Your #Panel61 Highlights: Myth of Return

In the final, 60th panel of The Migration Series, Jacob Lawrence leaves us with the words “And the migrants keep coming.” The story of migration is ongoing; what would the 61st panel look like today? Featured below are some thoughtful responses to this question by local artists. Submit your #Panel61 on our recently launched Jacob Lawrence website.

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Panel 61 submission: Maria-Theresa Fernandes

Maria-Theresa Fernandes
(Above) “This large installation is comprised of 28 panels and shows the various communities that came to the UK, the influence of their culture on the local community, and the richness of what they bringm i.e. food, life, etc.”

(Below) “This work relates to migration and shows the various communities waiting in the queue to be accepted into the country; in this instance, Britain. The work is digitally photographed and manipulated with stitch and collage.”

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Panel 61 submission: Maria-Theresa Fernandes

 

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Panel 61 submission: Brian Whelan, “Myth of Return”

Brian Whelan
(Above) “In my painting Myth of Return, the passengers set out with nothing but a good wind in the sails, a single oar, and a light to steer by. All trust is put into the will of God and the new world to come. They carry little more than their songs, poems, a hope, and a prayer.”

(Below) “As a son of immigrants, I am no stranger to a new culture. Spending time in the US with my American wife has given me another address but the drive of my work remains the same: a search for a spiritual and metaphorical home, which finds some consolation and expression in the subjects I choose to paint. These themes are often narratives drawn from life’s comic tragedies, on both secular and religious planes.”

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Panel 61 submission: Brian Whelan

Learning to Unlearn Art: Twachtman’s Glimpse of Summer

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John Henry Twachtman, Summer, late 1890s. Oil on canvas, 30 x 53 in. The Phillips Collection, Washington, DC, Acquired 1919

“It’s a pretty painting,” I thought, looking at John Henry Twachtman’s Summer in a first floor gallery at the Phillips.

But no, I couldn’t say just that about a painting. I had to come up with a deeper analysis of it; I had to identify features that pertained to the style of the painter’s period, the symbolism that spoke to the culture of his own time, and the significance it had on the history of art in a bigger picture.

I racked my brain as I struggled to come up with a more specific analysis of the painting, getting closer to the work to capture details.

“The brisk brushstrokes of paint, the interplay of natural light, and the use of bright colors all contribute to the vibrancy to this plein-air painting. The well-blended layers of sky blue and hazy white create soft edges of the sky. As for the symbolism…”

Then I got stuck.

When I’m in a gallery, I often find myself struggling like this to apply academic and stylistic terms to the works. Of course, these are all important components to the general understanding of art history, but was this really what Twachtman was getting at?

“I feel more and more contented with the isolation of country life. To be isolated is a fine thing and we are all then nearer to nature,” Twachtman writes in a letter to fellow artist Julian Weir. Unlike myself, who tried to do an extensive interpretation of the work, Twachtman sought to immerse himself in nature, focusing on the momentary impression of color and light of the landscape.

What’s your first impression of Twachtman’s work? Throw out any words that come to your mind when you see the painting. No need for any fancy, technical terms—”pretty” was all I came up with. After all, it’s not fair that we do a lengthy, grandiloquent interpretation of Twachtman’s work, when what he really wanted to do was share an immediate glimpse of what he saw.

Come visit the Phillips and indulge yourself with Twachtman’s snapshot of the view; the serene colors, natural beauty, or anything about it that catches your eye. Don’t struggle; just marvel.

Summer Park, Marketing & Communications Intern

Between Absence and Presence: Rising River Blues

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(left) Whitfield Lovell, Whispers—Mattie When you Marry, 1999. Charcoal on wood and found objects. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York (right) Whitfield Lovell, Whispers—Rising River Blues, 1999. Charcoal on wood with found objects, 90 1/2 x 52 1/2 x 48 in. Courtesy DC Moore Gallery © Whitfield Lovell and DC Moore Gallery, New York

In Whitfield Lovell: The Kin Series and Related Works, the two tableaux pictured above (Mattie When You Marry at left and Rising River Blues at right) face each other on either end of a gallery. They were originally conceived as part of a larger installation that the artist developed in 1999 during a residency in Denton, Texas. Presented here, the single female and male figure represent the collective lives of Quakertown, the rural African American community that once thrived in the center of Denton from 1875 until 1924. In 1924, the residents were displaced when they were perceived as a threat to a nearby all white girls school. To help summon their memory, Lovell immersed himself in thousands of old family photographs from the Texas African American Photography Archive in Dallas.

The melodic sounds of “Rising River Blues” emanate from the phonograph you see in Rising River Blues and set the tone for the piece. The artist stimulates our sense of sound and sight with the textured layering of strewn clothes evocative of disembodied individuals, thereby inviting the viewer into a space that hovers between absence and presence.

Rising River Blues
Rising river blues, runnin’ by my door
Rising river blues, runnin’ by my door
They runnin’, sweet mama, like they haven’t run before

I got to move in the alley, I ain’t ‘lowed on your street
I got to move in the alley, I ain’t ‘lowed on the street
These rising river blues sure have got me beat

Mmm, mmmm, mmm, mmmm, hmmmm
Mmm, mmm, mmmm, mmm, hmmm,
Mmm, mmmmm

Come here, sweet mama, let me speak my mind
Come here, sweet mama, let me speak my mind
To cure these blues gon’ take a long, long time
–lyrics by George Carter, 1929

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