The Art of William Edmondson

The Art of William Edmondson PDF Author: William Edmondson
Publisher: Univ. Press of Mississippi
ISBN: 9781578061815
Category : Art
Languages : en
Pages : 252

Get Book Here

Book Description
A showcase of works by the Tennessee artist called the greatest folk carver of the twentieth century

The Art of William Edmondson

The Art of William Edmondson PDF Author: William Edmondson
Publisher: Univ. Press of Mississippi
ISBN: 9781578061815
Category : Art
Languages : en
Pages : 252

Get Book Here

Book Description
A showcase of works by the Tennessee artist called the greatest folk carver of the twentieth century

Visions in Stone: the Sculpture of William Edmondson

Visions in Stone: the Sculpture of William Edmondson PDF Author: William Edmondson
Publisher: [Pittsburgh] : University of Pittsburgh Press
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 150

Get Book Here

Book Description


Bill Traylor, William Edmondson and the Modernist Impulse

Bill Traylor, William Edmondson and the Modernist Impulse PDF Author: Josef Helfenstein
Publisher: University of Washington Press
ISBN:
Category : Art
Languages : en
Pages : 212

Get Book Here

Book Description
"'Bill Traylor, William Edmondson, and the Modernist Impulse' is the first large-scale exhibition focusing on the works of two major figures in American and African American art history: Bill Traylor (1854-1949), a draftsman, and William Edmondson (1874-1951), a sculptor. Although Traylor and Edmondson are typically defined as "folk" or "outsider" artists whose works reflect the roots of African American culture, their work was discovered and first discussed in the broader context of modernism. Born a slave in 1854, Bill Traylor worked as a cotton laborer throughout much of his life. At the age of 85, while living on the streets in downtown Montgomery, Alabama, he picked up a pencil and began to draw. When he died ten years later, he had created more than 1,500 works of art that simultaneously pulse with the musical energy of the blues and reflect on the economic depression and race relations in Alabama during the 1930s and 1940s. William Edmondson was born into poverty in 1874, and in the early 1930s he began to gather discarded stones carving them into simple, but powerful tombstones. He died in 1951 leaving behind a body of work full of strongly abstract forms and divine inspiration. Paradoxically, Edmondson and Traylor were among the first African Americans to gain recognition from the official art world. In 1937 Edmondson was the first black artist to be exhibited at The Museum of Modern Art, New York, and Traylor's work was shown both in Montgomery and in New York in the 1940s. After World War II and the deaths of both artists (1949 and 1951), shifting priorities in institutional culture, politics, and taste, but especially the dominance of Greenbergian aesthetic dogmatism, removed artists like Traylor and Edmondson from a (by now much narrower) view of modern art. As a result, the work of both artists fell into oblivion for several decades. However, the civil rights movement and black cultural movements in the 1960s paved the way for a reevaluation and rediscovery. ... 'Bill Traylor, William Edmondson, and the Modernist Impulse' is the first exhibition, however, in which their work and careers will be discussed outside of the reductive framework of "self-taught" art -- namely, within the broader context of American and European culture of the first half of the twentieth century. The aesthetic language of the work of both Edmondson and Traylor, its simplicity, freshness, and independence -- in other words, its radical modernity -- made it so attractive for young artists, photographers, and curators who were part of the modernist movement in America in the 1930s. This exhibition and publication are part of a broader tendency to revisit the history of modernism in the United States and especially those exponents who have been excluded from the canon of modern art for several decades. It is time to discuss and recognize the role and place of Bill Traylor and William Edmondson and their work outside the ghetto of "outsider" and "self-taught" art. This exhibition and publication offer a vehicle to better understand the aesthetic language of this work and the larger framework of cultural and social impulses to which it is related. But most importantly, the exhibition positions Traylor and Edmondson within the aesthetic discourse and institutional framework of modern art, which since World War II has increasingly become a synonym for mainstream, established art."--

I Heard God Talking to Me

I Heard God Talking to Me PDF Author: Elizabeth Spires
Publisher: Farrar, Straus and Giroux (BYR)
ISBN: 9780374335281
Category : Young Adult Nonfiction
Languages : en
Pages : 64

Get Book Here

Book Description
One night in the early 1930s, William Edmondson, the son of former slaves and a janitor in Nashville, Tennessee, heard God speaking to him. And so he began to carve – tombstones, birdbaths, and stylized human figures, whose spirits seemed to emerge fully formed from the stone. Soon Edmondson's talents caught the eye of prominent members of the art world, and in 1937 he became the first black artist to have a solo exhibit at the Museum of Modern Art in New York. Here, in twenty-three free-verse poems, award-winning poet Elizabeth Spires gives voice to Edmondson and his creations, which tell their individual stories with wit and passion. With stunning photographs, including ten archival masterpieces by Louise Dahl-Wolfe and Edward Weston, this is a compelling portrait of a truly original American artist.

Coming Home!

Coming Home! PDF Author: Carol Crown
Publisher: Univ. Press of Mississippi
ISBN: 9781578066599
Category : Art
Languages : en
Pages : 220

Get Book Here

Book Description
A fascinating examination of the Bible's influence on seventy-three self-taught artists and 122 works of art

Outliers and American Vanguard Art

Outliers and American Vanguard Art PDF Author: Lynne Cooke
Publisher: University of Chicago Press
ISBN: 9780226522272
Category : Art and society
Languages : en
Pages : 396

Get Book Here

Book Description
Some 250 works explore three distinct periods in American history when mainstream and outlier artists intersected, ushering in new paradigms based on inclusion, integration, and assimilation. The exhibition aligns work by such diverse artists as Charles Sheeler, Christina Ramberg, and Matt Mullican with both historic folk art and works by self-taught artists ranging from Horace Pippin to Janet Sobel and Joseph Yoakum. It also examines a recent influx of radically expressive work made on the margins that redefined the boundaries of the mainstream art world, while challenging the very categories of "outsider" and "self-taught." Historicizing the shifting identity and role of this distinctly American version of modernism's "other," the exhibition probes assumptions about creativity, artistic practice, and the role of the artist in contemporary culture. The exhibition is curated by Lynne Cooke, senior curator, special projects in modern art, National Gallery of Art.--Provided by publisher.

Gatecrashers

Gatecrashers PDF Author: Katherine Jentleson
Publisher: University of California Press
ISBN: 0520303423
Category : Art
Languages : en
Pages : 264

Get Book Here

Book Description
After World War I, artists without formal training “crashed the gates” of major museums in the United States, diversifying the art world across lines of race, ethnicity, class, ability, and gender. At the center of this fundamental reevaluation of who could be an artist in America were John Kane, Horace Pippin, and Anna Mary Robertson “Grandma” Moses. The stories of these three artists not only intertwine with the major critical debates of their period but also prefigure the call for inclusion in representations of American art today. In Gatecrashers, Katherine Jentleson offers a valuable corrective to the history of twentieth-century art by expanding narratives of interwar American modernism and providing an origin story for contemporary fascination with self-taught artists.

Among Others

Among Others PDF Author: Darby English
Publisher:
ISBN: 9781633450349
Category : Art
Languages : en
Pages : 488

Get Book Here

Book Description
Among Others: Blackness at MoMA begins with an essay that provides a rigorous and in-depth analysis of MoMA's history regarding racial issues. It also calls for further developments, leaving space for other scholars to draw on particular moments of that history. It takes an integrated approach to the study of racial blackness and its representation: the book stresses inclusion and, as such, the plate section, rather than isolating black artists, features works by non-black artists dealing with race and race- related subjects. As a collection book, the volume provides scholars and curators with information about the Museum's holdings, at times disclosing works that have been little documented or exhibited. The numerous and high-quality illustrations will appeal to anyone interested in art made by black artists, or in modern art in general.

William Edmondson

William Edmondson PDF Author: William Edmondson
Publisher:
ISBN:
Category :
Languages : en
Pages : 8

Get Book Here

Book Description


Artistry of the Mentally Ill

Artistry of the Mentally Ill PDF Author: H. Prinzhorn
Publisher: Springer Science & Business Media
ISBN: 3662009161
Category : Medical
Languages : en
Pages : 312

Get Book Here

Book Description
No one is more conscious of the faults of this work than the author. Therefore some self -criticism should be woven into this foreward. There are two possible methodologically pure solutions to this book's theme: a de scriptive catalog of the pictures couched in the language of natural science and accom panied by a clinical and psychopathological description of the patients, or a completely metaphysically based investigation of the process of pictorial composition. According to the latter, these unusual works, explained psychologically, and the exceptional circum stances on which they are based would be integrated as a playful variation of human expression into a total picture of the ego under the concept of an inborn creative urge, behind which we would then only have to discover a universal need for expression as an instinctive foundation. In brief, such an investigation would remain in the realm of phenomenologically observed existential forms, completely independent of psychiatry and aesthetics. The compromise between these two pure solutions must necessarily be piecework and must constantly defend itself against the dangers of fragmentation. We are in danger of being satisfied with pure description, the novelistic expansion of details and questions of principle; pitfalls would be very easy to avoid if we had the use of a clearly outlined method. But the problems of a new, or at least never seriously worked, field defy the methodology of every established subject.