In the Conservation Studio with William Christenberry

christenberry-in-conservation

Collections Care Manager Laura Tighe in the Phillips’s conservation studio

We were saddened to hear of the passing of beloved Phillips trustee emeritus and distinguished artist William Christenberry earlier this week. His work continues to resonate and impact in our galleries and beyond. Here, Collections Care Manager Laura Tighe is matting and preparing a microclimate frame for two color photographs by the artist. The works (“Bread of Life,” near Tuscaloosa, Alabama, 1989/printed 1995 above at left; “Church across Early Cotton (Vertical View),” Pickinsville, Alabama, 1964/printed 2000 below and to right) will be part of an upcoming solo exhibition in December 2016 at Maryland Institute College of Art.

Nobody, No Time!

lovell_kin-vi-nobody

Whitfield Lovell, Kin VI (Nobody), 2008. Conté on paper and wooden chain, 30 in x 22 1/2 x 7/8 in. Collection of Julia J. Norrell © Whitfield Lovell and DC Moore Gallery, New York

With the provocative subtitle for this Kin and the symbolism of the chain cradling the female face, Whitfield Lovell explores the sense of alienation of the ordinary individual while also challenging assumptions about what it means to be accepted in society. Lovell chose to depict this woman because she immediately felt like someone he knew, reminding him of an older relative. “Nobody” is also the title of a 1905 song written by Bert Williams and Alex Rogers that was later performed by Nina Simone, one of the artist’s favorite singers.

Nobody
When life seems full of clouds an’ rain
and I am filled with naught but pain,
who soothes my thumpin’ bumpin’ brain?
Nobody
When winter comes with snow an’ sleet,
and me with hunger and cold feet,
who says “Ah, here’s two bits, go an’ eat!”
Nobody
I ain’t never done nothin’ to nobody,
I ain’t never got nothin’ from nobody, no time!
And until I get somethin’ from somebody, sometime,
I don’t intend to do nothin’ for nobody, no time!
When I try hard an’ scheme an’ plan,
to look as good as I can,
who says “Ah, look at that handsome man!”
Nobody
When all day long things go amiss,
and I go home to find some bliss,
who hands to me a glowin’ kiss?
Nobody
I ain’t never done nothin’ to nobody,
I ain’t never got nothin’ from nobody, no time!
And until I get somethin’ from somebody, sometime,
I don’t intend to do nothin’ for nobody, no time!
Nobody, no time!”
–lyrics by Bert Williams and Alex Rogers, 1905

Whitfield Lovell: The Kin Series and Related Works is on view through Jan. 8, 2017.

Tiffany Jones’s Panel 61

The story of migration is ongoing. In the final, 60th panel of The Migration Series, Jacob Lawrence leaves us with the words “And the migrants keep coming.” The Phillips has invited contemporary artists to continue Jacob Lawrence’s work. Check the recently launched Jacob Lawrence website for additional works to be unveiled in this dynamic curated selection, or contribute your own #Panel61.

tiffany-jones_migration-by-a-new-generation

Tiffany Jones, Migration by a New Generation (from unFaded), 2016. Mixed media on wood panel, 16 x 20 in.

Tiffany Jones, Migration by a New Generation (from unFaded)

JIM CROW: 1877–1960’s

GREAT MIGRATION: 1910–1970

Barbershops began defining their Black Space during the turn of the 20th century. The industry shifted from a service to whites into a foundation for the beginning of a black cultural movement. The number of black barbershops increased as a new generation considered the organization and safety of black communities.