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William Hawkins William Hawkins i._, • Drawings . ,',•. In Context The Ohio Arts Council and The Springfield Museum of Art in association with Keny Galleries, Col um bus, Ohio William Hawkins Drawings in Context The Riffe Gallery Ohio Arts Council Columbus, Ohio January 27, 2000 - April 2, 2000 The SpringfieldMuseum of Art Springfield, Ohio January 13, 2001 - February 25, 2001 Introduction William Hawkins created a powerful, elemental, personalized drawings and paintings, will and evocative body of drawings from the 1970s hopefully educate viewers regarding the artist's until shortly before his death in 1990. The artist editing and appropriation abilities, as well as his stated in several interviews that he had been sense of humor. Interestingly, Hawkins used drawing since his childhood, though I am not images from the mass media at a time when aware of any remaining, early drawings. His avant-garde contemporary artists with formal William Hawkins: The Drawings in Context drawings are as inventive, emotionally-charged, artistic training were actively involved with the Editing: Timothy C. Keny, Keny Galleries, Columbus, Ohio and tinged with humor as his paintings. His appropriation of images and objects fromthe adept and varied use of line and intuitive mass media into their own att. Artists such as Design: Amy Whittenburg command of negative space lends calligraphic Robert Rauschenberg, Andy Warhol, and Roy Printing: Progressive Printers Incorporated, Dayton, Ohio energy and an iconic quality to his best drawings Lichtenstein began this movement in the late Photography: Photographs have been provided by the owners or custodians of the works or through the which resonates long after one's initial 1950s and early 1960s and recently, a new courtesy of Ralphoto- RG Imaging, Columbus, Ohio experience of them. The artist's command of line generation of a1tists such as Barbara Kruger and and space is often not as readi I y apparent in his Donald Baechler have continued to cross the line paintings, where his use of brilliant colors, rich which was formerly drawn between "high art" brushwork, and large-scale formats is most and "commercial" or media-driven imagery evident. (such as billboards, product designs, television and magazine advertising, and computer­ This exhibition includes approximately sixty generated graphics). Many contemporary artists, srmNGflllOn MUSEUM OF ART drawings, twenty paintings, and much of the including Rita Ackermann, Donald Baechler, source material (i 11 ustrati ons of paintings, Lee Garrett, Mike Noland, and Robert Natkin, advertisements, etc.) that inspired the artist. The are among Hawkins' admirers. exhibition includes the complete range of On the Cover: Hawkins' principal themes such as "Animals", I thank Dr. Gaty Schwindler, art historian, friend "Narrative Scenes", and "Architectural Subjects" of the artist, and dedicated chronicler of the Source material, cover of July 1986. (e.g. Columbus landmarks like the A.I.U. a1tist's fulllife forhis insightful essay regarding Leff:graphite and crayon on pal_)er,Smithsonian, 14 x l l inches, signed, Dec. 1986 - Jan. 1987. Building). It also highlights the diverse media Hawkins' heritage and personality, and his Top Right: Charlie Chaplin, enamel on Masonite, 45 x 56 1/2 inches, signed, 1988. which the artist utilized in his drawings such as artistic iconography and methodology. Gary has graphite, colored pencil, ink, colored ink, and collected a most comprehensive assemblage of Bottom Right: Charlie Chaplin, graphite/collage. In addition, the various grounds the artist's varied "source" materials -- magazine Front Fly Sheet: upon which the artist worked, including found illustrations and photographs, advertisement graphite on paper, 14xl61/2 inches, signed, circa 1987. (detail) paper, envelopes, pamphlets, cardboard, and designs and "copy", and newspaper cartoons and standard drawing paper of various sizes and commentaries. This rich primary material offers Early Eagle, textures, are featured. us keen insight into the artist's memories, heroes, dreams and philosophy of life. The The source material, from which Hawkins primary source material also underscores the transformed various subjects into his highly extraordinary inventiveness and editing acumen of the artist. dedication to illuminating the aesthetic William L. Hawkins excellence of Hawkins' art. I appreciate their The Drawings in Context It is important to note Lee Garrett's keen loan of a strong diverse group of the artist's drawings and paintings to this exhibition. understanding of and steadfastloyalty to the life William Hawkins' intimate, intense drawings never mentioned any familymembers or any and art of his true friend, William Hawkins. I occupy a unique and important place in his acquaintances who engaged in drawing or also thank Roger Ricco, Frank Maresca, and Timothy C. Keny personal and artistic history. Indeed although his painting. What he must have had was a family Stephen Romano fortheir longstanding GuestCurrtor, SpringfieldMuseum of Art colorful,graphic, and often monumental that not only permitted, but encouraged his paintings have earned him his greatest artistic impulses. Consequently, without Acknowledgements recognition, Hawkins began drawing very early exposure to formalstandards of art making or in his life, and continued to do so intermittently the study of art history, William Hawkins Producing an exhibition as ambitious as William programs presented in conjunction with this until shortly before his death. Therefore, it is enjoyed a freedomfrom external standards that Hawkins: The Drawings inContext requires the exhibition. Additionally, the docents and fitting that this exhibition of the artist's drawings almost inevitably create artistic self­ dedicated effortand enthusiastic support of volunteers who contributed their time and talents be presented in an effort to understand better the consciousness. The pragmatism, inventiveness, many individuals and organizations. Guest in bringing this wonderful exhibition to a wider fullextent of William Hawkins' creative gifts. and ability to improvise required of anyone Curator Tim Keny has overseen this project with audience are gratefullyacknowledged. Furthermore, by juxtaposing a selection of these working on an isolated farmcontributed to passion, enthusiasm and diligence. His drawings with their painted counterparts, along Hawkins' development into a truly artistic free thoughtfulnessand insight have been both No exhibition of this scale and scope happens with examples of the source materials from agent. He was never constrained to give a enlightening and a joy to experience; working without the assistance of many individuals. Mary which the artist worked, viewers are treated to a thought to what was "right" for his art making with him has been a genuine pleasure. Gray at the Riffe Gallery, Amy Vance at Keny rare opportunity to compare the artist's models other than what was naturally consistent with his Galleries, and catalogue designer Amy and the results in each medium. own spirit and instincts. The impulse to draw Graciously loaning works to the exhibition are Whittenburg are among these individuals, and seems to have been very strong indeed: both the Eliot and Elizabeth Bank, the Ralph Bell their efforts are greatly appreciated. A chronology of William Hawkins' artistic artist aricl his brother Vertia recollected with Foundation, the Columbus Museum of Art, Dr. production, especially the drawings, is amusement that William was constantly drawing Kurt Gitter and Alice Yelen, Gregory Frank William Hawkins: The Drawingsin Context impossible to reconstruct with any precision. in school when he should have been attending to Harris, Dr. Wayne Lawson, Lee Kogan, Leslie has also required a diverse base of financial Enough details are known, however, to sketch a lessons. Vertia also remembered that after and Henri Muth, Jeffand Bobbi Noe, Mike and support. I particularly thank The Springfield fascinating account of a truly remarkable artistic school, when the chores were finished,his Cindy Noland, Roger Ricco, Frank Maresca, Foundation, The Della Selsor Trust, and the career. brother enjoyed passing the time drawing. Selig Sacks, the SpringfieldMuseum of Art, Trustees of the SpringfieldMuseum of Art, Alan Wardle, Sharon Weiss and Roger Petry, Dr. whose consideration and encouragement helped William Hawkins was born in eastern Kentucky It is fair to say that William Hawkins began his Robert Young and Mrs. Barbara Young, and a to drive the project through to completion. in 1895 to a family of farmers. He attended a artistic endeavors at least as early as the age of number of other anonymous collectors. We Furthermore, the creation of this exhibition one-room schoolhouse, which he described as "a seven or eight, doing so passionately and thank them all. would not have been possible without the good school," where he completed "Third independently. It was during these early, generous support of the Ohio Arts Council, Reader" level, that is, the third grade. His formative years that William began developing At the SpringfieldMuseum of Art, Deputy which has provided fundsfor its production. modest education did not involve art instruction his lifelongpreference for using commercially Director Dominique Vasseur has created an of any kind, nor did it include field trips to printed images as the basis forhis drawings and elegant and inviting exhibition installation. museums, art galleries, or any of the "high paintings. He remembers spending many hours
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