BGuthrie Photos: DC -- NMAAHC -- Exhibit: (L4) Visual Arts Gallery

DC -- NMAAHC -- Exhibit: (L4) Visual Arts Gallery:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. AAVIS_161012_001.JPG: The Rhimes Family Foundation Gallery Visual Art and the American Experience
2. AAVIS_161012_004.JPG: William T. Williams Truckin', 1969
3. AAVIS_161012_009.JPG: Visual Art and the American Experience Here at the National Museum of African American History and Culture, visual art plays a vital role. Paintings, sculptures, and works on paper allow the visitor to see how artists viewed and interpreted their world, beginning the early years of the 19th century with Joshua Johnson, and continuing through to the present with contemporary aritsts such as Chakaia Booker and Jefferson Pinder. The artists do not see themselves as historians, and most of the works do not illustrate life so much as they comment on it in a visual language of the artist's own making. While the works may delight and stimulate our senses, each, in its own way, also contributes to our understanding of an era.
4. AAVIS_161012_012.JPG: New Materials, New Worlds Artists are clever and resourceful. When traditional materials like oil paint, acrylic, and plaster are hard to come by, or to work with, or simply do not help achieve the artist's goal, innovation can yield success. Chakaia Booker longed for a material that would be strong, cheap, and durable. Slit and shredded tires turned out to be the solution. When BK Adams envisioned his horse, nothing he could invent worked as well as the discards remnants that came together in Blue Horse. Thornton Dial, too, saw an animal in his mind's eye, and it was made of cloth, rope, paint, and discarded carpeting. The artist sees what we can't see until the magic happens. This section emphasizes the risk-taking and adventurous attitude that brings us new visions and new definitions of what art can be.
5. AAVIS_161012_015.JPG: Jefferson Pinder Mothership (Capsule), 2009 Wood from President Obama's inaugural platform
6. AAVIS_161012_021.JPG: Thornton Dial Sr. Untitled, 1900s
7. AAVIS_161012_026.JPG: BK Adams Blue Horse, 2009 Kevin E. Cole Increase Risk with Emotional Faith, 2008
8. AAVIS_161012_035.JPG: BK Adams Blue Horse, 2009
9. AAVIS_161012_038.JPG: Mavis Pusey Recarte, ca 1968
10. AAVIS_161012_044.JPG: Edward Clark The Big Egg, 1968
11. AAVIS_161012_049.JPG: Adger Cowans Pure Light, 2012
12. AAVIS_161012_057.JPG: Frank Bowling Pink Plain 2, 1996
13. AAVIS_161012_060.JPG: Purvis Young Untitled, 1900s
14. AAVIS_161012_065.JPG: Romare Bearden A Walk in Paradise Gardens, 1955
15. AAVIS_161012_072.JPG: Alvin D. Loving Red Hook #5, 1993
16. AAVIS_161012_076.JPG: Alma Thomas Spring -- Delightful Flower Bed, 1967
17. AAVIS_161012_080.JPG: The Beauty of Color and Form Color and form are the fundamental elements in most visual art -- works made to be displayed in a formal settings, whether a gallery, institution, or art lover's home. Traditionally, these elements have been employed to make pictures or images readily recognizable -- landscapes, figures, animals, or flowers. In the 20th century, however, some American artists began to create art possibly inspired by, but not directly representative of, scenes or objects in the real world. This approach characterizes the work of such painters as Mavis Pusey and Felrath Hines, and sculptor Sargent Johnson.
18. AAVIS_161012_082.JPG: The Politics of Identity Identity -- the terms by which we define who we are -- is central to the way we navigate our lives. Identity can often seem simple. We readily attach attributes to ourselves and others by race, gender, political orientation, profession, geographical association, level of education, and family status. But identity is also complex and multifaceted, especially in the United States where there is often no shorthand to easily define people from so many diverse backgrounds. Whether we look to the portrait of James Porter, a painter, professor, and art historian, or to Amy Sherald, a young artist in Baltimore who pictures her subject as a Renaissance courtier, we are reminded that each of us is many things. Here were see how different artists explore the concept of identity.
19. AAVIS_161012_085.JPG: Earle W. Richardson Self-Portrait, ca 1984
20. AAVIS_161012_089.JPG: Marvin Gray Johnson Over the Harlem Rooftops, 1928
21. AAVIS_161012_093.JPG: Rashid Johnson Calvin, 1999
22. AAVIS_161012_097.JPG: Amy Sherald Grand Dame Queenie, 2013
23. AAVIS_161012_101.JPG: Frederick Hunter Self-Portrait, 1941
24. AAVIS_161012_105.JPG: James A. Porter Self-Portrait, ca 1935
25. AAVIS_161012_111.JPG: Jack Whitten Self Portrait, 1989
26. AAVIS_161012_113.JPG: Barkley Hendricks New Orleans Niggah, 1972
27. AAVIS_161012_118.JPG: Nelson Stevens Arty (centerpiece), 1970
28. AAVIS_161012_122.JPG: Sam Gilliam April 4, 1972
29. AAVIS_161012_132.JPG: Bob Thompson The Presentation, 1960
30. AAVIS_161012_135.JPG: Laura Wheeler Waring Girl in Red Dress, ca 1935
31. AAVIS_161012_139.JPG: African Connections Many Americans of African descent define themselves in part of their African heritage and the surviving traditions that enrich both their lives and those of the larger multicultural society. The paintings of artist and professor Floyd Coleman invoke the traditional belief system of West African Yoruba people to demonstrate the cross-fertilization of American beliefs and those of the African visual culture. Rather than creating an image, Renee Stout crafted her own sacred object, inspired by artifacts used in African religious rituals, leaving its interpretation to museum visitors. The link to Africa has also been a source of inspiration for political movements -- both for causes in the United States like civil rights and Black Power, and abroad, as in action against the South African apartheid system.
32. AAVIS_161012_141.JPG: James Phillips Sankofa II, 1997-98
33. AAVIS_161012_146.JPG: Floyd Coleman Shango's Helper, 1972
34. AAVIS_161012_150.JPG: Renee Stout Ceremonial Object, 1990
35. AAVIS_161012_154.JPG: Donald Locke Landscape with Kwame N'Krumah, 1992
36. AAVIS_161012_162.JPG: Aaron Douglas Haitian Street Scene, 1938
37. AAVIS_161012_166.JPG: John Biggers Ghana Women Dancing, 1968
38. AAVIS_161012_171.JPG: Henry Ossawa Tanner Disciples Healing the Sick, 1924
39. AAVIS_161012_182.JPG: Herbert Gentry Ceremony, 1993
40. AAVIS_161012_186.JPG: Charles White Fulfillment, 1966
41. AAVIS_161012_191.JPG: Aaron Douglas The Creation, 1935
42. AAVIS_161012_194.JPG: Charles White Move On Up a Little Higher, 1961
43. AAVIS_161012_204.JPG: Robert S. Duncanson The Garden of Eden, 1852
44. AAVIS_161012_208.JPG: Jacob Lawrence Praying Ministers, 1962
45. AAVIS_161012_210.JPG: David C. Driskell Behold Thy Son, 1956
46. AAVIS_161012_215.JPG: Religion and Spirituality Themes of religion and spirituality have been common threads in art since the beginning of its known human production. Elements of these themes are especially notable in David Driskell's Behold Thy Son and Clementine Hunter's Black Jesus, where there is a clear reference to Christianity and the crucifixion of Christ. In other works, such as Herbert Gentry's Ceremony and Minnie Evans's Mercury, a spiritual connection is unmistakable but less specific. African American religious traditions have strong roots in Christianity, but include other spiritual pathways, including Islam, Judaism, and Buddhism.
47. AAVIS_161012_217.JPG: Allan Rohan Crite Stations of the Cross, 1947
48. AAVIS_161012_221.JPG: Clementine Hunter Black Jesus, mid-1980s
49. AAVIS_161012_227.JPG: Hughie Lee-Smith Untitled, ca 1959-60
50. AAVIS_161012_231.JPG: Thelma Johnson Streat Medicine and Transportation, ca 1940
51. AAVIS_161012_240.JPG: Charles Alston Walking, 1958
52. AAVIS_161012_242.JPG: Claude Clark Sr. On Guard, 1946
53. AAVIS_161012_247.JPG: William H. Johnson Off to War, ca 1942-44
54. AAVIS_161012_250.JPG: Elizabeth Catlett Negro Es Bello I (Black in Beautiful), 1968
55. AAVIS_161012_255.JPG: Jacob Lawrence Dixie Cafe, 1948
56. AAVIS_161012_259.JPG: Charles Alston Reverend Martin Luther King, 1970
57. AAVIS_161012_262.JPG: Kara Walker no world, 2010
58. AAVIS_161012_265.JPG: Vincent Smith Do-Rag Brother, 1968
59. AAVIS_161012_269.JPG: Betye Saar Let Me Entertain You, 1972
60. AAVIS_161012_273.JPG: Alvin Carl Hollingsworth Trapped, 1965
61. AAVIS_161012_276.JPG: Barbara Jones-Hogu Unite, 1971
62. AAVIS_161012_280.JPG: The Struggle for Freedom The history of the United States is one of both triumph and struggle. Americans won freedom and independence from Great Britain in the Revolutionary War, but those privileges did not extend to all. Various groups, including Native Americans, African Americans, new immigrants, and religious minorities, found themselves excluded from the privileges of the majority. In addition to the historic struggles for religious, racial, and gender equality, many Americans continue to seek solutions to inequalities that remain. The artists here express their political vigilance -- Charles Alston references the Montgomery Bus Boycott and Alvin Hollingsworth reveals the legacy of redlining. The American quest for individual freedom and political self-definition continues to shape our culture.
63. AAVIS_161012_282.JPG: Joshua Johnson Portrait of John Westwood, ca 1807-08
64. AAVIS_161012_285.JPG: Pauline Powell Burns Violets, ca 1890
65. AAVIS_161012_288.JPG: Charles Ethan Porter Still Life with Roses, ca 1885-87
66. AAVIS_161012_292.JPG: Archibald Motley Jr. The Argument, 1940
67. AAVIS_161012_296.JPG: Romare Bearden Mecklenburg Morning, 1978
68. AAVIS_161012_306.JPG: Hale Woodruff Untitled (Green Landscape), ca 1969-70
69. AAVIS_161012_309.JPG: Augusta Savage Nude Torso, ca 1932-35
70. AAVIS_161012_314.JPG: William A. Harper Untitled (French Landscape), 1905
71. AAVIS_161012_318.JPG: Grafton Tyler Brown View of Lake Okanagan (British Columbia), 1882
72. AAVIS_161012_323.JPG: Robert S. Duncanson Robbing the Eagle's Nest, 1856
73. AAVIS_161012_326.JPG: Lois Mailou Jones Chateau D'Olhain, 1947
74. AAVIS_161012_331.JPG: Ellis Wilson Reflections, 1936
75. AAVIS_161012_336.JPG: The World Around Us Artists reflect upon and interpret their environments -- whether artificial, natural, or personal. Painters such as Grafton Tyler Brown, Robert S. Duncanson, and Hale Woodruff focused on the vastness and majesty of the outdoors, perhaps seeing in nature a reflection of the divine. In contrast, Archibald Motley and Joshua Johnson were inspired by notions of community and people they encountered in their lives. Others, such as still-life painters Charles Ethan Porter and Pauline Powell Burns, consciously and painstakingly shaped the elements that defined their world. Through a variety of styles and approaches, these artists' efforts have informed and enriched our world.
76. AAVIS_161012_338.JPG: Renee Stout Black Room with Bitches Brew, 2010
77. AAVIS_161012_344.JPG: Myth, Memory, and Reality Works by Renee Stout, Radcliffe Bailey, and Whitfield Lovell Renee Stout is a brilliant conjurer of ideas, spaces, and personalities. Conjurors, fortune-tellers, and others are present in her work, busily cooking up the mix that makes our world both fascinating and fearsome. Like Stout, Radcliffe Bailey is also fascinated by history and destiny. A watery mix of relics and images connects the past with present, his existence with those who came before him. Bailey incorporates his family photographs to make a direct connection between Africa and the present. Whitfield Lovell is deeply engaged by the past as well. He offers the portraits of unidentified individuals based on found photographs. These people serve as surrogates for all the black families whose ancestors have left few traces of their faces or lives.
78. AAVIS_161012_348.JPG: Radcliffe Bailey Enroute, 2000
79. AAVIS_161012_353.JPG: Whitfield Lovell The Card Series II: The Rounds, 2006-11
80. AAVIS_161012_362.JPG: Lorna Simpson Untitled (a lie is not a shelter), 1989
81. AAVIS_161012_370.JPG: Wadsworth A. Jarrell Sr. Revolutionary, 1972
82. AAVIS_161012_374.JPG: Floyd Newseum After the Storm CNN, 2008
83. AAVIS_161012_378.JPG: Therman Statom Orto Botanico, 2008
84. AAVIS_161012_389.JPG: Meta Vaux Warrick Fuller Ethiopia, 1921
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Description of Subject Matter: Visual Arts Gallery
September 24, 2016 – Indefinitely
This art exhibition illustrates the critical role that African American artists played in shaping the history of American art. It features seven thematic sections and one changing exhibition gallery. Works include paintings, sculpture, works on paper, art installations, mixed media, photography, and digital media. The history and relevance of each work are available to visitors through a multimedia platform.
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