showing 5 results matching Georgia speller

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Painting on paper

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

Untitled, 1985

Georgia Speller

Not on View

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

House up on the Hill off the Highway, 1987

Georgia Speller

Not on View
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

Not on View
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

Not on View
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

Not on View

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