In the Presence of Our Ancestors: Southern Perspectives in African American Art

Saturday, December 12, 2020 - Sunday, December 05, 2021

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%C2%A9 Jesse Aaron %2F Artists Rights Society %28ARS%29%2C New York

Shark, c. 1970

Jesse Aaron

Not on View

%C2%A9 Archie Byron %2F Artists Rights Society %28ARS%29%2C New York

Life Form, 1988

Archie Byron

G103

%C2%A9 Arthur Dial %2F Artists Rights Society %28ARS%29%2C New York

Eve and Adam, 1989

Arthur Dial

G103

%C2%A9 Leroy Almon %2F Artists Rights Society %28ARS%29%2C New York

Christ, 1987

Leroy Almon

G103

%C2%A9 Eldren M. Bailey %2F Artists Rights Society %28ARS%29%2C New York

Spider Lady, 1960s

Eldren M. Bailey

G103

%C2%A9 Thornton Dial %2F Artists Rights Society %28ARS%29%2C New York

Royal Flag, 1997-1998

Thornton Dial

G103

Sermon on the Mount, 1986

Theodore Hill

G103

%C2%A9 John B. Murray %2F Artists Rights Society %28ARS%29%2C New York

Untitled, mid 1980s

John B. Murray

G103

%C2%A9 Ronald Lockett %2F Artists Rights Society %28ARS%29%2C New York

April Nineteenth (The Number), 1995

Ronald Lockett

G103

%C2%A9 Joe Minter %2F Artists Rights Society %28ARS%29%2C New York

Old Rugged Cross, 1998

Joe Minter

G103

rectangular radiating blocks; one black in one corner has I-shape at center; corduroy front and back; tan, browns, pale green, red, and orange; brown backing; Velcro heading band

%C2%A9 Lola Pettway %2F Artists Rights Society %28ARS%29%2C New York

"Housetop" variation quilt, 1970s

Lola Pettway

G103

white border and backing; orange with grey, black, and brown squares, rectangles, and L shapes in four quadrants with grey rectangle at center; asymmetrical pattern; Velcro heading band

%C2%A9 Lottie Mooney %2F Artists Rights Society %28ARS%29%2C New York

"Housetop" quilt--four-block "Half-Log Cabin" variation, c. 1940

Lottie Mooney

G103

%C2%A9 John B. Murray %2F Artists Rights Society %28ARS%29%2C New York

Untitled, early 1980s

John B. Murray

G103

recto: Godzilla-like dragon in green and dark red with tan back plates at left confronting a blue, green, and yellow eel in a reverse S shape; yellow zigzag in ULC; yellow radiating lines in URC; blue ground at top, tan in LLC, dark form in LRC; red border verso: portion of a newspaper ad on Lowe's pasted at top in a T shape; text at center in a sketch of an open book; grid at bottom with numbers and "BATH ROOM" in LRC

%C2%A9 Royal Robertson %2F Artists Rights Society %28ARS%29%2C New York

Fire Dangon Fighting Giant Electric Ell, 1980

Prophet Royal Robertson

G103

%C2%A9 Herbert Singleton %2F Artists Rights Society %28ARS%29%2C New York

Crucifixtion Coffee Table, 1995

Herbert Singleton

G103

recto: calendar grid at center; text overall in squares and bands; drawing of standing women at left and right edges; woman at left has brown skin, short brown hair, and wears a lacy blouse and short girdle-like pants, with flowers at her feet; woman at right, with brown hair in an updo and seen from back, is nude except for white stockings and looks over her PL shoulder verso: black painted border with rounded corners; image of linear 1950s style house with ice cream cone shaped pot on a platform at front center; two large trees; blue sky with clouds

%C2%A9 Royal Robertson %2F Artists Rights Society %28ARS%29%2C New York

Untitled, 1989

Prophet Royal Robertson

G103

%C2%A9 Georgia Speller %2F Artists Rights Society %28ARS%29%2C New York

House up on the Hill off the Highway, 1987

Georgia Speller

G103

painting on paper torn from spiral notebook on left edge; portrait of two women, each with long black hair; woman on left wears purple blouse with red collar; woman on right wears brown, black, and red irregularly striped blouse; pink ground; bold red, brown, and white facial features

%C2%A9 Georgia Speller %2F Artists Rights Society %28ARS%29%2C New York

Two Cousins, 1987

Georgia Speller

G103

two rectangular images with rounded corners in a vertical format with red painted border; roughly mirror images; each image has a curvy woman with short curly hair and large eyes wearing a pink and white leotard-like outfit, seated beside a pond with a tree and a basket of flowers; woman at left holds her PL index finger beneath her PL eye and has "NETIA" on her belt buckle; fish in pod on left image; woman at right holds her fist beneath her PR cheek and has "ANN" on her belt buckle

%C2%A9 Royal Robertson %2F Artists Rights Society %28ARS%29%2C New York

Visions of Times, 1985

Prophet Royal Robertson

G103

%C2%A9 Nellie Mae Rowe %2F Artists Rights Society %28ARS%29%2C New York

Rocking Chair, 1981

Nellie Mae Rowe

G103

After meeting in the early sixties, Henry and Georgia Speller married in 1979. They spent 10 years together, lovingly comparing illustrations on their porch. As a couple they balanced each other, and as artists their respective practices grounded their union. By using basic, accessible materials, they collectively convey a youthful simplicity underscored by a deep social critique. Through bold washes of tempera and contrasting color schemes, the Spellers manifested on paper their hopes, dreams, frustrations, and criticisms of the classist and racist structures that impoverished their community. Henry’s Steamboat Katie Adam and Georgia’s House up on the Hill off the Highway exemplify material class privilege in southern society—a way out, always in view, never in reach. In Two Cousins, Georgia explores beauty standards and individual stylistic choices. Pig Eating Breakfast and Two Cousins refer more and less overtly to eroticism and sexual pressures under the white patriarchal gaze in American society. “We sit on the porch in the summer drawing pictures and making music. I made me up a song once. Georgie had a round piece of wood, made a drum and beat on it. One night, her mama’s spirit come to her, told her she’d be coming. She told me, ‘Mama come to me in a dream. I won’t be out here next summer.” - Henry Speller

%C2%A9 Henry Speller %2F Artists Rights Society %28ARS%29%2C New York

Pig Eating Breakfast, 1988

Henry Speller

G103

After meeting in the early sixties, Henry and Georgia Speller married in 1979. They spent 10 years together, lovingly comparing illustrations on their porch. As a couple they balanced each other, and as artists their respective practices grounded their union. By using basic, accessible materials, they collectively convey a youthful simplicity underscored by a deep social critique. Through bold washes of tempera and contrasting color schemes, the Spellers manifested on paper their hopes, dreams, frustrations, and criticisms of the classist and racist structures that impoverished their community. Henry’s Steamboat Katie Adam and Georgia’s House up on the Hill off the Highway exemplify material class privilege in southern society—a way out, always in view, never in reach. In Two Cousins, Georgia explores beauty standards and individual stylistic choices. Pig Eating Breakfast and Two Cousins refer more and less overtly to eroticism and sexual pressures under the white patriarchal gaze in American society. “We sit on the porch in the summer drawing pictures and making music. I made me up a song once. Georgie had a round piece of wood, made a drum and beat on it. One night, her mama’s spirit come to her, told her she’d be coming. She told me, ‘Mama come to me in a dream. I won’t be out here next summer.” - Henry Speller

%C2%A9 Henry Speller %2F Artists Rights Society %28ARS%29%2C New York

Steamboat Katie Adam, 1987

Henry Speller

G103

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