Untitled (Totem)

Isolation is a circumstance that seems to define the worlds of many outsider artists. Whether the isolation is cultural, racial, economic, geographic or psychological, these individuals’ lives and artistic expressions exist apart from the dominant or mainstream currents of society. The life and art of Hawkins Bolden are, in essence, the embodiment of isolation. “I felt a deep affinity for what he was doing, even though I was privileged with education and white, I understood it thoroughly, it was in the place I was from. I didn’t think Hawkins was anything different than I was. I felt close to him as a fellow artist,” said Houston artist Michael Galbreath. “At the time [in the 1970s, attending art school in his hometown of Memphis] I was seeing Rauschenberg and I saw the same kind of gestures, the same use of materials, picking up the world and rearranging it, and it was all right there with Hawkins. One of the interesting things about Hawkins Bolden is his engagement with the world sculpturally, how it is so tactile and also his sense of space, given that he is blind. He was engaging the world, figuring it out in a direct physical way. There is also the aspect of a frayed tether to Africa and African artistic traditions associated with protective totems. I recognized in Hawkins a direct link to that, his ancestral place,” said Galbreth—Jay Wehnert, Intuitive Eye

My Way: African American Art from the Black South

My Way: African American Art from the Black South

DATES / 
10/8
1/23/2022
CATEGORY / Multi-Media, Painting, Sculpture
Gerda Meyer Bernstein: Exercise in Futility

Gerda Meyer Bernstein: Exercise in Futility

DATES / 
7/15
11/28/2021
CATEGORY / Sculpture