Instagrammer @bmpashle snapped a photo of this visitor with Whitfield Lovell’s Kin VI (Nobody), 2008 at left and Kin XLIX (The Well), 2011 at right.
Since the exhibition’s opening, we’ve seen tons of creative photos of Whitfield Lovell‘s Kin series and tableaux works. Highlighting a few of our favorites for this month’s ArtGrams! Share your photos in and around the museum for a chance to be featured on the blog.
Whitfield Lovell’s Rice Barton Series, 2004, as photographed by @risunshine143.
“Got to see some amazing pieces @PhillipsCollection today during my lunch break including this (Whitfield Lovell, Fortune, 2000). Photo: IG/chelloanne
“Sound traveling w/ 37 vintage radios. Making waves 🌊” Instagrammer (and Phillips Museum Assistant/emerging artist) @joelvincii pictured here with Whitfield Lovell’s After an Afternoon, 2008.
Of Lovell’s “At Home and Abroad” (2008), Instagrammer @benevelint notes: “Still relevant / sad reality”
Phillips Manager of Public Engagement and Instagrammer @kkdaley28 snapped this photo of Lovell’s Dawn to Dawn (2006) during opening week
Lovell’s Kin IX (To Make Your False Heart True), 2008. Photo: IG/artistjuliakwon
Accompanying this photo of Whitfield Lovell’s Cage (2001), Instagrammer @tohmase pairs the caption: “The first act of liberation is to destroy one’s own cage” – Michael S. Harper
Love this perspective from Instagrammer @baeyahh
ArtGrams is a monthly series in which we feature our favorite Instagrammed pictures taken around or inspired by the museum. Each month, we’ll feature a different theme based on trends we’ve seen in visitor photos. Hashtag your images with #PhillipsCollection or tag your location for a chance to be featured.
Exhibition Curator Elsa Smithgall shares the history behind Jacob Lawrence’s epic Migration Series in this video. In discussing the work’s impact on the world today, Smithgall commends the artist’s foresight: “Completing his series on the eve of World War II, Lawrence leaves us in Panel 60 with the message: ‘and the migrants kept coming.’ Lawrence was prescient in recognizing that the migration story would continue, inviting us to reflect on the migration experience in our contemporary world.”
In After an Afternoon, Whitfield Lovell omits the human figure, instead conjuring the aural past with sounds emanating from 37 vintage radios, some with stopped clocks and all stacked to approximately human height. The radios play three tracks: Billie Holiday singing “Yesterdays” and “Strange Fruit,” a Walter Winchell WWII news broadcast, and an excerpt from the 1940s radio program The Beulah Show. The Beulah Show aired on the radio from the late 1940s into the early 1950s, when it was adapted for television. It was the first sitcom to feature an African American as the main character, though it was continually criticized for contributing to negative racial stereotypes. Marlin Hurt, a white man, originally provided the voice of the main character Beulah (along with other characters) until his death in 1946, when Hattie McDaniel took over the role. The recording used here features the voice of Amanda Randolph, who voiced Beulah from 1953–1954.
After an Afternoon conveys overlapping narratives from the privacy of the home to the turmoil of the warfront, drawing on the connection between sound and memory to evoke the racial climate of a pre-civil rights era.