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Outliers and American Vanguard Art From the East Building Concourse Gallerie

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Outliers and American Vanguard Fine art

January 28 – May 13, 2018
East Building, Concourse Galleries

Horace Pippin,Schoolhouse Studies, 1944, oil on sail, Gift of Mr. and Mrs. Meyer P. Potamkin, in Accolade of the 50th Anniversary of the National Gallery of Fine art

This exhibition is no longer on view at the National Gallery.

Self-taught artists—variously termed folk, primitive, visionary, naïve, and outsider—have played a pregnant role in the history of modernism, yet their contributions take been largely disregarded or forgotten. Again and once more in the United States during the past century, vanguard artists establish affinities and inspiration in the piece of work of their untutored, marginalized peers and became staunch advocates, embracing them every bit boyfriend artists. Though this encouraged museums to bring their work to wide public view, institutions that complied usually did and then without contesting the divide between those at the centre (including the vanguard) and those on its periphery (including the autodidact).

Outliers and American Vanguard Art focuses on three periods over the last century when the intersection of self-taught artists with the mainstream has been at its nigh fertile. It is the starting time major exhibition to explore how those central moments, which coincided with periods of American social, political, and cultural upheaval, challenged or erased traditional hierarchies and probed prevailing assumptions near inventiveness, creative practice, and the role of the artist in gimmicky culture. Bringing together some 250 works in a range of media, the exhibition includes more than 80 schooled and unschooled artists and argues for a more diverse and inclusive representation in cultural institutions and cultural history.

#AmericanOutliers

Outliers and American Vanguard Fine art

Index of American Design, George Constantine (American, agile c. 1935), Carousel Horse, c. 1939, watercolor, graphite, and colored pencil on paperboard, National Gallery of Art, Washington

Outliers and American Vanguard Art

Elie Nadelman (American, born Poland, 1882–1946), Ii Acrobats, 1934, glazed ceramic, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, Gift of Joseph H. Hirshhorn, 1966

Outliers and American Vanguard Fine art

John Kane (American, born Scotland, 1860–1934), Self-Portrait, 1929, oil on sheet over composition lath, The Museum of Modernistic Art, New York, Abby Aldrich Rockefeller Fund, 1939. Digital paradigm ©The Museum of Modern Art / Licensed past SCALA / Art Resources, NY

Outliers and American Vanguard Art

Bill Traylor (American, 1854–1949), Men Drinking, Boys Tormenting, Dogs Barking, c. 1939–1942, opaque watercolor on card with dark gray prepared surface, Collection of Jill and Sheldon Bonovitz, Promised Gift to the Philadelphia Museum of Art

Outliers and American Vanguard Art

Jacob Lawrence (American, 1917–2000), Sidewalk Drawings, 1943, gouache on newspaper, Drove of Shahara Ahmad-Llewellyn. Image ©2017 The Jacob and Gwendolyn Knight Lawrence Foundation, Seattle / Artists Rights Social club (ARS), New York

Painted with small areas of mostly flat color, this horizontal painting shows three dark-skinned figures in the room of a home with pale gray walls and wood floors. To our right, a woman wears slate gray skirt, a white apron and shawl, and a red headscarf with white and black polka dots. She sits in a black wooden chair facing our right in profile, smoking a pipe. A steaming kettle and bright green coffee pot sit on a black wood stove behind and to the right of the woman, with firewood stacked to the right. A clock or timer and an oil lamp sit on a red shelf above the stove and the woman's head. Beneath her feet is one of three rectangular area rugs with a pattern of green, black, white, and red stripes. A window at the center of the back wall of the room is mostly covered by a dark green curtain. The panes along the bottom are black and lined with white, perhaps suggesting snow or frost. A bucket and pewter-colored shallow bowl sit on a bench on the second striped rug under the window. To our left, a small person standing on the third patterned rug wears short black pants, stockings, and suspenders over a white shirt. That person turns away from us and rests elbows near a lit candle on a table with a red and gray checkered tablecloth. The third person, possibly a young girl, sits on a blanket patterned with yellow, red, black, and green triangles. That young girl wearing a gray dress and black shoes cradles a baby doll and a white dog, perhaps a stuffed animal, sits next to her. A few cracks in the wall near the window expose horizontal bands, perhaps narrow wooden boards under damaged plaster. The artist signed the work with black letters in the lower right corner:

Outliers and American Vanguard Art

Horace Pippin (American, 1888–1946), Interior, 1944, oil on sheet, National Gallery of Art, Washington, Gift of Mr. and Mrs. Meyer P. Potamkin, in Honor of the 50th Anniversary of the National Gallery of Fine art

Outliers and American Vanguard Art

Marsden Hartley (American, 1877–1943), Adelard the Drowned, Master of the "Phantom," c. 1938–1939, oil on board, The Frederick R. Weisman Fine art Museum at the University of Minnesota, Minneapolis, Bequest of Hudson D. Walker from the Ione and Hudson D. Walker Collection

Outliers and American Vanguard Art

William Edmondson (American, 1874–1951), Affections, c. 1931, limestone, Robert Yard. Greenberg Collection

Outliers and American Vanguard Art

Barbara Rossi (American, born 1940), Rose Stone, 1972, acrylic on Plexiglas console, artist'southward frame, Courtesy of the Creative person and Corbett vs. Dempsey, Chicago

Outliers and American Vanguard Art

Edgar Tolson (American, 1904–1984), Cain Going into the Globe, from the Autumn of Homo serial, 1970, carved forest with nails, paint, graphite, marker, and mucilage, Milwaukee Art Museum, The Michael and Julie Hall Collection of American Folk Fine art. Photo: Courtesy Milwaukee Art Museum

Outliers and American Vanguard Art

James "Son Ford" Thomas (American, 1926–1993), Untitled, 1988, unfired clay, paint, human teeth, rocks, Souls Grown Deep Foundation, Atlanta, from the William S. Arnett Drove

Outliers and American Vanguard Art

Sister Gertrude Morgan (American, 1900–1980), Revelation seven. chap, c. 1970, paint on wood, Courtesy of The Museum of Everything, London

Outliers and American Vanguard Art

Betye Saar (American, born 1926), Indigo Mercy, 1975, mixed media, The Studio Museum in Harlem, New York, Gift of the Nzingha Society, Inc.

Outliers and American Vanguard Art

James Castle (American, 1899–1977), Untitled (Shed Interior with Pictures on Display) [recto], no appointment, found newspaper, soot and saliva, National Gallery of Fine art, Washington, Souvenir of James Castle Drove and Archive, and Acquisition with Bunny and William Cafritz

Outliers and American Vanguard Art

Matt Mullican (American, born 1951), Three Suitcases of Love, Truth, Work and Dazzler, 2006, nine white cotton sheets each mounted with nine ink on newspaper drawings housed in an orange custom-built trunk accompanied by two pillows in pillowcases, Courtesy of the Artist and Christine Burgin

Outliers and American Vanguard Art

Lonnie Holley (American, born 1950), The Boneheaded Ophidian at the Cross (It Wasn't Luck), 1996, institute metal, basic, dried flowers, Souls Grown Deep Foundation, Atlanta, from the William S. Arnett Collection

Outliers and American Vanguard Art

Lee Godie (American, 1908–1994), Prince Charming, c. 1975–1980, paint, ink, and gelatin silver impress on canvas, Don Howlett and Lisa Stone

Outliers and American Vanguard Fine art

Eugene von Bruenchenhein (American, 1910–1983), Untitled (Marie), c. 1943–1960, gelatin argent print, John Michael Kohler Arts Middle Collection, Sheboygan

Outliers and American Vanguard Fine art

Rosie Lee Tompkins (American, 1936–2006), Untitled, 1986, velvet and velveteen (quilted by Irene Bankhead in 1990), Collection of Eli Leon

Outliers and American Vanguard Art

Alan Shields (American, 1944–2005), Shape-Upward, 1976–1977, acrylic and thread and beads on sail belting (double-sided), The Drawing Room Gallery, East Hampton. Photo by Gary Mamay

Outliers and American Vanguard Art

Judith Scott (American, 1943–2005), Untitled, 2004, fiber and mixed media, Courtesy of The Museum of Everything, London

Organization: The exhibition is organized past the National Gallery of Art, Washington.

Sponsors: The exhibition is made possible by a generous gift from the Smith-Kogod Family.

Passes: Admission is e'er free and passes are not required

Other venues: Loftier Museum of Fine art, Atlanta, June 24–September 30, 2018
Los Angeles County Museum of Fine art, Nov 18, 2018–March xviii, 2019

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Source: https://www.nga.gov/exhibitions/2018/outliers-and-american-vanguard-art.html

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