DC -- Donald W. Reynolds Center (SAAM) -- Exhibit: Folk Art:
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SIPGFA_201015_044.JPG: Untitled (Figure with White Eyebrows), about 1978-86
SIPGFA_201015_057.JPG: 2 Dogs -- 3 Bandsmen; and Camera, 1963
SIPGFA_201015_064.JPG: Orange Bus, ca 1982
SIPGFA_201015_069.JPG: Give Us This Day Our Daily Bread, ca 1955-70
SIPGFA_201015_074.JPG: The Clinic, ca 1965-70
SIPGFA_201015_081.JPG: The First Law of Nature -- Not Self Preservation But Love, 1939
Patrick J. Sullivan
SIPGFA_201015_098.JPG: Untitled (Hart/Heart)
SIPGFA_201015_103.JPG: Magnolia Blossoms, around 1935-41
SIPGFA_201015_108.JPG: The Struggle, 1973-74
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Description of Subject Matter: Introductory sign for this gallery:
When the museum approached me to curate their folk art galleries, it thrilled me to no end to be associated with these "folk" and their creations. Growing up in Alabama during the 1940s and 50s, I was fortunate to live among many individuals for whom making things was a natural part of life. I treasure memories of sitting by my mother as she quilted, and watching my father carve tools out of wood -- what he called "just whittling and piddling." So I have had a deep interest and affection for such everyday objects -- long before the public caught on to them as folk art. By osmosis more than anything else, this kind of art has had a profound effect on my thinking about how and why people create.
These men and women whose work is presented here are not bound by aspirations to make "high art." With liberty to freely express what is in their hears and minds through all varieties of methods and materials familiar to them, these artists create works that possess unmistakable honesty and integrity. Sometimes the result is terrifying, and sometimes it is the most wonderful image that makes you feel good or laugh. This work is beautiful and so human. It is the ordinary made extraordinary.
William Christenberry, 2006
Artist and teacher, Washington DC
Pictures here usually include James Hampton's "The Throne of the Third Heaven of the Nations' Millennium General Assembly." Hampton worked on the piece for 14 years 1950-64 while living in Washington DC, building it in a renter garage. He made 180 components but only a portion are on display in the museum. He created notebooks bearing a secret writing system which has yet to be deciphered. He was a little odd.
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