In the Line of Duty Collecting African American Art

The Collecting of African American Art

The Collecting of African American Art series focuses on distinguished private collections of African American art in the United states of america.

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Artists Leonardo Drew and Jennie C. Jones with Pamela J. Joyner, collector. The Joyner/Giuffrida Collection of Abstruse Art is widely recognized every bit 1 of the most significant collections of modern and contemporary piece of work by African and African Diasporan artists. Iv Generations: The Joyner Giuffrida Collection of Abstract Art draws upon the drove'south unparalleled holdings to explore the critical contributions made by artists to the evolution of visual art in the 20th and 21st centuries. Extensively illustrated with hundreds of works in a diversity of media, and featuring scholarly texts by leading artists, writers, and curators, Four Generations gives an essential overview of some of the most notable artists and movements of the last century, up to and including works being made today. The drove features major works by artists such as Beauford Delaney, Jacob Lawrence, Alma Thomas, David Hammons, Sam Gilliam, Lauren Halsey, Oscar Murillo, Jayson Musson, Robin Rhode, Zander Blom, and Lynette Yiadom-Boakye. In honor of the book publication, Pamela J. Joyner joins artists Leonardo Drew and Jennie C. Jones in this conversation held on September 25, 2016, at the National Gallery of Art as function of the serial, The Collecting of African American Art.

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Maria Kanellopoulos, collection-managing director and exhibition coordinator, Wedge Curatorial Projects; Kenneth Montague, collector, curator, and director, Wedge Curatorial Projects; and Trevor Schoonmaker, chief curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art, Nasher Museum of Art at Duke University. Kenneth Montague is a Toronto-based art collector and the founder and director of Wedge Curatorial Projects. Created in 1997, Wedge evolved from a commercial gallery into a nonprofit organisation, exhibiting photo-based work with a strong focus on exploring black identity and the African diaspora. Wedge has collaborated with local and international institutions to create original exhibitions, educational programming, publications, and film and music series that speak to youth about shaping their own identity. In 2011 Montague organized Condign: Photographs from the Wedge Collection in collaboration with Trevor Schoonmaker at the Nasher Museum of Art at Knuckles Academy. In this chat recorded on March 9, 2014, at the National Gallery of Art as part of the Collecting of African American Fine art series, Montague and Schoonmaker discuss the history and mission of their individual institutions and collaborations betwixt them. Chastened past Maria Kanellopoulos, Wedge drove-managing director and exhibition coordinator, the chat likewise considers the future of acquisitions, exhibitions, and scholarship of work of the African diaspora.

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Ruth Fine, curator (1972–2012), National Gallery of Art, and Rodney Thousand. Miller, collector. In this conversation recorded on February 9, 2014, as part of The Collecting of African American Fine art, a series at the National Gallery of Art, Ruth Fine and Rodney Yard. Miller talk over his drove in all of its aspects—from his early interest in art to the development of his diverse interactions with gimmicky artists, curators, and dealers. Miller explains the important event that fine art has in chronicling and providing a more complete view of club.

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Darryl Atwell, a collector based in Washington, DC, has been acquiring works past artists of the African diaspora for the last eight years. His conversation with Jeffreen Thousand. Hayes, Andrew W. Mellon Curatorial Fellow in African American Art, Birmingham Museum of Art, recorded on November xviii, 2012, as part of the National Gallery of Art lecture series The Collecting of African American Art, provides an overview of Atwell's important collection. They as well discussed the collecting of African American art in full general and the rise of contemporary African American artists. Hayes is a scholar whose research interests are African American visual culture, gimmicky representations of race, and fine art museums.

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Darryl Atwell, collector, and Jeffreen M. Hayes, Andrew West. Mellon Curatorial Fellow in African American Art, Birmingham Museum of Fine art. Darryl Atwell, a collector based in Washington, DC, has been acquiring works by artists of the African diaspora for the last eight years. His conversation with curator Jeffreen M. Hayes, recorded on Nov 18, 2012, as part of the National Gallery of Art lecture series The Collecting of African American Art, provides an overview of Atwell's important collection. They besides discussed the collecting of African American fine art by others and the rise of contemporary African American artists. Hayes is a scholar whose research interests are African American visual culture, contemporary representations of race, and art museums.

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Recorded on February 26, 2012, every bit part of the National Gallery of Art lecture series The Collecting of African American Art, former National Basketball Clan players Elliot Perry and Darrell Walker discuss their collections of African American fine art and art of the African diaspora with Professor Michael D. Harris. Perry and Walker began to collect art during their extensive travels for their professional sports careers, and both have amassed important holdings of mod and contemporary art that have been exhibited throughout the United States. Both have as well dedicated themselves to educational and philanthropic causes to preserve and showcase African American civilization. Professor Harris is an artist, curator, and scholar of gimmicky African and African American art and has contributed to the exhibition catalogue Images of America: African American Voices: Selections from the Collection of Mr. and Mrs. Darrell Walker.

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Elliot Perry and Darrell Walker, collectors of African American art and art of the African diaspora and onetime players for the National Basketball Association, and Michael D. Harris, associate professor of fine art history and African American studies, Emory University. In this conversation recorded on February 26, 2012, as part of the National Gallery of Fine art lecture series The Collecting of African American Fine art, onetime National Basketball game Association players Elliot Perry and Darrell Walker discuss their collections of African American fine art and art of the African diaspora with Professor Michael D. Harris. Perry and Walker began to collect art during their extensive travels for their professional sports careers, and both take amassed important holdings of mod and contemporary art that take been exhibited throughout the U.s.a.. Both take likewise dedicated themselves to educational and philanthropic causes to preserve and showcase African American culture. Professor Harris is an artist, curator, and scholar of contemporary African and African American art and has contributed to the exhibition catalogue Images of America: African American Voices: Selections from the Drove of Mr. and Mrs. Darrell Walker.

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David C. Driskell, creative person, collector, and emeritus professor of art history, University of Maryland at Higher Park, and Ruth Fine, consulting curator of special projects in modern art, National Gallery of Art. Highly respected as an artist, art historian, curator, and teacher, David C. Driskell's life as a collector is less well known. In this effect recorded on Feb 12, 2012, as part of the National Gallery of Fine art lecture series The Collecting of African American Art, David C. Driskell and Ruth Fine discuss publicly for the first time the expansive range of his fine art acquisitions, which he started to collect during his years as an art student at Howard University in Washington, DC. Amongst the treasures in Driskell'south collection are onetime master and modern European prints, antique rugs, African sculpture, and works by African American masters from the 19th century through the present.

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Harmon and Harriet Kelley, collectors, and Deborah Willis, professor, Tisch School of the Arts, New York University. Since 1987 Harmon and Harriet Kelley have amassed an art collection that represents a kaleidoscopic view of African American life and cultural history from the 19th to 21st centuries. In this conversation recorded on February 22, 2009, as office of the National Gallery of Fine art lecture series The Collecting of African American Art, Deborah Willis speaks with the Kelleys about their passion and determination to build a collection that advances and preserves the legacy of African American art.

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Ruth Fine, curator of special projects in mod art, National Gallery of Fine art, and Juliette Bethea, collector. In this issue recorded on February 15, 2009, as part of the National Gallery of Art lecture series The Collecting of African American Art, Ruth Fine speaks with Washington, DC-based collector Juliette Bethea well-nigh her life–long passion for learning and what inspired her to begin acquiring art nearly 40 years ago. Bethea discusses how moving to Washington in 1967 after years of traveling abroad marked a turning bespeak in her engagement with the arts. Through the strong customs of artists connected to the Howard Academy customs, Bethea developed a connexion with the local art scene.

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Jacqueline Francis, independent scholar. In this presentation recorded on February 8, 2009, every bit part of the National Gallery of Art lecture serial The Collecting of African American Art, Jacqueline Francis traces the origins of collecting African-American fine art in the United states of america and the role of American bookish institutions, galleries, and specialized museums in supporting these artists. Francis focuses on half-dozen distinguished individual collections: Barnett-Aden; Camille O. and William H. Cosby Jr.; Walter O. Evans; David C. Driskell; Grant Colina; and Harmon and Harriet Kelley. She also provides an overview of institutional

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Paul R. Jones, collector, and Amalia Thousand. Amaki, professor of fine art history, Academy of Alabama at Tuscaloosa. For the third program in the National Gallery of Art lecture series The Collecting of African American Art, recorded on February 24, 2008, Paul R. Jones discusses collecting with Amalia K. Amaki, editor and contributing author of A Century of African American Art: The Paul R. Jones Collection, which features his conquering of works by near lxx artists, virtually of which he has given to the Academy of Delaware. Jones discusses his dedication to supporting emerging African-American artists, including his efforts to see that they are better represented in public collections. Jones also reveals how he began collecting art while he was pursuing a career in public service, including working in civil rights, housing and urban evolution, and the Peace Corps.

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Andrea Barnwell Brownlee, director of Spelman College Museum of Fine Art, and Walter O. Evans, collector. In this chat recorded on February 17, 2008, as part of the National Gallery of Fine art lecture serial The Collecting of African American Art, retired surgeon Walter O. Evans discusses his boggling collection with Andrea Barnwell Brownlee. Brownlee was the primary author of The Walter O. Evans Collection of African American Art, a catalogue that accompanied an international exhibition of mid-19th- to tardily-20th-century works from Evans' holdings. Their conversation explores how Evans began acquiring African American art, his friendships with artists and writers, and his future plans for the collection.

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Alvia J. Wardlaw, associate professor, Texas Southern University and curator of modern and contemporary art, Museum of Fine Arts, Houston. For the inaugural lecture of the National Gallery of Art lecture series The Collecting of African American Art, recorded on Feb x, 2008, Alvia J. Wardlaw provides an overview of the substantial history of collecting African American art. She regards the preservation of objects of cultural importance inside the African American customs equally a holistic endeavor. Collecting was not merely about acquiring items for private holdings but also establishing a connection between African Americans and their African past, enabling families and communities to laissez passer on traditions. Wardlaw relates the part of collectibles, including such cherished items every bit family photographs and Bibles, to the interest in collecting African American artworks, which arose in the 19th century. She too examines this phenomenon within the context of individual artistic careers, intellectual movements, and trends in the patronage of African American art.

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Source: https://www.nga.gov/audio-video/collecting-african-american-art.html

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