Black Art Project (BAP) Booklist 5

This is the fifth in a continuing series, highlighting either recently published books or those that are forthcoming, that have an African American art focus. When building a personal library that has some focus on African American visual art, it is advisable to make your book purchases shortly after the book or catalogue has been published. Making an early purchase more readily assures you that the titles you are interested in have not gone out of print. When a title does go out of print, the secondary market becomes a viable option; however, you must then weigh cost and condition differences among the few dealers that may have a copy for sale. I can not over emphasize that fine art books are published in smaller print runs than books in other subject disciplines.

The following post and the addendum of recent publications are simply a few new titles that have been released since the last Booklist: 

Envisioning Emancipation: Black Americans and the End of Slavery which is co-authored by Deborah Willis and Barbara Krauthamer is a Temple University Press publication. According to Willis, “We wanted a range of images that showed the scope of the thinking about what freedom looked like. ...We consciously looked for black photographers; we consciously looked for images of women, whose stories have often not been included.”

"Published to coincide with the 150th anniversary of the Emancipation Proclamation on January 1, 2013, the book brings together more than 150 images — half never seen by the public — that depict the many ways slavery, Emancipation and freedom were represented by photography during the Civil War era and beyond." (New York Times, 12/21/12: Books) 


Henry Taylor is a forthcoming title published on the occasion of Taylor's 2012 exhibition (January 29 - April 9. 2012) at MoMA PS1. Henry Taylor, a Los Angeles-based artist, applies his brush both to canvas and to unconventional materials, including suitcases, crates, cereal boxes, cigarette packs, etc. His source material includes everyone and everything around him.

Before Taylor studied art formally, he "worked for ten years as a psychiatric nurse at a state hospital. This experience sharpened his interest in, and appreciation for, individuals from all economic and social backgrounds, and encouraged a passion to create an intensely empathetic style of portraiture." 

The expected release date for this publication, which is illustrated throughout, is April 2013. Text is by Laura Hoptman, Naima Keith, and there is an interview by Peter Eleey. 

       

Kara Walker: Dust Jackets for the Niggerati, another forthcoming publication, has an expected United States release date of April 30, 2013. This publication documents Dust Jackets for the Niggerati--and Supporting Dissertations, Drawings Submitted Ruefully by Dr. Kara E. Walker, "a major series of graphite drawings and hand-printed texts on paper that grew out of Walker’s attempts to understand how interpersonal and geopolitical powers are asserted through the lives of individuals. In scenes that range from the grotesque to the humorous to the tragic, these works vividly and powerfully explore the themes of transition and migration that run through the African-American experience." 

The book, published by Gregory R. Miller and Co., is fully illustrated with reproductions of the entire series. It includes text by Hilton Als, James Hannaham, Christopher Stackhouse, and Kevin Young.

Theaster Gates: My Labor Is My Protest was a fall 2012 show (September 7- November 11) at London's White Cube in which Gates created a multi-faceted installation that  "investigated themes of race and history through sculpture, installation, performance and two-dimensional works exhibited both inside and outside the gallery. ...Also included in the show and accompanying catalogue is documentation of The Johnson Library, a library on black American culture installed at the gallery.

This catalogue is edited by Honey Luard with text by Bill Brown, Fred Moten, and Jacqueline Terrassa. 

To view other recent titles, see BAP Booklist on WorldCat.

Results of Swann's African-American Fine Art Sale 2303

Swann Auction Galleries' African-American Fine Art Sale 2303 on February 14, 2013 brought in $1,628,165 with buyer’s premium, exceeding its pre-sale low estimate of $1,548,000. Of the 147 lots that were offered at auction, 124 sold (84% sell-through rate by lot). According to Nigel Freeman, Director of African-American Fine Art at Swann Galleries, “We are very pleased with the results of yesterday’s sale, which saw strong prices across all genres and eras, with active bidding for 19th century paintings, 20th century modern art and post-war contemporary works.”

Thirty (30) lots, many of which were in the lower to mid-range, sold above their pre-sale high estimates. However, a few lots in the 5 figure range exceeded their high estimates and are worth noting. Examples of those lots follow: Lot 8 (Albert Alexander Smith, Spinning a Yarn) had a high estimate of $12,000 and sold for $24,000 with buyer’s premium; Lot 12 (Richmond Barthé, Feral Benga) with a high estimate of $30,000 sold for $43,200; Lot 90 (Sam Gilliam, Butterfly, Feeling) sold for $72,000, doubling its high estimate of $35,000; and Lot 140 (Elizabeth Catlett, Sharecropper) had a high  estimate of $25,000 and sold for $43,200. Albert Alexander Smith (Spinning a Yarn) and Sam Gilliam (Butterfly, Feeling) received artist records, and Catlett's Sharecropper was a record price of her work in this medium. All prices are with buyer's premium.  

The top selling lots in Sale 2303, emphasizing those that sold above $100,000,  follow:

Lot 85: Barkley L. Hendricks, The Hawk, Blah, Blah, Blah (oil and DayGlo on canvas, 1970) sold to a collector for $132,000. This was the highest selling piece in the auction.  

Barkley L. Hendricks, The Hawk, Blah, Blah, Blah

Lot 63: Hughie Lee-Smith, Poet #4 (oil on Masonite, 1954) sold for $120,000 to an institution. This piece was exhibited at Howard University Gallery of Art, Howard University, Washington, DC, 1955.

Hughie Lee-Smith, Poet #4

Lot 91: William T. Williams, Up Balls (acrylic on canvas, 1971) sold for $120,000 and goes to an institution. The artist tied his auction record with this sale.

William T. Williams, Up Balls

Lot 141: Elizabeth Catlett, Sister (green marble sculpture, 1971) sold for $114,000 to a collector.

Elizabeth Catlett, Sister

Charles White hit a record for his etchings in this auction, selling Lot 100 (Missouri C) for $26,400 to a collector; however, I was surprised that his Lot 62 (Trumpet Player) did not sell. It was one of my personal favorites. 

Swann Galleries African-American Fine Art Auction: Sale 2303

The upcoming African-American Fine Art Sale 2203 at Swann Auction Galleries is scheduled for Thursday, February 14, 2013. For Swann Galleries, this auction marks the fourteenth sale, over the past several years, that has had an African-American art focus. Sale 2303 includes many works by artists who rose to prominence in the 1960s and 70s, including Barkley Hendricks and William T. Williams, among others. Nigel Freeman, Director of African American Fine Art at Swann Auction Galleries, noted that Swann, "in addition to being the only auction house to feature regular sales of African American Fine Art, stands out as a leader in the sale of material by this 'Second Generation' of artists, who followed the Harlem Renaissance."

As in the past, the sale will include paintings, sculptures, and prints. Highlights include Barkley Hendricks’ The Hawk, Blah, Blah, Blah, a painting from the artist’s first solo show in 1971. It has an estimate of $75,000 – $100,000.

Barkley L. Hendricks, The Hawk, Blah, Blah, Blah, Oil and Dayglo on canvas, 1970.
Image: Swann Auction Galleries

William T. Williams' Up Balls, an acrylic on canvas, a bold composition from 1971 has an estimate of $75,000 –  $100,000. It is only the second painting by the artist to come to auction; see Eastern Star, the artist's first painting in auction, that appeared in Sale 2268 (Lot 141, February 16, 2012, sold for $120,000). 

William T. Williams, Up Balls, Acrylic on canvas, 1971. Image: Swann Auction Galleries

 

This African-American Fine Art sale also features a significant group of works sold by the Museum of Fine Arts, Boston for the benefit of the collection, including works by Charles Alston, Richmond Barthé, Beauford Delaney, Norman Lewis, Laura Wheeler Waring, and Charles White. A sample from this collection includes Meeting Place by Norman Lewis and Trumpet Player by Charles White. Meeting Place which is the first Norman Lewis WPA-era oil painting to come to auction has an estimate of $150,000 – $200,000. Charles White’s Trumpet Player, a 1959-1960 charcoal and gouache drawing, has an auction estimate of $100,000 – $150,000. Images of Meeting Place and Trumpet Player follow.
 

Norman Lewis, Meeting Place, Oil on canvas, 1941. Image: Swann Auction Galleries

  

Charles White, Trumpet Player, 

Charcoal and gouache on board, 1959-60

Image: Swann Auction Galleries 

Sale 2303 will close with an exceptional group of prints by the late Elizabeth Catlett that includes a scarce, complete set of the 14 linoleum cuts that are a part of the I am the Black Woman series. This is the first time that the complete group has appeared in auction, and they have an auction estimate of $75,000 - $100,000. 

Here is the link to the online version of the catalogue for the upcoming African-American Fine Art Sale 2303.  


As a reminder regarding bidding information, you do not have to be present at the auction to bid. Bids may be placed in advance via telephone, fax, mail, or email, and Swann's staff will bid on your behalf if you can not attend the sale in-person. Also, you may make advance arrangements to bid live by telephone during the auction. To make bidding arrangements, contact Swann Galleries at 212-254-4710.   

Supporting African American Art and Artists: Select African American Museums

This is the second of a four part series, focusing on ways to support African American art and artists. Part one in this series appeared on August 13, 2010 with an Addendum featured on July 8, 2012 . This current post focuses on a select group of museums and cultural centers whose missions strongly focus on African American visual arts. This is not a comprehensive list; only eight institutions, from across the country, are featured. However, it does begin a discussion to identify those institutions vying for financial support, gifts, and volunteer services. An effective starting point to identify an even larger number of these institutions begins with the Association of African American Museums (AAAM). Information on AAAM members is accessible by state from their web site. It is important to remember that all museums with a defined focus on African or African American art, history, and/or culture may not be members of the Association of African American Museums.

In order to remain viable and relevant during these critical economic times, these institutions need the collective support of all of us with an interest in African American art. As 2012 comes to a close, this is a great time to renew annual memberships or even consider an upgrade to the next level, perhaps giving a membership as a gift to a friend or relative, or even giving an outright gift to an institution.

Charlotte, North Carolina
The Harvey B. Gantt Center
for African-American Arts + Culture

The Harvey B. Gantt Center has a number of ways to become actively involved  with the Center through its various programs and services. Attending exhibitions and programs, making purchases in the museum shop, and hosting events in its space are a few of the more visible ways of supporting a museum. In addition, consider becoming a member or volunteering time.

The Harvey B. Gantt Center has five different membership levels that include unlimited free admission, private exhibition previews, discounts in the museum store, and the like. Also, there is a Gantt Center newsletter.

Membership is just one way to become involved as an active supporter of the Center. Membership levels begin with Senior Citizen/Student ($35.00) through Benefactor ($500.00). Other opportunities of becoming involved with the Gantt Center is through its Center Society, as a Collectors Circle ($1,000) or Founders Circle ($2,000) member; and becoming a Volunteer Ambassador.

As is the case for any of the museums in this post, one can simply make an outright contribution to support the museum's endeavors.   

Christopher Carter: Artist Talk

Christopher Carter, an artist from ricardogenzon on Vimeo.
This piece was produced for the California African American Museum's The Art of Christopher Carter exhibition (March 17 - May 15, 2011).

Sculptor           Artist           Wall Hangings          Rope

Found Objects         Poetic Images          Recycled Lumber

          Totemic Columns          Essence of Materials               

Select Upcoming African American Art Exhibitions: Highlights for 2013

This highlight features a few exhibitions that will be on view this coming year, 2013. Presenting the exhibitions as they approach their opening dates assures a freshness and currency of information for the visual art enthusiasts. A number of important traveling exhibitions from 2012 or earlier will still be on tour in 2013, and they are accessible from the sidebar of this Blog, Highlights of African American Exhibitions....  This sidebar is updated on a weekly basis by either adding newly discovered exhibitions or removing those that are approaching their expiration date. Its intent is to provide comprehensive coverage of current ongoing exhibitions on view for the current quarter of the year.


Black Art Project (BAP) welcomes any information or leads that you might have relating to Black art exhibitions, particularly regional exhibitions that are not traditionally marketed on a national scale. BAP will verify the accuracy of any information submitted. Thank you for any assistance that you provide.

 Belmont, California
Wiegand Gallery
Notre Dame de Namur University 

Mr. Imagination, Ghost Dress - 2000
Wire mesh, mother of pearl buttons - 48 x 36 x 36 inches
Created in 2011 for "The Roots of the Spirit" exhibition at L'Espace Re-Evolution, Venice, Italy.

The Roots of the Spirit: Lonnie Holley, Mr. Imagination, Charlie Lucas, Kevin Sampson will be on view at the Wiegand Gallery from September 15 to November 15, 2013. This exhibition was originally on view at L'Éspace Re-Evolution (Venice, Italy) where these four artists were invited by the American Folk Art Museum to exhibit during the 54th Venice Biennale in 2011.

Each of these artists "has acknowledged that divine intervention played an essential role in showing them their path. With the conviction of their African legacy, they began making art that honored their ancestors as an antidote to death and private grief. To witness Kevin Sampson’s shrines to deceased friends and relatives; the ancestor thrones of Lonnie Holley and Mr. Imagination; and Charlie Lucas’ metal sculptures that honor his grandparents by their material and method, is seeing through the eyes of the artists’ ancestors. Art is their testament to memory, healing and ultimately spiritual renewal."

Read more about these artists and view their works at The Roots of the Spirit.

Results of Swann's African-American Fine Art Sale 2290

Swann Auction Galleries' African-American Fine Art Sale 2290 on October 18, 2012 brought in $1,268,502 with buyer’s premium, falling short of its pre-sale low estimate of $2,098,200. Of the 154 lots that were offered at auction, 107 sold (69% sell-through rate by lot). According to Nigel Freeman, Director of African-American Fine Art at Swann Galleries, “Collectors sought out top-quality paintings by the masters. Norman Lewis and Henry Ossawa Tanner works brought high prices, in particular.”

The top 5 lots based on selling price with buyer's premium are as follows:

Lot 53, Charles White's Songs of Life, pen and ink on board, 1953-54 sold for $144,000 to a collector. Although this work passed the $100,000 mark, it did not reach its low estimate of $150,000.

Lot 34, Norman Lewis' Magenta Haze, oil on canvas, 1947 sold for $96,000 to a dealer.

Lot 41, Norman Lewis, Untitled (Circular Procession of Figures), oil on canvas, 1953 sold for $90,000 to a collector.  Of the top 5 lots, this is the only work that reached its high estimate ($75,000).

Lot 9, Henry Ossawa Tanner's Christ and Nicodemus (Early Study), oil on cardstock, circa 1923 sold for $90,000 to a collector.

Lot 8, Henry Ossawa Tanner's Flight Into Egypt, oil on wood panel, circa 1916-22 sold for $84,000 to a dealer.

Allan Rohan Crite, Douglass Square

In addition to the previously mentioned five lots, it is worth noting those artists who achieved an artist record in Sale 2290. Those four artists and their works follow: Allan Rohan Crite, Douglass Square ($36,000), Rex Goreleigh ($31,200), Richard Mayhew ($28,800), and Louis Delsarte ($24,000).

Rex Goreleigh, Spring Pruning

Richard Mayhew, Sacred Path    

Louis Delsarte, Reunion