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156 pages

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This book invites readers into a growing, dynamic conversation among scholars and critics around a vibrant community of artists from an African American South. This constellation of creative makers includes familiar figures, such as Thornton Dial Sr., Lonnie Holley, and quiltmakers Nettie Young and Mary Lee Bendolph, whose work is collected in major museum and private collections. The artists represented extend to lesser-known but equally compelling creators working across a wide range of artistic forms, themes, and geographies. The essays gathered here, accompanied by a generous selection of full-color plates, survey subjects such as the artists' engagement with enslavement and liberation, the spiritual and religious dimensions of their work, the technical aspects of their work (such as the common use of "assemblage" as an artistic medium), the links between art and biography, and the evolving status of their reception in narratives of contemporary, modern, southern, and American art.

Contributors are Celeste-Marie Bernier, Laura Bickford, Michael J. Bramwell, Elijah Heyward III, Sharon P. Holland, and Pamela J. Sachant.

Sujets

Outsider Art

Folk

Art

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Publié par	The University of North Carolina Press
Date de parution	09 mai 2022
Nombre de lectures	0
EAN13	9781469668536
Langue	English
Poids de l'ouvrage	12 Mo

Informations légales : prix de location à la page 0,1500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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THE UNFINISHED BUSINESS OF UNSETTLED THINGS
THE UNFINISHED BUSINESS OF UNSETTLED THINGS
Art from an African American South
Edited by BERNARD L. HERMAN
With contributions from CELESTE-MARIE BERNIER LAURA BICKFORD MICHAEL J. BRAMWELL ELIJAH HEYWARD III SHARON P. HOLLAND PAMELA J. SACHANT
The University of North Carolina Press CHAPEL HILL
This book was published with support from the Chair’s Discretionary Fund to Support Southern Studies at the University of North Carolina at Chapel Hill.
Published with the assistance of the H. Eugene and Lillian Lehman Fund of the University of North Carolina Press
© 2022 The University of North Carolina Press
All rights reserved
Manufactured in the United States of America
Interior design by Julie Allred
Set in Macklin and Korolev Compressed by BW&A Books, Inc.
Cover illustration: Lonnie Holley, What Was beyond Us (The Ocean of Our Thoughts) , 2019. Ackland Art Museum, the University of North Carolina at Chapel Hill, L2020.10.1a-o. Lent by John A. Powell, BA ’77. © 2021 Lonnie Holley / Artists Rights Society (ARS), New York.
Frontispiece: Hawkins Bolden, Untitled (Ham Can) , 1970s. Ackland Art Museum, the University of North Carolina at Chapel Hill. Ackland Fund, the Chair’s Discretionary Fund to Support Southern Studies at the University of North Carolina at Chapel Hill, gift from the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017.16.2. © 2021 Estate of Hawkins Bolden / Artists Rights Society (ARS), New York.
The University of North Carolina Press has been a member of the Green Press Initiative since 2003.
Complete Library of Congress Cataloging-in-Publication Data is available at https://lccn.loc.gov/2022010463 .
For Emily Kass
who saw a path and took it
CONTENTS
Introduction: The Unfinished Business of Unsettled Things
Art from an African American South
Bernard L. Herman
Put Honey in the Sky Where It Could Drip and Make the World Sweet
Looking for Purvis Young and Thomas Samuel Doyle, but Seeing Something Else: Meditations on the Matter of Black Freedom
Sharon P. Holland
Had to Learn Surviving
Imaging Slavery and Imagining Freedom in “Black Lexicons of Liberation”
Celeste-Marie Bernier
Heard a Voice, Saw a Light
Spiritual Implications of Creative Belief in Black Vernacular Art
Michael J. Bramwell
When Everything Stands Still, That’s When the Griot Spirit Come On
History-Making and Assemblage in the African American South
Laura Bickford
Biography—Writing Lives; Art—Viewing Lives
Pamela J. Sachant
The South Has Always Had Something to Say
Elijah Heyward III
Acknowledgments
Notes
Contributors
Index
Plate 1 Irene Williams (American, 1920–2015), Quilt (Lazy Gal/Housetop Variation) , 2004. Cloth, 94 × 79 in. (238.8 × 200.7 cm).
Ackland Art Museum, University of North Carolina at Chapel Hill. Gift from the Arnett Collection and Ackland Fund, 2010.52.8. © 2021 Estate of Irene Williams / Artists Rights Society (ARS), New York.

Plate 2 Lonnie Holley (American, b. 1950), Balancing the Rock , 2007. Wood, stone, metal, rubber, nails, and wire, 24 ¼ × 15 ½ × 5 in. (61.6 × 39.4 × 12.7 cm).
Ackland Art Museum, University of North Carolina at Chapel Hill. Gift / purchase from Lonnie Holley and the William S. Arnett Collection through the Caldwell Family Artist-in-Residence Fund and the Department of American Studies at the University of North Carolina at Chapel Hill, 2020.26. © 2021 Lonnie Holley / Artists Rights Society (ARS), New York.

Plate 3 Luster Willis (American, 1913–1990), This Is It. The Big One , n.d. Tempera and glitter on paper, 18 × 27 ¼ in. (45.7 ×69.2 cm).
Photo courtesy of the Souls Grown Deep Foundation. © 2021 Estate of Luster Willis / Artists Rights Society (ARS), New York.

Plate 4 Lucy T. Pettway (American, 1921–2004), Cat and Mice , 1976. Cloth, 82 × 65 in. (208.3 × 165.1 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the William S. Arnett Collection of the Souls Grown Deep Foundation, 2016.12.9. © 2021 Estate of Lucy T. Pettway / Artists Rights Society (ARS), New York.

Plate 5 Thornton Dial (American, 1928–2016), Walking with the Pick-Up Bird , 2002. Steel, twine, cloth, shoes, crockery, auto tire scrap, enamel, spray paint, and Splash Zone compound, approximately 53 × 63 × 34 in. (134.6 × 160 × 86.4 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the Arnett Collection and Ackland Fund, 2010.52.3. Photo by Stephen Pitkin Studio. © 2021 Estate of Thornton Dial / Artists Rights Society (ARS), New York.

Plate 6 Thomas Samuel Doyle (American, 1906–1985), Hopeing Boy , 1970s. Paint on tin, 45 × 27 in. (114.3 × 68.6 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Ackland Fund, the Chair’s Discretionary Fund to Support Southern Studies at the University of North Carolina at Chapel Hill, and gift from the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017.16.5.

Plate 7 Joe Minter (American, b. 1943), The Royal Family in Chains , 1991. Metal sculpture, 55 × 31 × 16 ½ in. (139.7 × 78.7 × 41.9 cm).
Ackland Art Museum, University of North Carolina at Chapel Hill. Gift of the William S. Arnett Collection of the Souls Grown Deep Foundation, 2016.12.7. © 2021 Joe Minter / Artists Rights Society (ARS), New York.

Plate 8 Lonnie Holley (American, b. 1950), Natural and Man-Made , 2004. Stone, wire, and metal, 20 × 11 × 14 in. (50.8 × 27.9 × 35.6 cm).
Ackland Art Museum, University of North Carolina at Chapel Hill. Gift of the William S. Arnett Collection of the Souls Grown Deep Foundation, 2016.12.6. © 2021 Lonnie Holley / Artists Rights Society (ARS), New York.

Plate 9 Hawkins Bolden (American, 1914–2005), Untitled (Ham Can) , 1970s. Ham can, wire, and metal fence scrap, 14 ½ × 7 ½ × 3 ¼ in. (36.8 × 19.1 × 8.3 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Ackland Fund, the Chair’s Discretionary Fund to Support Southern Studies at the University of North Carolina at Chapel Hill, and gift from the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017.16.2. © 2021 Estate of Hawkins Bolden / Artists Rights Society (ARS), New York.

Plate 10 Ronald Lockett (American, 1965–1998), Remembering Sarah Lockett , ca. 1997. Metal, wire, wood, and paint, approximately 48 × 48 × 2 in. (121.9 × 121.9 × 5.1 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the Arnett Collection and Ackland Fund, 2010.52.5. © 2021 Estate of Ronald Lockett / Artists Rights Society (ARS), New York.

Plate 11 Joe Lewis Light (American, 1934–2005), Blue Bird , 1987. Enamel and spray paint on wood door, 28 × 80 in. (71.1 × 202.3 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Ackland Fund, the Chair’s Discretionary Fund to Support Southern Studies at the University of North Carolina at Chapel Hill, and gift from the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017.16.6. © 2021 Estate of Joe Light / Artists Rights Society (ARS), New York.

Plate 12 Luster Willis (American, 1913–1990), Hog Killing , 1986. Ballpoint pen, poster paint, glue, and glitter on poster board, 28 × 22 in. (71.1 × 55.9 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Ackland Fund, the Chair’s Discretionary Fund to Support Southern Studies at the University of North Carolina at Chapel Hill, and gift from the Souls Grown Deep Foundation from the William S. Arnett Collection, 2017.16.11. © 2021 Estate of Luster Willis / Artists Rights Society (ARS), New York.

Plate 13 Thornton Dial (American, 1928–2016), New Generation , 2002. Wood, cloth, metal, wire, and paint, approximately 69 ½ × 60 × 17 in. (176.5 × 152.4 × 43.2 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the William S. Arnett Collection and Ackland Fund, 2010.51.1. © 2021 Estate of Thornton Dial / Artists Rights Society (ARS), New York.

Plate 14 Purvis Young (American, 1943–2010), Pregnant Woman , no date. Paint on cloth with masking tape, glue, and kraft paper remnants, 29 ¼ × 15 in. (74.3 × 38.1 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the Arnett Collection and Ackland Fund, 2010.52.11. © Larry T. Clemons / Gallery 721 / Artists Rights Society (ARS), New York.

Plate 15 Nettie Young (American, 1916–2010), Bricklayer , no date. Corduroy, 95 × 92 in. (241.3 × 233.7 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the William S. Arnett Collection of the Souls Grown Deep Foundation, 2016.12.17. © 2021 Estate of Nettie Young / Artists Rights Society (ARS), New York.

Plate 16 Mary Tillman Smith (American, 1904–1995), Figure in Blue on Red , 1987. Paint on plywood, 32 × 24 in. (81.3 × 61 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the Arnett Collection and Ackland Fund, 2010.52.6.

Plate 17 Nellie Mae Rowe (American, 1900–1982), Nellie’s House at Night , 1981. Felt-tip pen and crayon on paper, 18 ¾ × 24 in. (47.6 × 61 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Ackland Fund, the Chair’s Discretionary Fund to Support Southern Studies at the University of North Carolina at Chapel Hill, and gift from Souls Grown Deep Foundation from the William S. Arnett Collection, 2017.16.8. © 2021 Estate of Nellie Mae Rowe / Artists Rights Society (ARS), New York.

Plate 18 Royal Robertson (American, 1936–1997), Mrs. Doeria , 1986. Marker and ballpoint pen on paper, 16 15 / 16 × 11 11 / 16 in. (43 × 29.7 cm).
Ackland Art Museum, the University of North Carolina at Chapel Hill. Gift from the Blanchard-Hill Collection, 2021.16.11. © 2021 Estate of Royal Robertson / Artists Rights Society (ARS), New York.

Plate 19 John B. Murray (American, 1908–1988), Untitled , ca. mid-1980s. Marker and paint on paper,