Last weekend to see 'Bill Traylor' at the Smithsonian

Bill Traylor, Self-Portrait With Pipe, 1939-1942; pencil and colored pencil on cardboard, collection of Siri von Reis

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For those who haven't reached their "pinnacle" or are still searching for it, take heart and learn from a pro, a master, artist Bill Traylor (c.1853-1949) who started his renowned life's work when he was only 86.  (There is hope.) 

Then he started drawing and painting, and now, a quick web search find his works commanding prices from $25,000 to almost $400,000, the fee Christie's reported in January that a buyer paid for Woman Pointing at Man with Cane.
 

Expect prices to climb.

 Bill Traylor, Female Drinker, 1939-1942; gouache and pencil on cardboard, Metropolitan Museum of Art

Mr. Traylor may be the only known artist who was formerly a slave and an illiterate to see an exhibition of his work while he was alive, a show which was assembled by a white artist captivated by Mr. Traylor whom he found drawing on the streets of Montgomery, Alabama. (Although the exhibition included 100 works, none sold.)

Formerly labeled "outsider" or primitive art, the new definition calls Mr. Traylor's, "modern."  Self-taught, Mr. Traylor lived most of his life as a slave and laborer in Alabama where he was born.

 Bill Traylor, Untitled (Woman With Umbrella and Man on Crutch), 1939; pencil and opaque watercolor on paperboard, Smithsonian American Art Museum.

When he was about 12 (his birth year is uncertain), he and family members, with about four million of their brothers and sisters, were freed by the 13th Amendment to the U.S. Constitution which abolished slavery.

Mr. Traylor spent the next 45 years as a laborer.

 Bill Traylor, Untitled (Smoking Man With Figured Construction), 1939-1942; poster paint, crayon, and graphite on cardboard, High Museum, Atlanta

In his mid-70s he moved to Montgomery where he resided on streets, in businesses, and in funeral homes in-between visiting relatives in other states and places until his death.

A few years earlier found him on the sidewalks of Montgomery and later, in his daughter's backyard, drawing and drawing, using recycled materials and pencil, charcoal and watercolors, to make thousands of works, to attract the attention of Charles Shannon who befriended him and began supporting the budding artist with art materials.

Bill Traylor, Cedar Trees, 1939-40; compressed charcoal on cardboard, collection of Dame Jillian Sackler

Traylor's subjects stemmed from his background on the plantation and the sights and sounds he saw from his art perch in Montgomery.

Distinctive stick figures, usually in one or two colors, mark the works, many, reminiscent of Egyptian hieroglyphs and cave art. His rich background provided a springboard to pictures of animals, dogs, snakes, dancers, handicapped individuals in dark silhouettes on flat, one-color, plain landscapes.

 Bill Traylor, Untitled (Radio) 1940-42; opaque watercolor and pencil on printed advertising paperboard,  Smithsonian American Art Museum. An example of Mr. Traylor's usage of discarded cardboard and box tops.  He recycled as an artist long before it became a popular medium.


In 1942 Mr. Traylor's works went on exhibition in New York where Alfred Barr, the director of the Museum of Modern Art, offered $1 to $2 a piece for them. Denied. No museum or person bought any.

But it took the now defunct Corcoran Gallery in Washington and its 1982 exhibition, Black Folk Art in America, 1930-1980 to whet interest in Mr. Traylor's depictions and fly away, they started.

Bill Traylor, Untitled (Yellow and Blue House with Figures and Dog), July, 1939; colored pencil on paperboard, Smithsonian American Art Museum.  The label copy says Mr. Traylor's seven decades on a plantation served as inspiration for his house scenes.  Ladders to the roof were safety features in case of fire. The figure in the chair on the bottom holds a rifle.

Bill Traylor, Untitled (Man, Woman, and Dog), 1939; crayon and pencil on paperboard, Smithsonian American Art Museum. The label copy mentions dancing couples "with wild abandon" often seen in "jook"joints near Traylor's artist's station in Montgomery. Like then, like now, "elders" frowned upon suggestive dancing, considered by some to be the work of the devil and a preface to notorious behavior. Is that their hair or halos on their heads? Is the woman pregnant? The dog has a good time, too. Viewers can "hear" the music!

Bill Traylor about 1939 by Jean and George Lewis, courtesy of Caroline Cargo Folk Art Collection, Cazenovia, NY

The white artists' collective, New South, founded by Charles Shannon who organized the first Traylor exhibition: Bill Traylor, People's Artist, 1940; photograph by Jean and George Lewis, courtesy of Caroline Cargo Folk Art Collection, Cazenovia, NY 

Through Sunday, 155 of Mr. Traylor's works will be on display at the Smithsonian American Art Museum, the first retrospective for an artist born into slavery.

 
In a "hot list" of outsider art published last December at Christie's, art specialist Cara Zimmerman listed Mr. Traylor’s works second.

Not one of Mr. Traylor's 15 to 20 offspring (estimates vary about the number of children he had) were left any of their father's art.

Leslie Umberger, the Smithsonian curator, spent seven years researching the show, according to an article in the Smithsonian, and it shows.  When you see an exhibition like this and understand a little about the artist, you rejoice in his achievements and wish he were still around to receive the accolades.

 

What:  Between Worlds:  The Art of Bill Traylor

When: Closes Sunday, April 7, 2019. The museum is open from 11:30 a.m. - 7 p.m. every day.

Where: Smithsonian American Art Museum, 8th and F streets, N. W., Washington, D.C. 20004

How much: No charge

For more information: 202-633-1000 or visit the website.

Metro station: Gallery Place-Chinatown or walk 10 minutes from Metro Center

patricialesli@gmail.com

Rodarte fashion show ends Sunday at NMWA

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

The eye-popping, incredible Rodarte exhibition of gowns and apparel, designed by the hot costumers of stage and screen, the Mulleavy sisters, will enjoy its last day at the National Museum of Women in the Arts on Sunday.

For anyone remotely interested in design, the combination of nature and costuming, fashion, creativity, and women's gowns, this is must-see. To miss it is to deprive yourself of one of the most spectacular shows in the history of the Women's Museum.

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Rodarte is the first fashion exhibition at NMWA where the Mulleavys say they "are honored to be the first designers" featured.

The name of the house built by Kate (b. 1979) and Laura (b. 1980) comes from their mother's maiden name, Rodarte.
 
Sounds rather Italian, doesn't it?

These are dresses and slips worn by Kirsten Dunst in the Mulleavys' 2017 film, Woodshock. Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

A slip worn by Kirsten Dunst in the Mulleavys' 2017 film, Woodshock. Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

The museum's Fall 2018 issue of Women in the Arts  quotes Kate Mulleavy: "There is probably a little bit of California's natural beauty in every one of our collections," and Laura Mulleavy: "Nature inspires our choice of colors and the way we build garments" incorporating flowers and other natural plants and pieces found outdoors. 

Like Sean Scully whose Landline series stemmed from memories of his childhood in Dublin, Ireland and the natural lines of sea and horizon, the sisters credit nature and the outdoors where they played as children for the source of many of their creations.

The label copy reads:  "Horror films, a favorite cinematic genre of the Mulleavys, inspired this collection. For these looks, they undertook a laborious process of bound-resist dyeing in order to achieve the precise blood-red hue." Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Natalie Portman wore this tutu in Black Swan, 2010. Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Growing up, the sisters' stomping grounds lay between San Francisco and Monterey, and the two also had access to film production lots, another source of inspiration. Their college educations in art history (Kate) and literature (Laura) served as springboards to possibilities and adaptations, strengthening their inclinations to use natural elements and what lay around them.

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Jill D'Alessandro, the guest curator from the Fine Arts Museums of San Francisco, wrote that when "Rodarte burst onto the scene in 2005," the house took "the fashion and art world by surprise with their deeply personal and conceptual approach to fashion design." 

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Almost 100 creations spanning the life of Rodarte define the show with the most enthralling gallery, the last, the garden room, filled with florals and outrageous combinations and flaming colors.  It's rather like a giant dollhouse of science fiction, life size mannequins in a fairy land at the height of femininity.  Another world, adopting the station of womanhood and submission from centuries ago, to women dressed today romantically and idealistically to fit conceptions of what could be.

In the Garden Gallery at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

In the Garden Gallery at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

In the Garden Gallery at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

In the Garden Gallery at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

In the Garden Gallery at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

In the Garden Gallery at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Shades of Vincent van Gogh's Starry Night and sunflowers at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Star Wars gowns at the Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

 

Rodarte Collection, National Museum of Women in the Arts, Washington, D.C./Photo by Patricia Leslie

Please, come and compare your impressions to mine and write soon.

Virginia Treanor, associate curator at the NMWA, assisted with production of the exhibition.

What: Rodarte
 
When: Through Sunday, February 10, 2019. The National Museum of Women in the Arts is open Mondays through Saturdays, 10 a.m.-5 p.m.; Sundays, 12-5 p.m.
 
Where: The National Museum of Women in the Arts, 1250 New York Avenue, N.W., Washington, D.C. 20005
 
Admission:  $10, adults; $8, seniors and students; and free for members and children, 18 and under.
On the first Sunday of each month, "Community Day," there is no charge for admission.
 
For more information: 202-783-5000 or visit nmwa.org.
 
Metro stations: Metro Center (exit at 13th Street and walk two blocks north) or walk a short distance from McPherson Square.

patricialesli@gmail.com



 

Sean Scully has left the Hirshhorn

Sean Scully at the opening of Sean Scully: Landlines, Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept.12, 2018/Photo by Patricia Leslie

Dear All,

If the Trump shutdown or other reason caused you to miss the fabulous exhibit, Sean Scully: Landline, at the Hirshhorn Museum and Sculpture Garden, please see images here of the show and of the artist who came to town for the opening and to talk about his art. 

The Landline series made its U.S. debut at the Hirshhorn after appearing at the Venice Biennale in 2015. 

Sean Scully with his Landline: Bend Triptych, 2017, private collection, at the opening of Sean Scully: Landlines, Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept. 12, 2018/Photo by Patricia Leslie

Sean Scully at the opening of Sean Scully: Landlines, Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept. 12, 2018/Photo by Patricia Leslie

According to the Hirshhorn, the "Landline paintings show Scully's transition away from his earlier hard-edged minimalism to his current, more expressive style, a style that no doubt elicits the beauty and brilliance of the natural world" which Mr. Scully conveys by watercolors, oils, and sculptures.

Sean Scully, Stack Blues, 2017, private collection, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C./Photo by Patricia Leslie 

Sean Scully, Landline Baltic, 2018, Landline Far Blue Lake, 2018, and Untitled (Landline), 2016, all loaned by private collectors, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C./Photo by Patricia Leslie

Mr. Scully is quoted at Wikipedia in a 2005 article by Joao Ribas:

I hold to a very Romantic ideal of what's possible in art, and I hold to the idea of the 'personal universal.' This is a complex agenda. My project is complicated in this way, and in that sense I'm out of fashion. I'm going against the current trend towards bizarreness, oddness; as you just called it, the 'esoteric', which of course was around in the 1930s. That's what is being revisited now. In between the two great wars, there was a very strong period, particularly in Europe, of a strange, bizarre, distorted and perverse kind of figuration, with freaks in the paintings. Very disturbing twins, subjects like that. These paintings were mostly coming out of Italy and Germany. Now we have a return to that—again in a strange period, after the end of Modernism.

 Sean Scully, Landline Blue Red, 2016, private collection, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C./Photo by Patricia Leslie

Sean Scully, Landline Orient, 2017, private collection, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C./Photo by Patricia Leslie

Sean Scully, Horizon Nine, 2013, private collection, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C./Photo by Patricia Leslie

Sean Scully, Landline 5.20.15, 2015, private collection, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C./Photo by Patricia Leslie

At his website, Mr. Scully outlines his life in years: He was born in 1945 in Dublin and grew up in a working class neighborhood in London. He attended Catholic schools and was influenced by the paintings he saw in parishes. As a boy, he wanted to become an artist.  

When he was a teenager, he became interested in American rhythm and blues and started a music club. He continues to love popular music.

Sean Scully with his Stack Colors, 2017, private collection, at the Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept.12, 2018/Photo by Patricia Leslie

Sean Scully at the opening of Sean Scully: Landlines, Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept. 12, 2018/Photo by Patricia Leslie

Sean Scully at the opening of Sean Scully: Landlines, Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept.12, 2018/Photo by Patricia Leslie

Sean Scully at the opening of Sean Scully: Landlines, Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept. 12, 2018/Photo by Patricia Leslie

Sean Scully at the opening of Sean Scully: Landlines, with Melissa Chiu, Hirshhorn director, and  Stéphane Aquin, chief curator, Hirshhorn Museum and Sculpture Garden, Washington, D.C., Sept.12, 2018/Photo by Patricia Leslie

Mr. Scully attended art classes in London where he regularly visited Vincent van Gogh's Van Gogh's Chair (1888) at the Tate Gallery. Its "directness has a profound effect on the young artist," according to his bio.

 Vincent van Gogh, Van Gogh's Chair, 1888/www.VincentVanGogh.org

At age 21, Mr. Scully "decides to dedicate himself entirely to art studies" and continues art classes.

He was 28 when, at his first solo show in London, every piece sold, Four years later New York City was the venue for his first solo exhibition in the U.S.  In 1983 his 19-year-old son, Paul, died in a car accident, the same year Mr. Scully became an American citizen.  

In 2015 when the Landline series was featured at the Venice Biennale, Mr. Scully was honored by the Chinese as the first western artist to enjoy a major retrospective there.

Melissa Chiu, the Hirshhorn director calls him "one of the most influential painters working today" and curator Stéphane Aquin comments that Mr. Scully's style stems from abstract expressionism, "inspired by personal memories" of his growing up years in Ireland, especially his time, the Hirshhorn says, "looking out to sea."

Landline next travels to the Wadsworth Atheneum Museum of Art in Hartford, Connecticut where it opens February 23, 2019. 

Sandy Guttman provided curatorial assistance at the Hirshhorn. A catalogue is available.

patricialesli@gmail.com