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"Crafting Sanctuaries: Black Spaces of the Great Depression South" seeks to change how we envision the Great Depression and its ‘other Southern half.’

Open Call for "Crafting Sanctuaries"

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Keith Haring painted confidently, creating boldly graphic lines in intricate patterns. With an instantly recognizable style, he developed profound narratives dealing with religion, queerness, greed, death, and love. However, he rarely made himself the focus of a work. 

Here, Haring’s distinctive technique meshes with a realism that departs from his usual, featureless figures. Unlike the artist’s typically kinetic, frieze-like compositions, 

 follows the traditions of European portraiture by presenting a cropped and static bust. 

The year of the work’s creation was a time of both success and tragedy for Haring. The artist recalls “By ... 1985, things ... seriously changed ... in my life, because the horror of AIDS had come to light.” Like historical portraiture, 

 simultaneously commemorates achievement and anticipates mortality. 

Although economically rendered, Haring’s features exude a depth that seems prescient of his own AIDS diagnosis in 1988. “I always knew ... that I would die young,” Haring said. “I live every day as if it were my last.”

Child's Companions

Light Atlas

Grandmother Gestating Father and the Washita River Runs Ribbon-Like

Diane Arbus

A box of 10 photographs

Thinking Outside the Box at the Museum of Fine Arts St. Petersburg

In the Heart of the Black Belt

Lake Valley

Considering Representation, Identity and Community Through Art at the RIT City Art Space

"Untitled" (L.A.)

Rufino Tamayo

Partner Story - Jordan Schnitzer Museum of Art

Engaging Community and Bridging Cultures

Perro aullando a la luna (Dog Howling at the Moon)

Robert Gober

Partner Story - El Paso Museum of Art

Creating meaning through technology

Untitled

Keith Haring

Self Portrait

 depicts a wintertime scene in rural Connecticut. The path in the foreground leads the viewer’s eye to a bustling inn, and the colorful sleds, prancing horses, and smoking chimney add a sense of mirthful warmth to the otherwise frigid scenery. 

Durrie was born in New Haven, Connecticut, and spent his life painting portraits and landscapes in the areas around his hometown. During the 1850s, the artist’s favorite subject was winter scenes like this one, which illustrate the liveliness of everyday country life. 

 is one of Durrie’s most accomplished works, combining charming storytelling with a refined sense of composition. His attention to detail delighted viewers, and the relatable narratives of rustic scenes provided a sense of nostalgia for Americans who were moving from rural to urban areas.

Re-Echo

Roxy Red Fugue

Peoria Riverfront Museum  -  Peoria, IL

Installation

Philip Guston

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An innovative new exhibition at Missoula Art Museum

Cigar

Double Nonsite, California and Nevada

Cityscape #3

Memorial Art Gallery - Rochester, NY

Memorial Art Gallery  -  Rochester, NY

David Hockney

Partner With Us

15 Canvas Study of the Grand Canyon

Untitled (Subway Station)

Lost at Sea

Munition Factory

Memphis Brooks Museum of Art

Memphis Brooks Museum of Art  -  Memphis, Tennessee

Terry Adkins

Partner Story - Memphis Brooks Museum of Art

Activating an existing collection in new ways at the Memphis Brooks Museum of Art

Native Son (Circus)

George Henry Durrie  To Hartford—IX Miles

George Henry Durrie

To Hartford—IX Miles

Interested in major themes, challenges, opportunities and programming examples?

Senga Nengudi’s multi-part A.C.Q. (Air Conditioning Queen) sculpture is constructed from a metal fan and nylon pantyhose. The work’s contrasting materials explore themes of gender; the industrially produced, metal objects exude masculinity while the delicate fabric of hosiery is intimately linked to the female body. 

Nengudi uses nylons that have been donated second hand because, as she states, they have a “residual energy of what it means for a woman to wear these objects.” The work’s rigid and inflexible metal components symbolize the harsh trials and monumental milestones of a woman’s life in a male-dominated world. The resilient flexibility of the pantyhose illustrates the ability of women to endure hardships and be shaped by triumphs. 

Nengudi is also a dancer, and these sculptures are constructed with an exquisite tension that simultaneously suggests the physicality of a string instrument and the endurance of her own body. The name Fandango is a play on words, referencing both the metal fan and the Spanish dance which the hosiery seems to emulate.

A.C.Q. - Fandango

Our Land

Senga Nengudi

A.C.Q. - Cross Eyed; A.C.Q. - Cross Ban; A.C.Q. - Cross Waves

Woman with Flowers

Celebrating Black Life at the Mattatuck Museum

Brenda P

MFA St. Petersburg  -  St. Petersburg, FL

Hughie Lee Smith

The Walls

The Shell Heap

No, No, New Museum

Westmoreland Museum of American Art  -  Greensburg, PA

Sherrie Levine

After Russell Lee: 1-60

Senga Nengudi (b. 1943), "A.C.Q. - Fandango", 2016-2017, fan and nylon pantyhose, 144 x 144 in. Art Bridges. Photography by Demetrius Neal.

Kenyon College  -  Gambier, OH

Frank Lloyd Wright  Laylight from the B. Harley Bradley House, Kankakee, Illinois