The Ohr-OâKeefe Museum of Art Receives Major Gift of 50 Artworks From Collector Gordon W. Bailey
May 19, 2021 13:17
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Wallace Nez (United States, 1972- ), Seed Pot, c. 1999, polychrome sgraffito, 3 x 4 in.
Purvis Young (United States, 1943-2010), There Are Angels In The City, c. 1990s, mixed media on wood, 55 1/2 x 48 x 1 in.
The Ohr-OâKeefe Museum of Art in Biloxi, Mississippi has received a major donation of 50 artworks by Los Angeles-based, advocate and collector Gordon W. Bailey.
The transformative gift features African American artists Leroy Almon, David Butler, Richard Dial, Thornton Dial, Minnie Evans, Roy Ferdinand, Sandy Hall, Clementine Hunter, Charlie Lucas, Juanita Rogers, Sulton Rogers, Welmon Sharlhorne, Herbert Singleton, Willie White, and Purvis Young; Native Americans, Silas and Bertha Claw, Betty Manygoats, Elizabeth Manygoats, Wallace Nez, and Lorraine Williams; and Southern potters, Burlon Craig,
May 19, 2021
WASHINGTON, DC As part of the museum’s centennial celebrations, The Phillips Collection presents
Jacob Lawrence: The American Struggle, the first reunion since 1958 of the celebrated artist’s 30-panel series
Struggle: From the History of the American People. The exhibition includes two panels discovered in 2020 and 2021, offering a rare opportunity to reconstitute the lost narrative of the series and with it a radically integrated view of American history. The five-stop national exhibition tour organized by the Peabody Essex Museum culminates at the Phillips from June 26 to September 19, 2021.
Jacob Lawrence (1917-2000) was one of the greatest American artists of the 20th century. Early in his career, he developed his unique multi-panel format and painted narratives portraits of the lives of famed African Americans. In 1942, Duncan Phillips purchased the odd-numbered panels of his acclaimed
Hong Hong in conversation. The performance of ritual, with its physical demands and cyclical patterns, grounds Hong s papermaking and opens a channel of communication between present and past, the artist and her ancestors, and the mundane and the divine. In her work and installations, Hong investigates human experiences of time, dimension, and space. She will discuss her installation at Asia Society, where the architecture is both a support and a counterpoint for ideas of scale, visual perception, and experiential connection.
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Maybe the word most associated with Georgia O’Keeffe is “vagina,” but it could just as easily be “cash.” Sold in 2014 for $44.4 million, “Jimson Weed/White Flower No. 1” holds the record for the highest price ever paid for a painting by a woman. A single white trumpet flower, cropped so close against an emerald tumult as to seem almost like a periscope peering out of a sea, it now hangs in the Crystal Bridges Museum of American Art, in Bentonville, Arkansas. A companion piece, less expensive, less vaginal, belongs to the Indianapolis Museum of Modern Art, about twenty minutes from where I grew up, in a suburb where fathers presented their daughters with promise rings.