TD_15_486 JL_15_028 DEA
| CCESSIONED ARTWORKS
42 43 Lockett, Ronald, 1965–1998 Pettway, Arcola, 1934–1994 Smith, Mary T., 1905–1995 Williams, Charles, 1942–1999 Civil Rights Marchers, 1988 “Lazy Gals” (“Bars”) variation, Untitled [three women from Untitled, 1980s Wood, cut tin, mattress 1976 the garden club], 1988 Melted plastic, tree branch, springs, rubber, industrial Corduroy Paint on tin leaves, bicycle reflector, sealing compound, paint, 81 x 89 inches 25 x 55 inches found objects, paint on wood 088–01 MTS_15_025 26 x 21 x 23 inches 48 x 481/2 x 41/2 inches CW_16_10 RL_14_1581 Speller, Georgia, 1931–1988 Policeman at Johnnie Lee Miller’s House, 1987 Pettway, Arlonzia, 1923–2008 Paint and pencil on paper “Flower Garden,” c. 1975 133/4 x 17 inches Lockett, Ronald, 1965–1998 Cotton, corduroy, polyester GS_16_11 Willis, Luster, 1913–1990 Once Something Has Lived double knit Reverend Jesse Jackson, It Can Never Really Die, 1996 94 x 70 inches early 1980s Wood, enamel, graphite, tin. 004–20 Pencil, ballpoint pen, paint, found materials, industrial glue, glitter, paper collage on sealing compound, on wood Sudduth, Jimmy Lee, poster board 57 x 501/2 x 4 inches 1910–2007 193/4 x 131/4 inches RL_14_101 Hogeye, c. 1980 LW_16_03 Mud and paint on wood 25 x 12 inches Pettway, China, 1952– JLS_16_17 Blocks, c. 1975 Lucas, Charlie, 1951– Corduroy and cotton Young, Annie Mae, Power Man, 1985 hopsacking 1928–2013 Welded found materials 83 x 70 inches Housetop variation 63 x 50 x 12 inches 058–02 86 x 74 inches CL_16_09 026–08
Thomas, James “Son Ford,” 1926–1993 Untitled, 1987 Pettway, Jennie, 1900–1990 Unfired clay, artificial hair, Medallion variation, c. 1975 sunglasses, wire, aluminum Minter, Joe, 1943– Cotton, rayon, polyester, foil, beads, glass marbles, Young, Purvis, 1943–2010 Chains in Paradise, 1999 corduroy paint Black People Migrating West, Welded found metal 82 x 72 inches 91/2 x 8 x 83/4 inches late 1970s 73 x 40 x 35 inches 047–03 JST_16_09 Paint, poster board, with JWM_16_04 wood frame 211/4 x 281/4 inches PY_16_05 Williams, Charles, 1942–1999 Pencil Rocket, early 1980s Plastic fan blade, table-fan Pettway, Lucy T., 1921–2004 base, plastic, doorstop, paint Young, Purvis, 1943–2010 “Birds in the Air” 241/4 x 59 x 19 inches Say it unto the Angel That Moore, Flora, 1951– (quiltmaker’s name), 1981 CW_16_08 Came to the Men, 1972 “One Patch,” 1978 Cotton and cotton/polyester Paint on wood Corduroy and velveteen blend 96 x 48 inches 78 x 98 inches 79 x 79 inches PY_16_32 133–05 048–21
Robertson, Royal, 1930–1997 Vision, early 1980s Ballpoint pen, pencil, paint, Person, Leroy, 1907–1985 on poster board Untitled, c. 1977 22 x 28 inches Carved wood, nails, wax RR_16_11 crayon, paint, cement, fence staple 13 x 161/2 x 11/2 inches LP_16_03 DEA
| CCESSIONED ARTWORKS
44 45 ACKLAND ART MUSEUM, University of North Carolina, Chapel Hill, NC NEW ORLEANS MUSEUM OF ART, New Orleans, LA Museum purchase and gift of the Souls Grown Deep Foundation Museum purchase and gift of the Souls Grown Deep Foundation
Almon, Leroy, 1938—1997 Murray, John B., 1908–1988 Bendolph, Ella, 1904–1995 Lockett, Ronald, 1965–1998 Resurrection, 1983 Untitled, mid-1980s Strips, c. 1955 Drought, 1994 Carved wood, paint, wire Marker and paint on paper Corduroy, wool, nylon knit, Found tin, pencil, nails on 211/4 x 15 inches 251/2 x 191/2 inches cotton/polyester blend wood LA_16_01 JBM_16_04 83 x 71 inches 481/2 x 511/2 inches 086–02 RL_14_119
Minter, Joe, 1943– Bolden, Hawkins, 1914–2005 Rowe, Nellie Mae, 1900–1982 Slave Ship, 1995 Untitled, 1970s Nellie’s House at Night, 1981 Bendolph, Mary Lee, 1935– Found materials Ham can, wire, metal fence Felt-tip pen and crayon on Work-clothes quilt, 2002 83 x 122 x 35 inches scrap paper Denim and cotton JWM_16_11 141/2 x 71/2 x 31/4 inches 183/4 x 24 inches 97 x 88 inches HB_15_015 NMR_16_03 030–25
Scott, Lorenzo, 1934– Jesus and the Apostles, early Pettway, Qunnie, 1943–2010 Burnside, Richard, 1944– 1980s “Bricklayer” variation, 1975 The Three Leaders of the Oil on canvas in hand- Bennett, Polly, 1922–2003 Corduroy World, 1987 decorated frame Checkerboard—four-block 83 x 74 inches Paint on wood 261/2 x 32 inches variation divided by a cross, 033–20 23 x 46 inches LS_16_01 c. 1955 RB_16_05 Cotton 93 x 75 inches Dial, Thornton, 1928–2016 084–02 Out of Control, 2003 Sudduth, Jimmy Lee, Tin, wood, string, soil, oil, 1910–2007 enamel, spray paint, and Memphis, Tennessee, Civic Splash Zone compound on Center, 1986 canvas on wood Mud, grass stain, black and Proctor, Mary, 1960– 75 x 1231/2 x 6 inches white pigments, pencil on Freedom of Expression, 1998 TD_15_462 wood Dial, Thornton, 1928–2016 Costume jewelry, buttons, 32 x 48 inches Shack Town, 2000 cowrie shells, paint, on Doyle, Sam, 1906–1985 JLS_16_19 Wood, corrugated tin, wood door clothing, rope, pocketbooks, Hopeing Boy, 1970s 80 x 301/2 inches wheelbarrow, fifty-five- Paint on tin Willis, Luster, 1913–1990 MP_16_01 gallon drum, photograph, 45 x 27 inches Hog Killing, 1986 wire, nails, enamel, spray SD_16_02 Ballpoint pen, poster paint, paint, and Splash Zone glue, glitter, on poster board compound 28 x 22 inches 92 x 76 x 70 inches LW_16_02 TD_15_515
Young, Nettie, 1916–2010 Light, Joe Lewis, 1934–2005 Dial, Thornton, 1928–2016 “Stacked Bricks,” 1928 Blue Bird, 1987 Slave Ship, 1987 Cotton and corduroy Enamel and spray paint on Young, Purvis, 1943–2010 Metal, wood, paint, wire, 81 x 69 inches wood door Untitled book, 1978 paint can lid, Splash Zone 021–03 28 x 80 inches Ballpoint pen, crayon, compound JL_15_037 marker, on paper glued to 72 x 104 x 21 inches found book TD_15_571 91/4 x 111/4 inches PY_16_47 DEA
| CCESSIONED ARTWORKS
46 47 PHILADELPHIA MUSEUM OF ART, Philadelphia, PA Lockett, Ronald, 1965–1998 Seltzer, Sue Willie, Smoke-Filled Sky (You Can 1922–2010 Museum purchase and gift of the Souls Grown Deep Foundation Burn a Man’s House but Not String-pieced blocks and His Dreams), 1990 bars, c. 1965 Abrams, Nellie Mae, Dial, Thornton, 1928–2016 Charred wood, industrial Cotton, denim, flannel 1946–2005 High and Wide (Carrying sealing compound, paint, 87 x 76 inches “Housetop” variation, 1970s the Rats to the Man), 2002 on wood 140–05 Corduroy Goat hides, carpet, found 473/4 x 77 x 3 inches 87 x 80 inches metal, clothing, stuffed- RL_14_1552 123–06 animal backpack, barbed wire, upholstery, textbook Lockett, Ronald, 1965–1998 cover, Splash Zone com- Timothy, 1995 pound, enamel, and spray Found sheet metal, tin, Williams, Andrea, 1973– paint on canvas on wood wire, paint, nails, on wood Blocks and strips work- 76 x 134 x 13 inches 45 x 431/4 x 3 inches clothes quilt, 1991 TD_15_465 RL_14_150 Cotton, denim, twill Bendolph, Louisiana, 1960– 90 x 108 inches “Housetop” variation, 2003 Dial, Thornton, 1928–2016 075–01 Cotton and cotton blends The Last Day of Martin 86 x 67 inches Luther King, 1992 015–08 Wood, carpet, rope carpet, wire screen, metal pans, broken glass, broom Pettway, Annie E., 80 x 1131/2 x 41/2 inches 1904–1972 TD_15_398 “Flying Geese” variation, Williams, Irene, 1920–2015 c. 1935 Blocks and strips, 2003 Dial, Thornton, 1928–2016 Cotton and wool Polyester double knit The Old Water, 2004 86 x 71 inches 101 x 76 inches Bendolph, Mary Lee, 1935– Steel, tin, wood, wire, cloth, 043–03 145–71 Blocks, strips, strings, and carpet, driftwood, wood half squares, 2005 trellis, barbed wire, enamel, Cotton spray paint, and Splash 84 x 81 inches Zone compound 030–64 84 x 1461/2 x 44 inches TD_15_140 Pettway, Henrietta, 1894–1971 Harvey, Bessie 1929–1994 “Housetop” variation, 1930s Williams, Irene, 1920–2015 Jezebel, 1987 Cotton, denim, corduroy Strips, 1960s Wood, jewelry, shells, glitter, 71 x 67 inches Polyester knit basketball beads, nails, paint, spray 018–02 jerseys, satin, corduroy Bendolph, Mary Lee, 1935– paint 84 x 73 inches Work-clothes quilt, 2002 501/2 x 441/2 x 34 inches 145–01 Denim and cotton BH_16_08 86 x 72 inches 030–34
Pettway, Loretta, 1942– “Roman Stripes” variation Holley, Lonnie B., 1950– (local name: “Crazy Quilt”), Wilson, Magalene, No Light on the Crosses, 1970 1898–2001 1994 Cotton twill, denim, cotton/ “One Patch,” c. 1950 Wood, metal fencing, polyester blend, synthetic Cotton, wool, nylon, Bennett, Delia, 1892–1976 headlight, ceramic lamp, knit (pants material) acetate, corduroy “Housetop”—fractured- electrical cords, ice cream 86 x 70 inches 82 x 74 inches medallion variation, c. 1955 scooper, metal drain cover, 002–05 022–01 Cotton wire, drill bit, rope, drum 79 x 79 inches head 034–02 83 x 43 x 23 inches LH_16_24 Pettway, Martha Jane, 1898–2003 Holley, Lonnie B., 1950– Blocks and strips work- Young, Nettie, 1916–2010 Protecting Myself the Best I clothes quilt, 1920s “H” variation (quiltmaker’s Can (Weapons by the Door), Cotton, denim, corduroy name: “Milky Way”), 1971 1994 67 x 72 inches Cotton Bolden, Hawkins, Terra-cotta pipe, golf club, 011–11 88 x 77 inches 1914–2005 baseball bats, metal pipe, 021–06 Untitled, mid-1980s clothespins, tape Wood headboard, found 35 x 16 x 16 inches DEA metal objects, wire fencing, LH_16_29
upholstery, fabric, foam | CCESSIONED ARTWORKS backing 41 x 33 x 5 inches HB_15_011 48 49 VIRGINIA MUSEUM OF FINE ARTS, Richmond, VA Dial, Thornton, 1928–2016 Pettway, Creola Bennett, The Morning of the End of 1927– Museum purchase and gift of the Souls Grown Deep Foundation the World, 2001 “Half-Log Cabin” variation, Wood, clothing, carpet, 1949 Aaron, Jesse, 1887–1979 Dial, Thornton, 1928–2016 enamel, and spray paint Cotton and wool Untitled, early 1970s Birds Don’t Care Whose 82 x 58 x 46 inches 73 x 71 inches Wood, Popsicle stick, doll’s Head They Crap On, 1987 TD_15_477 039–03 eyes Found wood, welded 161/2 x 113/4 x 101/2 inches metal, window screen, JA_16_01 wire, industrial sealing compound, paint 54 x 51 x 24 inches TD_15_447 Dial, Thornton, 1928–2016 Pettway, Jennie, 1900–1990 Tree of Life (In the Image of “Housetop” single-block Old Things), 1994 “Courthouse Steps” Dial, Thornton, 1928–2016 Found wood, roots, variation, c. 1945 Bendolph, Louisiana, 1960– Dark Woman Wrapped Up, rubber tire, wire, fabric, Corduroy “Housetop” variation, 2003 2003 plastic air freshener, 80 x 64 inches Cotton Pencil, charcoal, pastel, and enamel, industrial sealing 047–01 90 x 81 inches watercolor on paper compound 015–16 41 x 29 inches 79 x 45 x 44 inches TD_WOP_16_009 TD_15_225
Holley, Lonnie B., 1950– Pettway, Linda, 1929–2012 Little Top to the Big Top, “Log Cabin”—single-block 1993 variation, tied with yarn, Dial, Thornton, 1928–2016 Metal lids, pocketbook, c. 1975 Bendolph, Mary Lee, 1935– Flowers for Peace, 1996 eating utensils, garden Corduroy “Housetop” variation, 2006 Pastel, watercolor and hose, oven rack, chain, 88 x 78 inches Cotton pencil on paper wood, wire, found metal 032–03 74 x 75 inches 44 x 30 inches 26 x 39 x 51/2 inches 030–73 TD_WOP_14_940 LH_16_18
Holley, Lonnie B., 1950– Moses’ Rod, 1996 Found root, coral, shoe sole, Pettway, Loretta, 1942– jewelry, artificial plants Two-sided quilt: and hair, baby shoe, fabric, Rectangular blocks & “Log Bennett, Linda Diane, Dial, Thornton, 1928–2016 wooden pole, wire, barbed Cabin” variation (local 1955–1988 Foundation of the World (A wire name: “Bricklayer”) “Housetop” variation, Dream of My Mother), 1994 821/2 inches c. 1975 c. 1970 Welded steel rods, tin, rope, LH_17_06 Corduroy Corduroy carpet, rope fiber wood, 94 x 69 inches 92 x 58 inches burlap, enamel, spray 002–01 038–12 paint, industrial sealing compound 74 x 52 x 44 inches TD_15_299 Kennedy, Ruth, 1926– Pettway, Louella, 1921–2006 Blocks and strips, 2003 “Lazy Gal”—”Bars,” 1974 Corduroy Corduroy Dial, Thornton, 1928–2016 Dial, Thornton, 1928–2016 86 x 75 inches 79 x 88 inches A Lady Will Hold a Strange Message from the Birds: 096–03 052–07 Bird, 1991 Look Around When Watercolor Strangers Come, 2002 221/4 x 2913/16 inches Steel, cloth, enamel, oil, TD_WOP_16_001 acrylic, and spray paint on canvas 36 x 49 inches TD_15_448 Dial, Thornton, 1928–2016 Lockett, Ronald, 1965–1998 Pettway, Lucy T., 1921–2004 Bad Picture, 1997–1998 Dial, Thornton, 1928–2016 The Inferior Man That “Snowball” (quiltmaker’s Paint, metal, bicycle parts, Stone Walls, 1997 to 1998 Proved Hitler Wrong, 1995 name), c. 1950 rubber metal pipe, wire, Paint, metal, industrial Found tin, colored pencil, Cotton, corduroy, cotton canvas scraps, magazine sealing compound, on nails, on wood sacking material photo, cameras, protective unstretched canvas 433/4 x 42 x 4 inches 85 x 83 inches glasses, wood, roots, 132 x 144 inches RL_14_151 048–02
artificial hair, industrial DEA sealing compound TD_15_503
87 x 105 x 41 inches TD_15_506 | CCESSIONED ARTWORKS
50 51 Pettway, Rita Mae, 1941– Tolliver, Mose, c. 1921–2006 MUSEUM OF FINE ARTS, BOSTON, Boston, MA “Housetop”—fractured Mountains and Pack-a- Museum purchase and gift of the Souls Grown Deep Foundation medallion variation, 1977 Mules Trees, and a French Corduroy Bird and a Peko Bird, c. 1980 80 x 76 inches Housepaint on found poster Bennett, Mary L., 1942– Pettway, Lillie Mae, 019–05 print with wood frame “Diamonds” variation–”One 927–1990 24 x 34 inches Patch,” c. 1975 “Housetop”—twelve-block MT_16_21 Cotton (twill, knit, even “Half-Log Cabin” variation, weave) c. 1965 Tolliver, Mose, c. 1921–2006 76 x 67 inches Cotton, wool, corduroy Old Redd Foxx, 1987 107–01 77 x 65 inches Housepaint on wood 040–02 Sudduth, Jimmy Lee, 32 x 181/2 inches 1910–2007 MT_16_23 Hen with Her Chicks, 1987 Pencil, mud, white pigment, on wood Bennett, Mary L., 1942– Pettway, Lucy T., 1921–2004 121/2 x 10 inches “Housetop”—”four-block “Blazing Star” (quiltmaker’s JLS_16_16 variation,” c. 1965 name) with “Pinwheel” Cotton and cotton/ corner blocks, 1968 polyester blend Polyester, double knit, Williams, Nell Hall, 1933– 77 x 82 inches nylon knit “Stacked Bricks” in columns 107–04 72 x 68 inches with borders on two sides, 048–17 Sudduth, Jimmy Lee, c. 1955 1910–2007 Silk (garment linings with Road Cut Through the Hill, labels cut away) mid-1980s 84 x 75 inches Mud, grass stain, pencil, on 110–01 George, Rachel Carey, Pettway, Lucy T., 1921–2004 wood 1908–2011 “Drunkard’s Path” variation 121/2 x 25 inches “Housetop”—sixteen-block in medallion format, c. 1970 JLS_16_25 “Half-Log Cabin” variation Cotton and cotton/ sashed with feed sacks, polyester blend Sudduth, Jimmy Lee, Young, Nettie, 1916–2010 c. 1935 85 x 81 inches 1910–2007 “Basket Weave” (Freedom Cotton sacking material 048–23 Toto, 1987 Quilting Bee name: “Crazy” and dress fabric Mud and pencil on wood quilt), 1975 86 x 86 inches 25 x 91/2 inches Cotton, velveteen, 111–07 JLS_16_27 double knit 89 x 80 inches 021–07 George, Rachel Carey, Williams, Irene 1920–2015 1908–2011 “Housetop” variation, c. 1975 Center medallion, 1970s Cotton Corduroy 89 x 78 inches 71 x 71 inches 145–02 Thomas, James “Son Ford,” Young, Purvis, 1943–2010 111–15 1926–1993 Untitled book, 1983 Untitled, 1987 Ballpoint pen, marker, Unfired clay, artificial hair, paint, on paper glued to glass beads, paint found book 8 x 51/2 x 5 inches 12 x 171/2 inches JST_16_19 PY_16_39 McCloud, Helen. 1938– Williams, Patty Ann, Blocks and strips, tied with 1898–1972 yarn, 1964 “Monkey Wrench”—single- Denim and cotton/ block variation, c. 1955 polyester “stretch” denim Cotton 76 x 92 inches 81 x 81 inches 125–05A 007–01
Young, Annie Mae, Mooney, Lucy, c. 1880–1969 1928–2013 Blocks and strips work- Strips, c. 1975 clothes quilt, c. 1935
Courduroy DEA Cotton, denim, wool 101 x 66 inches 87 x 68 inches
026–01 112–01 | CCESSIONED ARTWORKS
52 53 SPELMAN COLLEGE MUSEUM OF FINE ART, Atlanta, GA Harvey, Bessie, 1929–1994 Speller, Henry, 1900–1997 God’s Gift to Man, 1987 Man with a Gun, 1988 Gift of the Souls Grown Deep Foundation Found wood, found Marker on paper materials, paint, spray paint 24 x 18 inches Bendolph, Louisiana, 1960– Moore, Flora, 1951– 47 x 42 x 20 inches HSP_16_13 “Housetop” variation with Columns of stacked blocks, BH_16_04 half-squares blocks, 2003 tied in a grid pattern, c. 1965 Cotton and cotton blends Polyester and wool blends 98 x 68 inches 88 x 92 inches 015–19 133–06
Holley, Lonnie B., 1950– Thomas, James “Son Ford,” Early Beginner, 1994 1926–1993 Chair and jump ropes Untitled, 1987 341/2 x 20 x 21 inches Unfired clay, artificial hair, Bendolph, Mary Lee, 1935– Mosely, Ruth Pettway, LH_16_11 cigarette, glass marbles, Blocks, 1984 1928–2006 metal coin Cotton, wool blend, “Carpenter’s Wheel” with 9 inches synthetics “Star” centers—twelve-block JST_16_04 85 x 94 inches variation, 1968 030–05 Polyester double knit 104 x 80 inches 001–04 Hoppins, Gloria, 1955– Thomas, James “Son Ford,” “Housetop”—center 1926–1993 medallion, c. 1975 Untitled, 1987 Corduroy Unfired clay, artificial hair, Bennett, Polly, 1922–2003 Seltzer, Bettie Bendolph, 91 x 88 inches glass marbles, glass beads, Medallion with center bars, 1939–2017 093–01 paint 2000 Columns of blocks 93/4 x 7 x 8 inches Cotton and polyester/ separated by triangles and JST_16_05 cotton blends split squares, c. 1975 101 x 82 inches Cotton and cotton blend 084–05 100 x 81 inches 014–03 Irby, Ella Mae, 1923–2001 Thomas, James “Son Ford,” “Texas Star,” 1973 1926–1993 Cotton, corduroy, cotton Untitled, 1987 blend Unfired clay, artificial hair, Benning, Willie Ann, 1927– 88 x 85 inches wire, aluminum foil, glass “Diamond in Square” 037–02 marbles, paint variation set with 91/2 x 6 x 8 inches cornerstones, 1971 JST_16_11 Cotton and cotton/ polyester blends 77 x 77 inches 134–02 Pettway, Lucy T., 1921–2004 Tolliver, Mose, c. 1921–2006 “Housetop”—single-block Self-Portrait of Me with “Half-Log Cabin” variation Crutches, 1983 (quiltmaker’s name: “Plow Housepaint and marker on Point”), c. 1945 poster board with painted Cotton frame 84 x 69 inches 341/2 x 263/4 inches BROOKLYN MUSEUM, Brooklyn, NY 048–07 MT_16_33 Gift of the Souls Grown Deep Foundation
Dial, Thornton, 1928–2016 Dial, Thornton, 1928–2016 New Veteran’s Day, 2004 The Town, 1987 Smith, Mary T., 1905–1995 Young, Purvis, 1943–2010 Carpet, tin, cloth, wood, Welded metal, broken glass, They Too, 1987 Trucks (What I See), late wire, enamel, and spray window screen, gravel, Paint on wood 1970s paint wire, concrete, Splash Zone 32 x 24 inches Paint, ballpoint pen, paper, 86 x 73 x 14 inches compound, enamel MTS_15_027 glass, on wood 441/4 x 43 x 39 inches TD_15_108 62 x 48 inches TD_15_572 PY_16_28 DEA
| CCESSIONED ARTWORKS
54 55 DALLAS MUSEUM OF ART, Dallas, TX THE MORGAN LIBRARY & MUSEUM, New York, NY Museum purchase and gift of the Souls Grown Deep Foundation Museum purchase and gift of the Souls Grown Deep Foundation
Bendolph, Louisiana 1960– Lockett, Ronald, 1965–1998 Dial, Thornton, 1928–2016 Rowe, Nellie Mae, “Housetop” medallion, 2003 Awakening, 1996 Ladies Stand by the Tiger, 1900–1982 Cotton Tin, metal grate, nails, 1991 Untitled, 1978 77 x 73 inches on wood Watercolor on paper Felt-tip pen, black and 015–06 45 x 43 x 3 inches 221/2 x 297/8 inches white photograph, on paper RL_14_139 TD_WOP_16_019 141/2 x 143/4 inches NMR_16_09
Dial, Thornton, 1928–2016 Life Go On, 1990 Watercolor on paper Bendolph, Mary Lee, 1935– Rowe, Nellie Mae, 301/2 x 231/4 inches Speller, Henry, 1900–1997 Blocks and strips, 2004 1900–1982 TD_WOP_16_025 Courthouse, 1986 Corduroy Picking Cotton, 1981 Crayon, marker, pencil, on 82 x 73 inches Crayon, felt-tip pen, paper 030–61 ballpoint pen, on paper 18 x 24 inches 19 x 241/2 inches HSP_16_05 NMR_16_04
Dial, Thornton, 1928–2016 Young, Annie Mae, Posing, 1996 Speller, Henry, 1900–1997 1928–2013 Charcoal, pencil, pastel, Glorie Jean and Her Friends, Bennett, Amelia, 1914–2002 “Yo-Yo,” c. 1971 watercolor, on paper 1987 Bars and strips, 1929 Cotton, polyester knit, 44 x 30 inches Marker, crayon, pencil, on Cotton, denim, muslin corduroy clothing material, TD_WOP_16_057 paper 87 x 73 inches dashiki material 18 x 24 inches 119–04 80 x 83 inches HSP_16_08 026–26
Willis, Luster, 1913–1990 Standing Together, 1986 Dial, Thornton, 1928–2016 Paint, glitter, glue, ballpoint Posing Movie Stars Holding pen, pencil, on paper the Freedom Bird, 1991 20 x 121/4 inches Dial, Thornton, 1928–2016 Watercolor and pencil on LW_16_05 Construction of the Victory, paper 1997 30 x 22 inches Artificial flowers and plants, TD_WOP_16_038 crutches, fabric, clothing, rope carpet, wood, window screen, found metal, wire, oil, enamel, spray paint, and Willis, Luster, 1913–1990 Splash Zone compound on Untitled, 1950s canvas on wood Rowe, Nellie Mae, Paint on fabric 831/2 x 114 x 13 inches 1900–1982 191/2 x 17 inches TD_15_198 Untitled, 1981 LW_16_10 Ballpoint pen, felt-tip pen, crayon, pastel, pencil, on paper 24 x 19 inches NMR_16_08
Young, Purvis, 1943–2010 Untitled book, early 1980s Ballpoint pen and marker, on paper glued to found book 121/4 x 173/4 inches PY_16_52 DEA
| CCESSIONED ARTWORKS
56 57 THE PHILLIPS COLLECTION, Washington, DC MONTGOMERY MUSEUM OF FINE ARTS, Montgomery, AL Museum purchase and gift of the Souls Grown Deep Foundation Museum purchase and gift of the Souls Grown Deep Foundation
Bendolph, Mary Lee, 1935– Pettway, Lucy T., 1921–2004 Coleman, Minnie Sue, Pettway, Emma Mae Hall, “Housetop” variation, 1998 Two-sided quilt: blocks and 1926–2012 1932– Cotton corduroy, twill, strips and “Bricklayer,” 1960s “Pig in a Pen” medallion, Two-sided quilt: [1] “Bars” assorted polyesters Denim, corduroy, cotton c. 1970 variation and [2] strips, 72 x 76 inches 81 x 73 inches Polyester knit and double c. 1975 030–06 048–24 knit Corduroy 61 x 82 inches 76 x 92 inches 114–01 149–02
Mosely, Aolar, 1912–1999 Pettway, Malissia, 1914–1997 Dial, Thornton, 1928–2016 Pettway, Joanna 1924–1993 Blocks, c. 1955 “Housetop,” c. 1960 Lost Americans, 2008 “Housetop” variation, Cotton (even weave, twill, Cotton, synthetics, Wood chest, chair c. 1950 dotted swiss) corduroy parts, mannequin parts, Corduroy, wool, linen 75 x 83 inches 81 x 81 inches corrugated tin, metal, 72 x 69 inches 031–02 053–07 letterman’s jacket, clothing, 012–03 quilted fabric, rope, nails, metal banding, found wood, tree stump, faux leather, and enamel on wood 72 x 96 x 131/2 inches Pettway, Arlonzia, TD_15_167 Sudduth, Jimmy Lee, 1923–2008 1910–2007 “Lazy Gals” (“Bars”), c. 1975 Ferris Wheel at the Corduroy Fairground, 1988 89 x 81 inches Mud and paint on wood 004–06 24 x 32 inches JLS_16_13 DEA
| CCESSIONED ARTWORKS
58 59 CLARK ATLANTA UNIVERSITY ART MUSEUM, Atlanta, GA MINNEAPOLIS INSTITUTE OF ART, Minneapolis, MN Gift of the Souls Grown Deep Foundation Museum purchase and gift of the Souls Grown Deep Foundation
Bendolph, Louisiana, 1960– Major, Nazareth, 1947– Aaron, Jesse, 1887–1979 Byron, Archie, 1928–2005 Blocks-and-strips “Housetop”—nine-block Shark, c. 1970 Life Form, 1988 medallion, 2003 square-within-a-square Wood, shark’s jaws, toy doll, Sawdust and glue relief with Cotton and cotton blends variation, c. 1980 plastic rattle, plastic eyes, pigment, on wood 86 x 66 inches Cotton and cotton/ nails, electric cable 28 x 24 inches 015–18 polyester blend 16 x 52 x 12 inches AB_15_13 63 x 80 inches JA_16_02 094–03
Abrams, Nellie Mae, 1946–2005 “Housetop,” c. 1970 Dial Jr., Thornton, 1953– Pettway, Belinda, 1957– Denim and cotton Dial, Arthur, 1930– I’ll Be Back, 1988 “Housetop”—strips, 1990s 84 x 72 inches Eve and Adam, 1989 Wood, metal, barbed wire, Cotton and cotton/ 123–02 Hemp, burlap, rubber string, fabric, industrial polyester blend hoses, industrial sealing sealing compound, enamel, 85 x 82 inches compound, enamel, spray nails 009–08 paint, wire on wood 35 x 32 x 63/4 inches 40 x 801/4 inches TDJ_15_015 AD_15_009
Almon, Leroy, 1938–1997 Dial, Thornton, 1928–2016 Christ, 1987 Monument to the Minds Carved wood, paint, wood of the Little Negro Hall, Dilmus, 1900–1987 Pettway, Nellie, 1940– frame Steelworkers, 2001–2003 Untitled, n.d. “Pig in a Pen”—center 281/2 x 23 inches Steel, wood, wire, twine, 12 x 9 inches medallion, c. 1955 LA_16_02 artificial flowers, ax blade, DH_16_04 Cotton glass bottles, animal bones, 78 x 78 inches cloth, tin cans, paint can 016–01 lids, and enamel 76 x 138 x 46 inches TD_15_454
Bailey, Eldren M., 1903–1987 Dial, Thornton, 1928–2016 Spider Lady, 1960s Royal Flag, 1997–1998 Paint, wood, wood putty, on American flag, toy doll, toy wood, with painted wood bull, string, fabric, industrial frame sealing compound, oil, 321/2 x 261/2 x 33/4 inches enamel, spray paint, on EMB_16_11 canvas mounted on wood 78 x 80 x 7 inches TD_15_159
Burnside, Richard, 1944– Hill, Theodore, 1926– The Ancient King, 1987 Sermon on the Mount, 1986 Paint on wood Paint, marker, glass, on 291/2 x 31 inches poster board with wood RB_16_01 frame 22 x 22 inches TH_16_03 DEA
| CCESSIONED ARTWORKS
60 61 Holley, Lonnie B., 1950– Murray, John B., 1908–1988 Robertson, Royal, 1930–1997 Speller, Georgia, 1931–1988 Pressure from the Burn, Untitled, mid-1980s Two-Sided: God/Vision, House up on the Hill off the 1995 Marker and paint on paper 1979 Highway, 1987 Found wood, fire hose, nails 251/2 x 191/2 inches Ballpoint pen and paint on Tempera and pencil on 76 x 41 x 10 inches JBM_16_05 poster board paper LH_16_27 22 x 28 inches 18 x 24 inches RR_16_09 GS_16_07
Speller, Georgia, 1931–1988 Robertson, Royal, 1930–1997 Two Cousins, 1987 Untitled, 1989 Paint and pencil on paper Lockett, Ronald, 1965–1998 Nicholson, Addie Pearl, Mixed media on poster 18 x 24 inches April Nineteenth (The 1931– paper Number), 1995 “Housetop”—nine-block 28 x 22 inches GS_16_13 Metal, paint, wood, Splash “Half-Log Cabin” variation, RR_16_04 Zone compound 1974 491/4 x 431/2 x 4 inches Cotton, cotton/polyester RL_14_149 blend, corduroy Speller, Georgia, 1931–1988 77 x 77 inches Untitled, 1985 098–02 Tempera and pencil on paper Robertson, Royal, 1930–1997 18 x 24 inches Vision Winter, 1980 Minter, Joe, 1943– Pettway, Lola, 1941– Marker, ballpoint pen, paint, GS_16_17 Old Rugged Cross, 1998 “Housetop” variation, 1970s on poster board Found wood and nails Corduroy 181/2 x 243/4 inches 77 x 46 x 19 inches 89 x 74 inches RR_16_07 JWM_16_09 090–30 Speller, Henry, 1900–1997 Cannon, 1986 Marker, crayon, pencil, on Robertson, Royal, 1930–1997 paper Visions of Times, 1985 18 x 24 inches Marker, ballpoint pen, paint, HSP_16_02 on poster board 22 x 28 inches Mooney, Lottie, 1908–1992 Pettway, Loretta, 1942– RR_16_08 “Housetop”—four-block “Log Cabin”—single “Half-Log Cabin” variation, block “Courthouse Steps” Speller, Henry, 1900–1997 c. 1940 variation (local name: Pig Eating Breakfast, 1988 Cotton and rayon “Bricklayer”), 1958 Marker on paper 88 x 73 inches Cotton, twill, printed Rowe, Nellie Mae, 18 x 24 inches 1900–1982 128–03 corduroy, denim HSP_16_18 87 x 72 inches Rocking Chair, 1981 Crayon, felt-tip pen, pencil, 002–02 on paper 183/4 x 24 inches NMR_16_06 Murray, John B., 1908–1988 Robertson, Royal, 1930–1997 Speller, Henry, 1900–1997 Untitled, early 1980s Fire Dangon Fighting Giant Steamboat Katie Adam, 1987 Marker, crayon, pencil, on Marker and paint on paper Electric Ell, 1980 Singleton, Herbert, paper 19 x 24 inches Ballpoint pen, paint, on 1945–2007 18 x 24 inches JBM_16_03 poster board Crucifixion Coffee Table, 28 x 22 inches 1995 HSP_16_20 RR_16_13 Painted carved wooden table 151/2 x 41 x 201/4 inches HSI_16_01 Tolliver, Mose, 1924–2006 Cross of a White Jesus with a French Bird, a Mountain Bird, and a Pinto Bird, 1987 Paint and Masonite on paneling 53 x 43 inches MT_16_03 DEA
| CCESSIONED ARTWORKS
62 63 ENDOWMENT AND GRANT RECIPIENTS
ENDOWMENT GRANT RECIPIENTS
The Souls Grown Deep Community Partnership The following organizations were awarded Souls was formally constituted towards the end of Grown Deep grants in fiscal years July 2017– the 2018–2019 fiscal year. Within weeks of its June 2018 and July 2018–June 2019: formation, the Community Partnership invested $1 million in a portfolio of impact investment Mississippi Folk Art Foundation, for preservation funds in June 2019. The board announced this step and restoration efforts at Margaret’s Grocery and amid growing concern within the arts community Market, Vicksburg, MS about sources of philanthropy. As an organization CONSERVATION ($10,000) committed to addressing injustices inflicted on African Americans in the South, the Community The Metropolitan Museum of Art, New York. NY Partnership has elected to limit its investments to History Refused to Die exhibition entities that can help improve economic opportu- ARTISTS’ TRAVEL ($10,000) nities and promote racial and social justice in that region, and to be transparent about its investments New Orleans Museum of Art, New Orleans, LA in the hope that other larger endowments might EDUCATIONAL PROGRAMS ($2,000) Rev. H.D. Dennis (1916–2012) and Margaret Dennis (1915–2009). In 2015, the Mississippi Heritage Trust named follow suit. This policy stems from the conviction SOULS GROWN DEEP INTERNSHIP ($5,000) Margaret’s Grocery as one of the 10 most endangered historic places in Mississippi PHOTO: SUZI ALTMAN that what matters is not only where support is conferred, but with whom we invest. Philadelphia Museum of Art, Philadelphia, PA Souls Grown Deep: Artists from the African GRANTEE: MISSISSIPPI FOLK ART American South exhibition FOUNDATION ARTISTS’ TRAVEL ($8,000) SOULS GROWN DEEP INTERNSHIP ($5,000) “It’s all about the promise Reverend H.D. Dennis “Although the site is no longer open as a made Margaret and their love. Preacher asked store and they have both since passed away, University of Alabama Center for Economic Margaret to marry him and promised her if the Grocery still attracts visitors from around Development, Tuscaloosa, AL she did, he would build her a castle. He kept the world to experience Reverend Dennis’ GEE’S BEND QUILT TRAIL ($20,000) his promise. I met the Rev. Dennis and Miss creation. The site, described as a ‘theological Margaret in 2001 and fell in love with them and park’ by vernacular art scholar Stephen Young, Upstart Co-Lab, New York, NY their castle. Over the next decade I visited them is crowded with signs, gates, towers, and other A national collaboration connecting artists, regularly and they shared their wisdom with items created by Dennis. The Reverend was impact investors and social entrepreneurs me. Their simple messages of God has no white constantly making changes and modifications ($50,000) church, he ain’t got no black church—He got to the site, adding new signs, repainting items one church—And ALL are Welcome, and Treat with new designs, and adding more details to Virginia Museum of Fine Arts, Richmond, VA Everyone Equally and with Love, are still relevant existing structures. Since his passing the place SOULS GROWN DEEP INTERNSHIP ($5,000) today and need to be shared with the world. is in decline and in dire need of restoration and I promised Miss Margaret on her deathbed I preservation, and we are grateful to the Souls
would look after Preacher, and I promised Rev. Grown Deep Foundation for their support of RECIPIENTS AND GRANT WMENT H.D. Dennis before he passed away I would look our efforts.”
after his palace and church bus. —Suzi Altman, Executive Director, ENDO
Mississippi Folk Art Foundation |
64 65 STATEMENT OF FINANCES
FISCAL YEAR 2018–2019 (July 1, 2018–June 30, 2019)
REVENUE
Collection transfer program $1,534,584
Other income $184,963
Individual support $16,200
Interest earned $960
Total revenue $1,736,707
EXPENSES
Personnel $517,871 52%
General administration $224,205 22%
Collection care (storage, conservation, documentation) $124,114 12%
Grants $110,070 11%
Insurance $24,809 3%
Total expenses $1,001,069
CURRENT ASSESTS
Cash $392,217
Endowment $1,000,000
Accounts receivable $755,667
Total current assetts $2,147,884
Lonnie Holley (1950–), African Mask, 2004 Automobile tires, welder’s mask, electrical outlets, electrical cord, door lock and lace fabric
353/4 × 301/2 × 91/4 inches S
THE METROPOLITAN MUSEUM OF ART, GIFT OF THE SOULS GROWN DEEP FOUNDATION | OF FINANCES TATEMENT © LONNIE HOLLEY / ARTISTS RIGHTS SOCIETY (ARS), NY
66 67 SOULS GROWN DEEP IN THE MEDIA Nonprofit Quarterly Art & Object Eileen Cunniffe, “Souls Grown Deep Aims to “Philadelphia Museum Celebrates Souls Shift Momentum in Favor of Black Artists in US Grown Deep Acquisitions with Two Exhibitions,” Working with Resnicow + Associates, Souls Grown The Art Newspaper Museums,” November 14, 2018 June 4, 2019 Deep has received extensive media coverage Victoria Stapley-Brown, “Jackson Pollock throughout the two years under review. Resnicow and Thornton Dial Given Equal Billing in Met The Guardian Artnet News + Associates has helped to secure over 80 place- Exhibition: Highlights from Souls Grown Deep Nadja Sayej, “Souls Grown Deep: The Andrew Russeth, “Artworks to Kill For: See 45 ments in art and philanthropy trades, along Foundation Acquisition Go on Show among Foundation Helping to Preserve Black Artists,” Highlights from Art Basel,” June 11, 2019 with opinion-leading national and international New York Museum’s Collection,” May 21, 2018 November 21, 2018 dailies, spanning the range of Souls Grown Deep Barron’s initiatives. Coverage of Souls Grown Deep was ARTnews The Art Newspaper Abby Schultz, “Museums Get Creative to also amplified by positioning Souls Grown Deep Claire Selvin, “Souls Grown Deep Foundation Maxwell L. Anderson, “Why American Artists Acquire Art,” June 18, 2019 leadership as thought leaders in the field and by Elects New Board Chair, Announces Grant Should Benefit from the Resale of their Works,” working with partner museums on announce- Program and Strategic Plan,” May 22, 2018 January 4, 2019 Artnet News ments regarding exhibitions, internships, and Julia Halperin, “Can Arts Organizations Do a other projects to align messaging. The New York Times The Modern Art Notes Podcast Public Good Simply by Investing their Money Roberta Smith, “At the Met, a Riveting Testament Tyler Green & Maxwell L. Anderson, “Toward a Differently? One Foundation Is Trying to Find ARTnews to Those Once Neglected,” May 24, 2018 Fuller American Art History,” January 24, 2019 Out,” June 19, 2019 Carolyn Twersky, “New Orleans Museum of Art Acquires 10 Works from Souls Grown Deep Forbes USA Today ImpactAlpha Foundation,” July 6, 2017 Jonathon Keats, “A New Met Exhibit Shows that Nicquel Terry Ellis, “Art So White: Black Artists David Bank, “Souls Grown Deep Foundation to Mark Rothko Made Paintings as Good as the Want Representation (Beyond Slavery) in the Invest $1 million in Artists’ Hometowns in the KQED Quilts of Gee’s Bend,” May 29, 2018 Met, National Gallery,” May 5, 2019 U.S. South,” June 25, 2019 D. Scot Miller, “De Young’s ‘Revelations’ Unveils a Hidden History of Black Artistic Resistance,” The Wall Street Journal Artsy September 25, 2017 Karen Wilkin, “History Refused to Die Review: Benjamin Sutton, “How Internships Are A Visual Equivalent of Jazz,” May 30, 2018 Changing the Art World,” June 4, 2019 The Art Newspaper Aimee Dawson, “The Top Museum Acquisitions The Nation of 2017,” December 18, 2017 Elizabeth Pochoda, “Rethinking Cultural Currents of the South,” June 28, 2018 Culture Type Victoria L. Valentine, “The Year in Black Art 2017,” Artnet News January 4, 2018 Eileen Kinsella, “Souls Grown Deep Foundation Launches a New Paid Internship Program for Artforum Students of Color,” September 12, 2018 “Philadelphia Museum of Art Receives 24 Artworks from Souls Grown Deep Foundation,” The New York Times January 10, 2018 Hilarie M. Sheets, “Five More Museums Acquire
Art from Souls Grown Deep Foundation,” WN DEEP IN THE MEDIA InCollect November 12, 2018 Daniel Grant, “Top Museum Acquisitions: 2017 In Review,” February 9, 2018 SOULS GRO
Installation view of Cosmologies from the Tree of Life: Art from the African | American South, Virginia Museum of Fine Arts, June 8–November 17, 2019
PHOTO: DAVID STOVER © VIRGINIA MUSEUM OF FINE ARTS 68 69 BOARD OF STAFF, FELLOW, DIRECTORS AND INTERNS
OFFICERS STAFF
Mary Margaret Pettway, Chair Maxwell L. Anderson, President
Michael Sellman, Vice Chair Scott Browning, Director of Collections
Linley Jones, Treasurer Raina Lampkins-Fielder, Curator
Scott Browning, Secretary
Maxwell L. Anderson, President (ex officio) Mary McCarthy, Senior Research Associate
Richard McCoy, Conservation Associate
ELECTIVE DIRECTORS R. Andrew Shore, General Counsel
Jane Fonda* FELLOW Valerie Cassel Oliver**
Mary Margaret Pettway** Brenna Gourgeot, Lombard Fellow, Franklin Sirmans** Dartmouth College
Term ending June 2020
INTERNS Linley Jones*
Michael Sellman* Akili Davis, SGDF Intern, Philadelphia Museum of Art Jacquelyn Serwer* Dorthy Ray, SGDF Intern, Term ending June 2021 New Orleans Museum of Art
Jacynth Serrano Rodriguez, SGDF Intern, Richard Dial Virginia Museum of Fine Arts Bernard Herman
James Sellman
Lola West**
E.T. Williams Jr.
Term ending June 2022
*Eligible for one additional 3-year term **Eligible for two additional 3-year terms Archie Byron (1928–2005), Black Roses, 1979, sawdust and glue relief with pigment, on wood with plastic frame, 331/2 x 281/2 x 13/4 inches BO
FINE ARTS MUSEUMS OF SAN FRANCISCO, MUSEUM PURCHASE AND GIFT OF THE SOULS GROWN DEEP
FOUNDATION © ESTATE OF ARCHIE BYRON / ARTISTS RIGHTS SOCIETY (ARS), NY | AND INTERNS FELLOW | STAFF, ARD OF DIRECTORS
70 71 ATLANTA NEW YORK PARIS 1040 W Marietta Street NW 10 Liberty Street, Suite 24G 42, rue de la Tour d’Auvergne Atlanta, GA 30318 New York, NY 10005 75009 Paris, FRANCE .