African-American Art

Martin Puryear is Perfect for The Venice Biennale

The Trump Administration's tardiness in announcing which American artist would represent the United States at the forthcoming 2019 Venice Biennale was incredibly unusual. And it lead some to speculate that partisan officials were plotting to push the selection of an artist who would exhibit work that represented Trump at the expense of artistic quality. Thankfully, that was not the case and a few days ago it was announced that Martin Puryear would create new pieces for the United States Pavilion at one of the most important events in the international art world. Puryear is in many ways the perfect choice to represent the United States in 2019, with a decades-long body of work that is an effective  foil to the Trumpian zeitgeist.

The 77-year-old Puryear, a native of Washington DC, earned his undergraduate degree in Fine Art from the Catholic University of America in 1963 and holds an MFA from Yale. He served in the Peace Corps in Sierra Leone and studied at the Royal Swedish Academy of Arts as well. He has been featured in the Whitney Biennial three times. MoMA, SFMoMA, MoMA Fort Worth, and the National Gallery collaborated on a traveling retrospective of his work. The recipient of both a MacArthur "Genius Grant" and a Guggenheim Memorial Foundation Fellowship, Puryear received the Gold Medal in Sculpture from the National Academy of Arts in 2007. He was awarded the country's highest honor for artists, the National Medal of Arts, in 2011 by President Obama. In short, Martin Puryear has the pedigree of an artist who should be featured at the Venice Biennale.

Puryear is also multi-talented. He is primarily a sculptor, but has also created furniture, tools, and other non-art objects. His work is often large scale and regularly commissioned for the public sphere. In 2014 he unveiled his Slavery Memorial on the campus of Brown University in Providence, Rhode Island. The work takes the form of a half-buried ball and chain. The ball emerges from the ground as a bronze dome with a chain jutting towards the sky where it terminates in a broken link. At the breakage, the chain is polished to a mirror finish, reflecting the sky and trees above. On a granite plinth nearby, a plaque displays a text remarking on the ways in which Brown University profited from the international slave trade and the unpaid labor of Africans and African-Americans. It is an incisive and moving piece that calls to account for historic wrongs committed by the University that commissioned it.

Brown University Slavery Memorial , Photo via Brown Univeristy by Warren Jagger

Brown University Slavery Memorial, Photo via Brown Univeristy by Warren Jagger

Puryear is an artist who is not only concerned with the conceptual, but also with the craft involved in making objects. As a result, his work is often both formally and conceptually complex. His large scale sculptures have an inkling of abstraction but also reveal narratives that reflect the real world. One of his most notable works, Ladder for Booker T. Washington (1996), shows his dedication to craft and thoughtful construction as well as his interest in history, politics, and sociology. The piece is a dramatically foreshortened and abstracted ladder that appears to recede into the far distance. It was constructed utilizing a single ash sapling hewed from Puryear's own New York property. The sapling was split precisely down the center and connected with maple rungs. Although it is essentially an abstraction, Puryear's Ladder is also a highly familiar and recognizable object. And it tells a story, too.

Ladder for Booker T. Washington,  wood (ash and maple), 1996,  The Modern Art Museum of Fort Worth

Ladder for Booker T. Washington, wood (ash and maple), 1996, The Modern Art Museum of Fort Worth

Booker T. Washington  was one of the most prominent thinkers of his generation. An advisor to Presidents Roosevelt and Taft, Washington advocated for African-Americans in a variety of ways but suggested that through industrious pursuits they could improve their own opportunities in the United States. This idea made him the intellectual counterbalance to other intellectuals like W.E.B. Dubois, who sought political routes and protested to broaden civil rights for African-Americans. Puryear's Ladder for Booker T. Washington suggests the winding road of progress that comes with proposed self-improvement. It also reflects the idea of the sometimes-apocryphal "American Dream" in which raising one's own status through labor and entrepreneurship would allow for a rise up the societal ladder.

In this piece, Puryear punctures Washington's arguments by suggesting the fraught nature of self-improvement for groups of people who are systematically disadvantaged by the political structures of their society. Puryear ironically utilizes his own skills and industriousness to undermine the idea that these qualities alone can change the course of an individual life. The work is quintessentially American and plays on many preconceptions about American life. It is a great expression, not only of an idea about African-American history, but also of the experience of a broad swath of the American public. It successfully combines craft and concept to educate and inform viewers.

In another large scultpure, Big Phrygian (2010 - 2014), exhibited at Matthew Marks Gallery in 2015, Puryear uses painted red cedar to created a monolithic version of the Phrygian Cap which was worn historically to denote liberation. During the French Revolution les sans-culottes often donned le bonnet rouge as an additional sartorial statement of their ardor for liberté. The use of such headgear to mark free men in the eighteenth century is likely a bastardization of the pileus, another type of hat, which in antiquity was the sign of a manumitted slave. Re-contextualized for the American scene, Puryear's Phrygian suggests the incomplete work towards emancipation, justice, and a liberal society. Through this comparison between American democracy, Revolutionary France, and their ancient antecedents, Puryear comments on the veracity of claims about American exceptionalism. His cap is impractically enormous, not meant to don a head, but to demarcate space.

Big Phrygian , painted red cedar, 2010-2014,  Glenstone Museum, Potomac, MD

Big Phrygian, painted red cedar, 2010-2014, Glenstone Museum, Potomac, MD

For both his exceptional skill and his exquisite use of sculptural craft to evoke American historical and political realities, Puryear is not only a justly respected American artist, he is a fantastic choice to represent his fellow Americans in Venice. He will also be the second consecutive African-American artist to be featured in the Biennale's United States Pavilion. It is fitting, too, that his work in Venice will be commissioned by the Madison Square Park Conservancy, which recently collaborated with Puryear on his Big Bling installation. The Park's Deputy Director and Senior Curator Brooke Kamin Rapaport will spearhead the project, representing New York's cosmopolitan tastes on a global stage.

Madison Square Park was notably the site of the installation of the Statue of Liberty's flame bearing arm from 1876 - 1882 as fundraisers sought to publicize the donation of the sculpture from the French in order to pay for its base. It is appropriate that in our current political climate, a craftsman, an African-American, an artist who has commented on the American experience through his work, should show the world what Americans are thinking and making now. And it is interesting that the patron of this work will be New York City, one of our nation's most open, most liberal, most international metropolises.

Whatever Puryear creates for the 2019 Venice Biennale will bear the mark of his singular sculptural acumen, and it will also certainly share the very best of American culture with our neighbors around the world.

 

Additional Resources to Learn about Martin Puryear:

Swann to Offer Important Ossawa Tanner Painting in October Sale

Swann Auction Galleries remains the only major auction house with an entire department dedicated to the consignment of works by African-American artists. In the October 5 sale of African-American Fine Art, there are numerous praiseworthy lots available. Of particular interest though, is a painting by one of the most popular African-American artists of the nineteenth century; the Pittsburgh-born Henry Ossawa Tanner.

The fourth lot in the October sale is from Tanner's series of paintings that focused on the biblical story of the Holy Family's flight into Egypt. The most well-known work using this motif is in the collection of the Metropolitan Museum of Art in New York. In the Met's picture, Joseph, Mary, and the infant Christ are shepherded into the gates of a city under the cover of night. Mary swaddles her newborn son while riding a donkey, the whole scene foreshadowing Christ's entry into Jerusalem in adulthood. The lamp of a faceless attendant lights the path and an architectural background likely inspired by Tanner's travels in North Africa and Palestine. The work is executed in Tanner's painterly style, a later improvisational mode in his technique which blossomed in the early years of the Jazz Age. The rich milky blues in the painting at the Met match tones seen throughout Tanner's work in this period.

Henry Ossawa Tanner (1859-1937)  Flight Into Egypt , 1923 oil on canvas 29 x 26 in. (73.7 x 66 cm) Marguerite and Frank A. Cosgrove Jr. Fund, 2001 Accession Number: 2001.402a The Metropolitan Museum of Art, New York

Henry Ossawa Tanner (1859-1937)
Flight Into Egypt, 1923
oil on canvas
29 x 26 in. (73.7 x 66 cm)
Marguerite and Frank A. Cosgrove Jr. Fund, 2001
Accession Number: 2001.402a
The Metropolitan Museum of Art, New York

In the painting that will be auctioned by Swann, Tanner returns to the same story. The Holy Family is pictured in a tight grouping with two donkeys, a town low in the distance and a hazy moon hidden by clouds overhead. This nocturne bears the hallmarks of Tanner's style after the turn of the century, with the same cool blues seen in the Met's painting and throughout his oeuvre. It is a fine example of Tanner's mature work. With that latter-day Impressionist handling of the brush, it could as easily have been painted the artist's contemporaries Sargent or Sorolla. Completed between 1920-1925 it was made at the same time as the Met's version and at the height of Tanner's public fame. He was awarded the rank of Chevalier of the Légion d'honneur by the French Government in 1923. This painting is a bit murkier than its well-known counterpart, but conveys the tense foreboding and drama of a quintessential biblical scene rendered by an artist with a passion for religious subject matter.

Henry Ossawa Tanner (1859-1937)  Flight into Egypt  oil on linen canvas, circa 1920-25 23 1/4 x 37 inches, 590 x 952 mm Signed in oil, lower left. Swann Auction Galleries Sale 2456 Lot 4

Henry Ossawa Tanner (1859-1937)
Flight into Egypt
oil on linen canvas, circa 1920-25
23 1/4 x 37 inches, 590 x 952 mm
Signed in oil, lower left.
Swann Auction Galleries Sale 2456 Lot 4

Tanner was born just two years before the start of America's Civil War to Benjamin Tucker Tanner, a Bishop of the African Methodist Episcopal Church and Sarah Tanner, a mixed race woman who had escaped the slavery into which she had been born through the Underground Railroad. His family prized education and independence, and ran in intellectual circles. This included a close friendship between the artist's father and Frederick Douglass.

In 1879, Tanner was admitted to the Pennsylvania Academy of Fine Arts. The only black student in the Academy, then the preeminent art school in the United States, Tanner was able to study directly under Thomas Eakins. Eakins, the master of American realism, would have inspired Tanner with his commitment to new fashions of studio practice, enabling the young artist to explore painting without the burdensome and outmoded practices of more rigid instructors.

Though Tanner is regarded as the first African-American artist to gain international acclaim, he lived most of his life after 1891 as an ex-patriot in France due to widespread racism in his home country. In 1899 he married the white opera singer Jessie Olssen and they had one child together. Such a union would remain illegal in the United States until 1967. The more liberal French culture of his time lead to success and comfort for Tanner. In an interview regarding the 2012 exhibition Henry Ossawa Tanner: Modern Spirit, curator Anna Marley, PhD, notes that in the United States Tanner was regarded as a "Black artist", while in France he was simply know as Monsieur Tanner, artiste Americain.

Thomas Eakins  Portrait of Henry O. Tanner , 1900 oil on canvas 24⅛" × 20¼" The Hyde Collection

Thomas Eakins
Portrait of Henry O. Tanner, 1900
oil on canvas
24⅛" × 20¼"
The Hyde Collection

Tanner's frequent explorations of biblical stories throughout his career underscore his religious upbringing in an erudite Christian home. But his repeated return to the imagery of the Holy Family fleeing King Herod bears a more significant symbolic weight. The images of pilgrimage for safety and freedom pictured in his scenes of Joseph, Mary and the Christ-child are natural metaphors for the journeys of escaped slaves like his own mother.

In using accepted canonical imagery in the genre of religious painting, Tanner avoided being pigeonholed as a "Black artist" while subtlety exploring themes of great relevance to the Black experience. The Civil War was a notoriously religious affair, with both sides claiming God's solidarity with their cause. In the aftermath of the War and in light of the newly held but tenuous rights of African-Americans in the late nineteenth and early twentieth centuries, Tanner utilized American religiosity as a means to deliver a message about family, freedom, and love that was powerful for African-Americans who continued to work to see their rights properly recognized.

With an estimated sale price of $200,000-$300,000, it is probable that the painting on offer at Swann in October will be bought by an institution. It will be interesting to see the amount of activity this work generates in the marketplace and if, in the end, it goes into another private collection or if Flight into Egypt becomes available for the public in a museum setting. The potency of Tanner's personal story and artistic accomplishments makes his work particularly prized in any situation, but in the current political and social climate a painting of such quality by a groundbreaking African-American painter may be even more sought after.