In the works of many famous self-taught artists, such as Howard Finster and Sister Gertrude Morgan, Biblical themes and imagery abound. How has the Bible inspired these southern creators?Examining 125 works of art by seventy contemporary folk artists, Coming Home Self-Taught Artists, the Bible, and the American South accompanies a traveling exhibition organized by the Art Museum of the University of Memphis. The exhibition features painters and sculptors of wide acclaim, including Finster, Sister Morgan, William Edmondson, Clementine Hunter, Joe Minter, Elijah Pierce, Robert Roberg, William Thomas Thompson, and Myrtice West. In the South, Evangelical Christianity is predominant. Essays in this catalog explore this particular religious influence on the work of southern self-taught artists. The artwork is considered within the context of contemporary American art and history, literature, and music. Also included are brief essays on thirty-two of the artists along with biographical sketches of each, identifying denominational ties and providing relevant religious information. Coming Home offers new ways of understanding the rich meaning, theology, and history of this art and its stylistic approaches and various purposes. Essayists also forward a fresh appreciation of the cultural influence of Evangelical Christianity. They include Carol Crown, Erika Lee Doss, Hal Fulmer, Norman Girardot, Paul Harvey, Babatunde Lawal, Leslie Luebbers, Cheryl Rivers, and Charles Reagan Wilson.
Traces the history of art in America, from the early works of Native Americans to the present day, and includes critical commentaries, anecdotes, profiles, and hundreds of illustrations
In the mid-20th century, ceramics evolved from a utilitarian craft or therapeutic hobby into a well-recognized fine art that continues to occupy a place in today's art world. In this pioneering study, leading scholar Martha Drexler Lynn explores how and why this shift occurred by examining the pivotal period for the maturation of American studio ceramics. Lynn traces critical developments in ceramics education, exhibition, patronage, and technology from 1940 to 1979, as magazines dedicated to the practice appeared, institutional support flourished, audiences grew, and star artists emerged. The most in-depth history of American studio ceramics to date, this book is the first to fully explore the works of art alongside the societal trends that shaped them and the organizations that propelled the movement. Lynn considers the movement's fluctuation across geographic regions as well as stylistic responses to advances in technology and cultural influences from across the United States and abroad. Key patrons and practitioners such as Aileen Osborn Webb, Glen Lukens, Peter Voulkos, and Robert Arneson are featured alongside lesser-known figures. This groundbreaking volume illustrates how studio ceramics came to define itself and challenged the boundaries between fine art and craft. It will be a definitive resource on the movement for years to come.
Through the prism of America's most enduring African-inspired art form, the Lowcountry basket, Grass Roots guides readers across 300 years of American and African history. In scholarly essays and beautiful photographs, Grass Roots follows the coiled basket along its transformation on two continents from a simple farm tool once used for processing grain to a work of art and a central symbol of African and African American identity. Featuring images of the stunning work of contemporary basket makers from South Carolina to South Africa, as well as historic photographs that document the artistic heritage of the southern United States, Grass Roots appears at a moment when public recognition of the Gullah/Geechee heritage is encouraging a reexamination of Africa's contribution to American civilization.
Working with basket makers from Charleston and Mt. Pleasant, South Carolina, historian Dale Rosengarten has been studying African-American baskets for over 20 years and brings her research up-to-date with interviews of artists and the results of recent historical inquiry. Anthropologist Enid Schildkrout draws on her research in West Africa and museum collections around the world to explore the African antecedents of Lowcountry basketry. Geographer Judith A. Carney discusses the origins of rice in Africa and reveals how enslaved Africans brought to America not only rice seeds but, just as important, the technical know-how that turned southern coastal forests and swamps into incredibly profitable rice plantations. Historian Peter H. Wood discusses the many skills that enslaved Africans contributed to the settlement of the Old South and at the same time used to resist the conditions of their servitude. John Michael Vlach, a leading authority on African American folk art, discusses the history of visual depictions of plantation life. Fath Davis Ruffins, a specialist on the imagery of popular culture, sheds light on the history embedded in old photographs of African Americans in the Charleston area. Cultural historian Jessica B. Harris explores the tradition of rice in American cooking and the enduring African influences in the southern kitchen. Anthropologist and art historian Sandra Klopper sketches the history of coiled basketry in South Africa, illuminating its evolution from utilitarian craft to fine art, parallel to developments in America. Anthropologist J. Lorand Matory traces the changing meanings of Gullah/Geechee identity and discusses its appearance as a significant force on the American cultural scene today.
- Artists such as Georgia O'Keeffe, Edward Hopper, Charles Demuth, e.e. cummings and Charles Sheeler are among the highlights of this incredible selection of 20th century American art- Publication accompanies a major exhibition to be held at The Ashmolean Museum from March until June, 2018- Many of these works have never been exhibited in the UK As some American artists began to eliminate people and remove extraneous details from their compositions, they often employed neat, orderly brushwork or close-up, unemotional photography. Artists as diverse as Patrick Henry Bruce, John Covert, Georgia O'Keeffe, Paul Strand and Arthur Dove navigated European and American avant-garde circles, picking and choosing new ideas and methods. Inspiration ranged from cubism and machine parts to new technologies, and they found ways to bring order to the modern world through extreme simplification. For them, abstraction involved absence and presence - the evacuation of human beings but also the desire to depict something that would not otherwise be visible or to render visible unseen natural processes like the passage of time, sound waves, or weather patterns. Their artworks provide a new context for the precisionist works in the subsequent sections and point to modern ideas about what art could be. How does a crisp painting technique relate to an aesthetic of absence?
Told in a unique first-person creative nonfiction narrative, Women Artists of the West profiles five important women artists who lived, worked, and created in the early years of the twentieth century--Georgia O'Keeffe, Maria Martinez, Dorothea Lange, Laura Gilpin, Mary-Russell Colton.
One of the most fertile periods in American design, the years 1920 to 1945 witnessed many influences and styles. The influx of emigre artists, such as Eliel Saarinen, Josef Albers, Gertrud and Otto Natzler and Paul T. Frankl, with the landmark 1925 Art Deco exposition in Paris, the Bauhaus, and the World of Tomorrow exhibition at the 1939 New York World's Fair, all contributed to the shift from the handmade objects of the Arts and Crafts Movement to the streamlined, geometric forms of modernism.