Introduction
The Called to Create exhibition at the National Gallery of Art is dedicated to the art created by representatives of African-American culture. This show brought together sculptures and paintings by Southern black artists who continued to develop despite discrimination. Moreover, all the exhibits are made from recycled materials that the artists found on the streets.
The show exhibits art by James ‘Son Ford’ Thomas, Lonnie Holley, Thornton Dial, and other artists. This exhibition is unique because it demonstrates the strength of the spirit of black people who, despite oppression and discrimination, sought to convey the African-American cultural heritage and the history of the struggle for social equality in their works. The very name show Called to Create expresses its central concept: the artist will continue to create art, regardless of external circumstances and conditions.
Thornton Dial’s Clothes Factory
One of the exhibits that immediately attracts attention is the Clothes Factory by Thornton Dial. As a basis, the artist used a mattress frame, on which he successively tied ropes and fabric patches, trying to convey the process of creating clothes by hand. It is a detailed work that requires great skill and special skills. However, because the painting is carelessly executed, it can be assumed that the author wanted to demonstrate that people are losing the knowledge and skills necessary for this craft.
In addition, Dial (1995) uses multi-colored spray paints that contrast with each other. Due to these contrasts and the shadows that they create, the picture seems more voluminous and deeper. The windows of a building, presumably a clothing factory, can be seen in the background, and the yellows and reds are used to give the impression of a fire (Dial, 1995). At the same time, the frame of the mattress in the foreground looks like a prison bar, blocking people from leaving the burning building.
The Sculpture of James ‘Son Ford’ Thomas
Another exhibit that deserves attention is the sculpture of James ‘Son Ford’ Thomas. As a basis for this work, the artist used a sculpture of a head made of unfired clay (Thomas, 1987). The head, with its appearance, resembles images of primitive people. Moreover, the sculpture has no name, which makes it an image of an unidentified person. Thomas made the sculpture very realistic due to the voluminous lips and wrinkles on the forehead and around the eyes. In addition, the artist used artificial hair, creating a beard and eyebrows from it. In addition, massive sunglasses are a distinctive feature of the sculpture. Thanks to them, Thomas combined the primitive with the present, demonstrating the inextricable link between the past and the present.
Lonnie Holley
In addition, the Lonnie Holley sculpture From the Beginning to the End to the Beginning is a rather remarkable exhibit. The name of the work conveys its true essence; they say that the artist sought to depict the birth of culture and the inevitable approach of its end with the onset of modernity. This 3D exhibit impresses with its depth and versatility. The sculpture is made of cast sand, and in its appearance, it resembles a fragment of a monument left by ancient people (Holley, 1985). Each of the four sides of the sculpture tells a separate story about how they lived, what they believed in, and who the ancient people worshiped.
Conclusion
In conclusion, the exhibition Called to Create: Black Artists of the American South is a journey back to the origins of culture. Moreover, it is a historical excursus from the first people to modernity, depicting how modernity suppresses authenticity. Considering the context in which the artists created their works, presented as exhibits, the central theme of this show is the struggle of African-American culture to exist in the modern world.
References
Dial, T. (1995). Clothes Factory [painting]. National Gallery of Art, Washington, DC, United States.
Holley, L. (1985). From the beginning to the end to the beginning [sculpture]. National Gallery of Art, Washington, DC, United States.
Thomas, J. “Son Ford”. (1987). Untitled [sculpture]. National Gallery of Art, Washington, DC, United States.