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 in Context 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 Museum Educator Kristi Limes and Programs culture" outreach projects routinely made sifting though a file of illustrations of horses Coordinator Pat Funk have been instrumental in MarkChepp available today to the majority of schoolchildren, collected by his grandfather,and making developing the various interpretive and public Director, SpringfieldMuseum of Art rural or urban. Furthermore, William Hawkins drawings of them. The artist also studied the behavior of birds, insects, and animals. Then, he unpredictable. For example, The Family, The contemplation that neve11heless remains fluid redrew pictures of them. Specifically, he drew Porcelain Clock Maker, and Seated Manare and responsive to nuance. Thus, The A lama, eagles, snakes, buzzards, rats, dogs, wolves - miniature gems drawn on blank pages of Buildings, Columbus, or Downtown are fightingcreatures that he had seen on the family greeting cards; a lively study of a jockey on his compositions as dense and structured as any farm, in the surrounding woods, or conjured in mount, The Race $500,000 and the bold, frontal, work by William Hawkins. Yet the technique is his lively imagination. gritty study Jacob's Ram are sketched on loose highly energized and expressive which imparts leaf binder pages. Surely, one of the special to these drawings a nervous, monumentality Hawkins usually worked in pencil. At times, he appeals of these types of drawings is the infused by the artist's restless personality. One used a carpenter's pencil, the lead and casing apparent desire of the artist to give quick, direct will seldom findtraces of a preliminary sketch rectangular in cross-section and capable of being expression to an interest without any knowledge underlying the finished drawing. Seldom are sharpened to a chisel point, but would try of, much less concern for, whether or not a there any visible adjustments to compositions or anything he could lay his hands on, that would pa11icular support was one sanctioned by details. From sta11 to finish, the process is Boxers, make appropriate marks. He remembered trying r= continuous and unfaltering. When "corrections" graphite on ⇒�� �· -�\·: --, paper, 13 1/2 x to use his grandmother's laundry blueing with rf3��-:;;-�;;.·;oo. - can be identified, they are usually laid over the 11 inches, \!l' : . •c-j .ll :;»CT :;:\�\ri� ' signed , circa which to draw and paint What any of us would - _,. ' > ' '--: \j ""'-.:':, previous pencil-work in the midst of the drawing :f.·J.i· � _ ' · ; .....,,. ,t 1987. give to examine a stack of this prodigy's work l process, which ultimately serve to intensify the /,� � �i1 from these early years! Sadly, none of these 11{�l images. However, when he did assay any figurestudies, drawings are known to have survived. ·p they inevitably create interest The unusual Visual power is another attribute of the artist's Boxers, in which statuesque, anonymous According to Hawkins, these early efforts were ,. )� drawings. Some subjects inhabit the picture silhouettes faceoff in a silent struggle, suggests followed by years of continuing, albeit lf � . "' . - · � : · �:',\\� plane almost at will. Early Eagle spreads its that the physical power which is integral to the intermittent, production during his long l��--- c�----��¾��J wings so that the tips cross over the side sport repJesents Hawkins' own considerable , --· Will.'11ffl~//AW,l<.1N'r:d'Y4':!.7'/K7!i . ' residency in Columbus, Ohio, where he had margins; Hoge 's snout presses against the left musculai· strength, of which he was very proud. The Race $500.000. graphite on paper. 8 l 12 x I I inches. signed. moved in 1916 at the age of twenty-one. He told border as though seeking escape; in Polar Bears, As the source illustration shows, Hawkins based a remarkable story of how, afteraccumulating a academic artists. Indeed many collectors will a massive paw and the formbeneath it extend this drawing on a commercially printed detail of quantity of drawings and paintings executed find no problem at all with "irregularities" often the composition offthe lower frame and toward a Greek black-figurevase. Hawkins was also during this period, he stored them in the seen in Hawkins' work, such as oddly shaped the viewer, intruding on the a11ist's inscription. attracted to the great movie comedian, Charlie basement of an acquaintance. After neglecting supports or anomalies like the rust marks around Conversely, the creature in St. Lain Hosus is Chaplin. them forsome time, he decided to retrieve them, the holes punched into the top edge of The Race either backing up against the left frame, or about only to learn that they had been "lost." This $500,000. Rather, these kinds of "defects," to plunge forward. These effective Charlie Chaplin, graphite on story has inspired the fantasy among many of foundthroughout Hawkins' creations, may be compositional strategies were surely instinctive paper, 12 x 9 inches, signed. Hawkins' admirers of this displaced cache being viewed as appealing qualities of rawness that tactics. forincreasing the pictorial tensions in recovered someday. confirm the intense concentration and many of Hawkins' drawings -both his animal spontaneity with which these and other subjects and his buildings. As noted, Hawkins claimed that, as a child, he drawings-and, of course, paintings-were worked with any kind of marking instrument at made. lt was unusual forWilliam Hawkins to focus hand. It is clear that he carried this casual upon the human figure. He conceded that to attitude toward materials and processes through "Spontaneity" is a key attribute of William render the intricacies of physical movement, and the rest of his creative life. His choice of Hawkins' drawings. Even those drawings that details such as faces, "nothing could beat a supports for his drawings often seem random and seem more studied than others reveal a state of camera"-which explains his use of collage.
0 • His drawing, Charlie Chaplin, is of no surprise significantnumber of these drawings are to those of us who knew him well. Hawkins had versions of extant paintings, as the examples in a wonderful,earthy sense of humor and an this exhibition suggests. However, Hawkins' appreciation of the absurd, which he conveys drawings did not "reproduce" the original wonderfully in both the painting and the painting, as The Alamo series demonstrates. It is drawing. Also, Lady with Collaged Eyes, a impossible to know exactly how many drawings response to a perfumeadvertisement, was, Hawkins prpduced during his mature years. perhaps, intended to poke funat the pretensions Many were given to friends and visitors. A of human vanity. rough inventory of identifiedworks totals over two hundred. This exhibition of William Hawkins' drawings is accompanied by some examples of the artist's A distinctive feature of this body of work is that "source" illustrations- that is, the commercially William Hawkins always retained a palpable ) printed pictures the artist used as models forhis element of playfulnessin his drawings. It is easy art. Also, several paintings are on view that to imagine the elder Hawkins bringing to these have a connection with the source material or works the same attitude of amused, high-spirited with the drawings, or with both. It is important self-absorption that is so typical of children's art to note that William Hawkins did not use However "serious" any of the artist's subjects drawings for preliminary studies forhis might be, they are never sinister or genuinely paintings-a practice which, of course, has been threatening. Typically raw, rarely modest in the customary formainstream artists throughout manner in which they "speak", William much of art history and is still practiced today. Hawkins' drawings are very personal and In his later years, Hawkins' reasons for making spontaneous artistic expressions. Graphic in drawings were manifold. It has been noted that appeal, deceptively playful in appearance, they his earliest drawings were the works of a child are distillations of deeply felt, optimistic desirous of playfullyimitating printed images, a responses to the world of an artist to whom no child so curious about things around him that he subject was too small, or too large, to escape his sought to capture them by drawing them. Later, notice and his commentaiy. he made drawings as gifts for friends. His artistic skills must have impressed appreciative acquaintances. GarySchwimller Above: Source material, cover of liO. 25 J. Tip Top Weekly, A more recent phase of the artist's work To1> right: Alligator and lovers, graphite on coincides with Hawkins' emergence as a major paper, l l x 14 inches, signed, circa I 987. player in the contemporary art world. These GarySchwind/er is a painter and art historian Bottom light: Alligator and lovers, No. 2, enamel drawings were made in the mid-1980s, who has written articles and curated exhibitions on fiberooard,46 1/2 x 56 1/2 inches, signed, 1985. especially in 1987, when the artist was on the life and work of William L. Hawkins. He hospitalized. Friends brought him pads of wrote The Art of William Hawkins, 1895-1990 artist's drawing paper and pencils and suggested for the Columbus Museum of Art's exhibition of that he pass the time making drawings. A that title in 1990.
0 • }!ight To1> Overlay: Buffalo Hunter, graphite and colored pencil on paper, 8 x 10 inches, signed, 1987, Below Center: Source material, Buffalo Hunter i, painting from Golden Book ofAmerica, p. 85. ·� Below Overlay: BuffaloHunter, No. 2, enamel on fiberboard, 24 x 36 inches, signed, 1985.
Above Left: ladv with Cof/aged Eyes. graphite on paper, 14 x 11 inches, signed. \ Above Right: Blue Buck (Deer/Ram)/ verso Road Home (Kentucky), graphite t and blue ink on paper, 14 x 11 inches, signed, 1988. Far Right: Source material, drawing by Will James, Right: Woman on Tiger, enamel and illustrated in Smithsonian, Feb. 1988. collage on Masonite, 48 x 54 inches. signed, 1989. Right Overlay: Bucking Bronco, enamel, collage, and mixed media on Masonite, 48 x 48 inches, signed, 1989.
• Above: Crosses, graphite and colored pencil on paper, 14 x 8 I /2 inches, signed, circa 1987. Above Center: The Family, graphite on paper, 5 x 4 inches. Above Right: Singer 1\llavin (Marvin Caye), graphite on paper,5 x 3 I /2 inches. Right: Farmyard, graphite and ink on cardboard, 9 1/4 x 1 ·s 1/2 inches, signed, 1978.
Opposite Page Top: Mexican Execution, graphite on paper, 14 x 17 inches,circa 1987. Bottom: Three Hanging Men, enamel on Masonite, 32 x 48 inches, signed, 1985. Collection of Robert A. Roth. ., • 11
Right: City !fall, enamel on Masonite. 37 1/2 x 21 1/2 inches. signed. 1984.
Below: .Veil House II I. enamel on paper. 16 1/2 x 23 1/4 inches. W.i.LLiANLJIAW
Above: Apartme11ts-lVindows. graphite on paper. 8 1/2 x 11 inches. signed. Nov. 1983. Right: il/U Citadel. enamel on plywood, 50 1/4 x 39 inches. signed. circa 1982.
• II] tA.J/I I, � /40uf'� Dra)Vings ?r//lw,�,h �.,v,c f Left: ✓{;.t1 . .2 .:; - 1. The Alamo 11. Car 22. Eagle �/�,::)-coo enamel on board. 26 x 35 inches. signed. 1980. Graphite on paper Graphite on paper Graphite on paper Eagle and Snake (Eagle and Ra/1/esnake). 14 x 17 inches 3 x 5 inches 14 x 17 inches Below: Source material. advertisement from Signed Circa 1979 Signed 1987 2. Alligator and lovers 12. Carousel Horse with Rider Smithsonian.Bottom: graphite on paper. 14 Graphite on paper Graphite and colored pencil on paper 23. Eagle and Rall/er x 17 inches. signed. 11 x 14 inches 11 x 14 inches Graphite on paper Eagle and Rall/er, Signed Signed 14 x 17 inches Circa 1987 Signed 13. Cart with Horses 1987 3. Apartments-Windows Graphite on paper Graphite on paper 11 x 14 inches 24. Eagle on a limb (Bird on a limb) 8 1/2 x 11 inches Signed Graphite on paper Signed 12 x 9 inches Nov. 1083 14. Charlie Chaplin Signed Graphite and crayon on paper 4. The Bear 14 x I !'inches 25. Eagle with Red and Green Graphite on paper Signed Graphite and colored pencil on paper 14 x 9 1/2 inches Dec. 1986-Jan. I 987 9 x 11 1/2 inches Signed Signed 15. Charlie Chaplin 5. Big Horse Graphite on paper 26. Early Eagle Graphite on paper 12 x 9 inches Graphite on paper 14 x 17 inches Signed 14 x 16 1/2 inches Signed Signed 16. Columbus Circa 1987 6. Big Mac Graphite on paper Graphite on paper 8 x 10 1/2 inches 27. Face/Figure 11 x 17 inches Signed Graphite on paper Signed 11 x 14 inches 17. Couple Circa 1987 7. Blue Buck (Deer/Ram)/ Graphite on paper verso Road Home (Kenlllcky) 4 1/2 x 3 l /2 inches 28. The Family Graphite and blue ink on paper Graphite on paper 14 x 11 inches 18. Cowboy 5 x 4 inches Signed Graphite on paper 1988 14 x 11 inches 29. Farmyard Circa 1987 8. Boxers Graphite and ink on cardboard Graphite on paper 19. Crosses 9 1/4 x 15 1/2 inches Signed 13 1/2 x 11 inches Graphite and colored pencil on paper 1978 Signed 14 x 8 1/2 inches Circa'I987 Signed Circa 1987 30. Fighter Planes Graphite on paper 9. BuffaloHunter 20. Death Valley D 11 x 14 inches Graphite and colored pencil on paper ays Signed 8 x IO inches Colored felt marker on heavy art paper Signed 22 x 28 inches 31. Figure Circa 1987 Circa 1985 Graphite on paper 5 x 6 5/8 inches 10. Buildings, Columbus 21. Downtown Graphite and colored pencil on paper Graphite on paper 11 x 14 inches 14 x 11 inches 32. Figure/Dancer Signed Signed Graphite on paper 1987 14 x 11 inches Signed 'l
66. Wild Dog 67. Windows 33. Fig11re with Flag 55. The Race $500,000 44. last Supper Graphite on paper Ink on paper Graphite on paper Graphite on paper Graphite on paper 14x 17 inches 8 1/2 x 11 inches 8 x 9 1/2 inches 8 1/2 x 11 inches 11 x 14 inches Signed Circa 1987 Signed Signed Signed Circa 1987 Jan. 1987 45. lion A/lacking a Horse 56. Red Dog Rt1nning 34. Fox Graphite on paper Graphite on paper Graphite on paper 14 x 17 inches 9x 14 inches Paintings 14 x 11inches Signed Signed Signed Circa 1987 1981 68. AIU Citadel 75. Charlie Chaplin 82. Neil Ho11se #I Circa 1987 Enamel on plywood Enamel on Masonite Enamel on paper 46. Man 57. Seated Figure 50 1/4 x 39inches 45x 56 1/2 inches 16 1/2 x 23 1/4 inches 35. Girl Graphite on paper Graphite on paper Signed Signed Graphite on paper 14 x 11 inches 4 1/2 x 3 1/2 inches Circa 1982 1988 83. Red Dog R11nning #3 5 x 6 5/8 inches Signed Enamel on Masonite Circa 1987 58. Singer Mavin (Marvin Gaye) 69.A/amo 76. Christmas Tree 48 x 60 inches 36. Golden Eagle Graphite on paper 7 Enamel and collage on Masonite Enamel•on board Signed Graphite and colored pencil on paper 47. Mexican Execution 5 x 3 1/2 inches 48 x 46 1/2inches 33 x 27 1/2 inches 1986 11x 14 inches Graphite on paper Signed Signed Signed 14 x 17 inches 59. Snake Wrestler 1986 1981 84. San Francisco Golden Gate Bridge 1987 Circa 1987 Graphite on paper Enamel on fiberboard 11 x 14 inches 70. Alligator and lovers, No. 2 77. ChryslerBuilding 39 1/4 x 48 inches 37. Hillside (Deer) 48. Mo11nt VernonAvent1e 1987 Enamel on fiberboard Enamel on Masonite Signed Graphite on paper Graphite on paper 46 1/2 x 56 1/2inches 56 1/2 x 48inches 1986 11 x 14 inches 8 1/2 x 11 inches 60. St. lain Host1s (Stallion Horses) Signed Signed Circa 1987 Graphite on paper 1985 1988 85. Three Hanging Men 49. Olds of Hoge 11 x 14 inches Enan1el on Masonite 38. Hoge Graphite on paper Signed 71. The Bridge # I 78. CityHall 32x 48 inches Graphite on paper 11 x 14 inches Enamel on plywood Enamel on Masonite Signed 11 x 14 inches Signed 61. Ten Birds in a Tree 30 1/2 x 42 1/2inches 37 1/2 x 21 1/2 inches 1985 Signed Graphite on paper Signed Signed 50. The Owl and Prey 12 x 9inches 1982 1984 86. Trolley Car 39. Horse Graphite on paper Signed Enamel on board Graphite on paper 11 x 14 inches 79. Eagle and Snake (Eagle and Rattlesnake) 39 1/2 x 48inches 14 x 17inches Signed 62. The Tower 72. Broad and High Enamel on board Signed Signed Graphite and mixed media on paper Enamel on plywood 26 x 35inches 51. Peacock 11 x 14 inches 37 x 44inches Signed 87. Untitled Signed 40. Horse and Sleigh Graphite and colored pencil on paper Circa 1987 1980 ([he Ohio Arts Co11ncil Bt1ilding} 1982 Graphite on green paper 14 x 11 inches Enamel on board 7 1/2 x 8 1/2 inches Signed 63. Tree in Wind 80. The FirstSchool Building 48 1/4 x 61 inches Ink on paper 73. Bucking Bronco Enamel on cardboard Signed Enamel, collage, and mixed media on 41. Jacob's Ram 52. The Porcelain Clock Maker 14 x 11inches 18 x 24 inches Masooite Graph1;e on paper Graphite on paper Circa 1987 Signed 88. Woman's Workho11se (Columbus) 48x 48inches 10 1/2 x 8inches 5 x 4 inches 1970s Enamel on panel 64. Turkey Signed 32x 34 inches 1989 42. Jordan Memorial Temple 53. Polar Bears Ink on paper 81. last S11pper No. 7* Circa 1979-1980 Graphite on paper Graphite and colored pencil on paper 14 x I I inches Enamel with collage on plywood 74. BuffaloHunter, No. 2 !Ox 13 inches 11x 14 inches Circa 1987 48 x 48 inches 89. Woman on Tiger Enamel on fiberboard Signed Signed Enamel and collage on Masonite 24x 36inches 43. lady with Collaged Eyes 65. 2 I East State Street 1986 48 x 54inches Graphite on paper Signed * Labeled as no. 6 in the Columbus Museum of Art Graphite and collage on paper 54. Pude/ Duck Signed 8 1/2 x 11inches 1985 14 x 11 inches Graphite on paper catalogue. 1989 Signed Signed 11x 14 inches Circa 1987 Signed Selected Exhibitions and Recognition �c h.·ctcd Pu hlic Collcction'i
\k11111 \rl \luseum ,\kmn. Ohio 1982 1989 Ohio State Fair Art Exhibition, Columbus, Ohio &.press ions of a New Spirit: Highlights from the Sam Doyle, William Hawkins, P11rvis Young \rt l,.dlLI� "\r.i".t ,1 I 111,cr�tt,. Burt.do. N<."\\ York (Hawkins received juried prize for Atlas Building) Permanent Collection o_(theM11se11111 a/American Edward Thorp Gallery, New York t oh1mbus ;\l11�i:11m ol \rt. (\,lumbus. Ohro Folk Art I l1t•h l\.lt1,\Cllll\, I \rt. \1l,rn1,1. (1Lt1rg1a Two Person Show Museum of American Folk Art, New York \1,1 u11n l I \ •nt lit .i11 I olk 1\ rt. Nl.'\\ 'rorh.. 1'-it'\I York Ohio Gallery, Columbus, Ohio 1993 I \r 1 , 111 J\11 \11111h�o·11a11 l11�1itut1on. \I. ash1ngtn11. I) ( New Traditions. Non-Traditions: Contemporary Bob Bishop: A Life in American Folk Art l\;,11 ll' ti \lu 1984 Folk Art in Ohio Museum of American Folk Art, New York \1 1 \ 11 st 11111 I rt·11ton "lei\ .lcr�e� Beyond Tradition: Contempora,yAmerican Folk 1l1e Riffe Gallery, Columbus, Ohio 1>mL h,l'ic. \;t'\\ 'rork Art Driven to Create: The Anthony Petul/o Collection r \ 1 11u111 I xpri:��. Ne,, Ym k The Katonah Gallery, Katonah. New York Ricco/Ma esca Gallef)'. New York of Self Taught and Outsider Art Museum of American Folk Art, New York , t I' I ,1 \1 t \ l11se11m, I oi-.� \), l:ip;111 Folk Art: Then and Now William L. Hawkins: Transformations \pt 111 I I J \lu,L.rlll ol \tt \prtn<>ltc'kl Ohin Stamford Museum, Stamford, Connecticut Eastern Illinois University, Tarble Arts Center, Passionate Visions of the American South: Self Charleston, Illinois Taught Artists. 1940-Present Since the Harlem Renaissance New Orleans Museum of Art, New Orleans, Center Gallery of Bucknell University, Lewisburg, 1990 Louisiana (traveled U.S. extensively) 011 11tt Bal'!-< cnn:
Pennsylvania (traveled) Into thefvlainstream: Contempora,yAmerican l Folk. Nai've. and Olllsider Art Primitivism: A Historical Overview , , l!l•'l'hrtt· ,,n p,qwr. '! ., 1-1 indw,. ,,gt·t·d l /'1 I Janet Fleisher Gallery, Philadelphia !vliami University Art Museum, Oxford,Ohio Setagaya Art Museum, Tokyo i t•narnl'I on :VlasonitL. 18, (iO inl11l.:'s. �1gni:d l
Wexner Center forthe Arts, Columbus, Ohio ' 1 ,1 \11 B .,1 ,II\ 'I tl\111" 1988 1992 I, 2. I 6 ., 2X \I) \ I 1'-. \h, J8, 39, -H-45, 48-55, Featured in PBS series American ,\,/asters. episode: J9h and 20" CentwyAfi'o-American Artists William Hawkins: The Collages The Mind ·s Eye: Black Visiona,yArt in America Philadelphia Museum of Art, Philadelphia Ricco/Maresca, New York I, '
• Selected Exhibitions and Recognition Selected Public Collections
Akron Att Museum, Akron, Ohio 1982 1911') Ohio Stale I .u, \11 I xh1h1•1 n t 01u111I u, t 1111,, J \f1h',.,um'i of a \, }• · I .\a111/_><1\/e If 1/11<1111 //<111'!..rm. /'10\'I., )vim Castellani Art Gallery, Niagara University, Buffalo, New York , , Im 1) />n ma,,,, nt ( o/1t tu,,, I I "' I d" .ud I hnrp Galk1, '\c" Yn1 k Columbus Museum of Art, Columbus, Ohio l-olk ;,-1 High Museum of Art, Atlanta, Georgia I\\ o Pet l01'1 Shu\\ \ltL,cum <>I \mcr1< rn I ul� \rt '\,,, ) ,,rJ.. Museum of American Folk Art, Ne)" York, New York Ohio C,.1!1,•f\ l'olumh11s. 0111" \\)<)j
\!'\1 /ro:buon,. \011 , J cJlllefllfU)l" 1•)9;; 11 t ou, mu ti I \Ju ,t1,u1 I ht. I 110 ',,,, \'t, o , 1 1 I 9llS tht. �,r/;1 of H , un I Jf,rn J..1t;\ This exhibition would not be possible without the generosity of the following lenders. \{ nlt'tJ>IH'(, of I ,,mlln ;,r R1, .. , \l.11cs-.1 C,.1lkn '\c\\ \ ,,rl.. The bold numbers denote the catalogue entry numbers. I.met I k1shcr (,alien. l'h1l.1d,·lph1.1 is on loan from Elizabeth and Eliot �ank. (}u1of()/110 .,u·, 1·,,1,,n\ 19'11 19')(, 76 r .1:tnct I k1,hcr t,alkr�. l'hil.1ddph1.1 I t C ,, tr 11 d •� < on{( , , 1 mt c ,,, Fol/.. I'll flot'd111 \I) \llnd ( 'or11t ltlf' lcJI, " , u 47 is on loan f omThe Ralph Bell Foundation. If :,l I/ I cm.l!.ht u r t,om the < ·, lhcr101111/ >, w 83 is on loan from The Columbus Museum of A,t, Columbus, Ohio. \l11"1111 ,1 \11i.-11"an J'nlk \11 I,,, 111d \h,11" ( ;,th I ,n,J �lltct /?ac rel<" 26 is on loan from The Collection of John and Teenuh Foster. I 1cld (; 1 k I\ '\," i urk l111111111gh,1111 \lu,.:11111 ,,1 \11. l111111111gh.11n 1911(, \l.ih.1111,1 (tr.,vckd) 14, 70, 74, and 84 are on loan from The Gitter/Yelen Collection. Carl 11.unmcr (,alkr,. (hK-;1go 40 is on loan from Collection of Gregory Frank Harris. 1997 78 is on loan from Lee Kogan with catalogue photography by Gavin Ashworth. Janet I k1,hc1 (iallcn l'l11l,llklph1a \fut! ,, co / H I Jue lli'nfj'II { fu If 11/wm I //mrk1m /fo111 /•tit .' /,\ 1< r I is on loan fom Dr. Wayne P. Lawson. ( oil, //r" \[u,ctnn ol \mcn,·an I ,,JI \11. �c\\ \ ,,,, 87 f...cm-Johnson Ci,tllcn. (._<>lumhus l >Ju" '\,llhHl.11 \lo l.:HllJ 1>t \mi:11t..,lll \rl \11111h,\,lll,Ul 82 is on loan from The Collection of Leslie and Henri Muth. J11,11tutt,,i1 \\ ,,h,11!•1,,11 I) l · 58 is on loan from Jeff and Bobbi Noe. .\/ufth d 1 ·111<,, 19911 11 is on loan from The Collection ofMike and Cindy Noland. e 111..: \ltL,'-'lllllof \m�rh.,111) n)k \r1 .11th,: P,11111: r J111,1rler c .\,l .\lasletHmk, hl •.,flh(' ntw) Unum , t 1t1 is on loan from The Collection of Roger Petry and Sharon Weiss. Wchhcr (iallc1 1c,. ;\c\\ Y,,rJ.. \!aim,, 1'1111,th.1lk \fain"'. s,--·,kn (ll,l\.:kd . lru,1., 86 Scand111:l\ 1a) Springfield \luscum ol \rt. Sp11111\lidd llhlll 3, 18, 19, 27, 29, 32-34, 37, 46, 62-65, and 67, 69 and 75 are on loan from 19!17 Clhc Rilk U:ilkr: . Oh1<> \11s ( ,,1111.:il t d11mhu,. Ricco/Maresca Gallery, New York, New York. 1 l'au1J1n,�\ and ,'X:ul[>ltfft Ji, hlc1t.k imencun ,\'ti! l c1 ,onal I "met, < Jul\, It rand '\:r.11.. 11,a-eStyle 01110) 85 is on loan from The Collection of Robert A. Roth !w1gh1. lr11,1, \rn�r11:an C.:nt�r f\,r l)('"'tgn t h11.:;u�o Jan.:! l lcishc1 Oalkn. l'h1ladclph1.1 19')') 73, 88, and 89 are on loan from Selig D. Sacks. l11,lme11, "' l111/10/og1 · '\elf ,,., ht ll/1,H,,/1/r 22 is on loan from The SpringfieldMuseum of Art, Springfield, Ohio. •11111 ( �ent1tr_\ 7 is on loan from The Collection ofG.A. Wardle, New York, New York. \\'c,ncr lentcr 1;,r lh� \1!.s. (\,Jumbu, Ohio 56 is on loan from Dr. Robert Young and Mrs. Barbara Young. 19!18 \ 9')2 h:atur�d 111 PBS ,�rii:s. lmenum \/a,tt, ,·. 1.:p1,1..,lh: I Y� cm1I ]II" ( ',__,nlw \ , I/r,• l mt 1/l(m .-frtnf.\ W1//111mli • )