Published in conjunction with exhibitions held at High Museum of Art, Atlanta: February 6-May 9, 2021, Portland Museum of Art, Maine: June 19-September 12, 2021, and The Phillips Collection, Washington, DC: October 16, 2021-January 9, 2022. Exhibit is co-organized by the High Museum of Art, Atlanta, and the Portland Museum of Art, Maine, in collaboration with The Phillips Collection, Washington, DC. Includes bibliographical references.
Contents:
Directors' prefaces / Rand Suffolk, Mark H. C. Bessire -- Lenders and supporters of the exhibition -- Acknowledgments / Julie L. McGee, Jessica May, and Michael Rooks -- David Driskell: icons of nature and history / Julie L. McGee -- The budding modern art scene of Washington, DC, and David Driskell's early years / ReneĢe Maurer -- David Driskell at Skowhegan / Sarah Workneh and Katie Sonnenborn -- Self-portraiture / Shaun Leonardo -- Painting as liturgy / Michael Rooks -- David C. Driskell: the Fisk University years / Keith Morrison -- Lois Dodd in conversation with Jessica May -- William T. Williams in conversation wtih Julie L. McGee -- Two centuries: the canon redefined / Thelma Golden -- In his own words: David Driskell on the imperative of collecting African American art / Lowery Stokes Sims -- David C. Driskell: artist, advocate, and witness / Richard J. Powell -- Select writings by David C. Driskell / as chosen by Richard J. Powell -- David Driskell chronology / Monet Timmons -- Checklist -- Bibliography / Monet Timmons -- Authors and contributors.
Summary:
David Driskell (1931-2020) was one of the most revered and boundary-breaking American artists, long recognized for his vibrant and versatile painting and printmaking practice, which combined his sharp observation of American landscapes and his interest in the imagery and aesthetic innovations of the African diaspora. Driskell was equally well-known as a curator, art historian, and educator, and his career as both artist and scholar created a durable public record of the long history of art made by African Americans.The exhibition and accompanying catalogue survey seven decades of the artist s painterly practice from the 1950s forward. Driskell's command of color and line is showcased through his beloved subjects, including the natural world, remembrances of the Southern Black experience, and the Black Christian church. The book includes a primary essay by Driskell scholar and curator Julie McGee as well as many other testaments to Driskell by major American artists, art historians, and museum professionals. The catalogue also features a selection of Driskell's most significant writings, introducing the full range of his career to future generations of readers.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.