Rooted in the American South, ‘Souls Grown Deep Like the Rivers’ Recognizes Remarkable Artistic Traditions of Black Artists
The last line of a 1921 poem by Langston Hughes reads, “My soul has grown deep like the rivers.” From the sun rising over the Euphrates to the muddy banks of the Mississippi, his words evoke the universality and timelessness of flowing water mirrored by the coursing of blood through our veins. Taking inspiration from Hughes’s reflections, Souls Grown Deep Like the Rivers at the Royal Academy of Arts in London shines a light on the creative traditions of Black artists in the American South whose artistic pursuits reflect pervasive issues of economic inequality, oppression, and marginalization and examine themes like identity, sexuality, the influence of place, and ancestral memory.
Encompassing more than 60 quilts, sculptures, installations, paintings, drawings, and assemblages by 34 artists from the mid-20th-century to the present, the exhibition is drawn largely from the Souls Grown Deep Foundation. Based in Atlanta, Georgia, the organization stewards a collection of around 1,000 works by more than 160 Southern Black artists—two-thirds of whom are women—to advocate for their inclusion in the art historical canon. While many are now well-known in the U.S., most of their works have never before been exhibited in Europe.
Many of the pieces are made from materials like clay, driftwood, roots, discarded objects, and recycled cloth. Because access to formal exhibition spaces was often curtailed for Black artists, many presented their works on their own property in a disappearing yet deeply Southern tradition known as “yard shows.” One of the best known and last remaining is Joe Minter’s “African Village in America,” in Birmingham, Alabama. In 1819, enslaved people accounted for more than a third of the state’s population, and the DIY shows evolved from a tradition in which yards were the only space for many to enjoy music and express creativity. Minter’s work is represented at the Royal Academy in a sculpture made of welded found metal poignantly titled “And He Hung His Head and Died.”
The legacy of Gee’s Bend, which continues today as a collective, is represented through numerous bold quilts, including Marlene Bennett Jones’s “Triangles,” in which she repurposes corduroy and denim jeans into a geometric composition. Raised on a farm in the community that was formerly a cotton plantation owned by Joseph Gee, Jones and other residents are direct descendants of the enslaved people who worked the fields, then remained there following the Civil War to work as sharecroppers. During the Depression, the U.S. government purchased ten-thousand acres of the former plantation and provided loans that enabled residents to acquire the land. Unlike many others who were evicted or forced to move due to economic circumstances, families were able to remain in Gee’s Bend, and “cultural traditions like quiltmaking were nourished by these continuities.”
The majority of the artists featured in this exhibition learned artistic skills that were passed down through the generations or from friends and mentors. Many respond to dark and painful parts of U.S. history like the era of slavery and subsequent racial segregationist policies that continue to profoundly influence life today. Artist and musician Lonnie Holley assembles pieces of metal from an old phonograph into “Keeping a Record of It (Harmful Music),” an abstract, rusted turntable topped with an animal skull. The work visualizes passing time, decay, and the idiomatic phrase “sound like a broken record”—repeating the same thing over and over again.
Souls Grown Deep Like the Rivers continues at the Royal Academy of Arts in London through June 18.
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Bisa Butler’s Vibrant Quilted Portraits Share Extraordinary Stories of Black Americans
“I find myself drawn to photographs that remind me of my grandmother’s photo albums, of aunts and uncles, cousins, and ancestors that I’ve never known,” says Bisa Butler (previously), who stitches swatches of vibrant fabrics into striking, life-size portraits of Black figures. At the core of her practice is a recognition of individuals’ accomplishments throughout history, often those of regular people who were extraordinarily courageous in the face of immense adversity. With two large-scale works currently on view in Washington, D.C. and a solo exhibition at the Gordon Parks Foundation in Pleasantville, New York, the artist is developing several new ideas, themes, and directions.
Butler often sources photographs from historic archives, such as an iconic portrait of abolitionist Harriet Tubman, who escaped slavery and rescued approximately 70 enslaved people through the Underground Railroad. The artist’s portrait of Tubman is powerfully titled “The General,” infused with bold patterns and patchwork. Another piece, “Colored Entrance,” is based on Gordon Parks’s iconic photograph titled “Department Store.” Taken in racially segregated Mobile, Alabama, in 1956, the image portrays a mother and daughter standing beneath a neon sign that denotes a separate entrance they are permitted to use.
Increasingly, Butler collaborates with living photographers and artists. Spurred by a desire for connection during pandemic lockdowns, she approached Janette Beckman, whose photographs of 1980s hip-hop stars like Run DMC and Salt-N-Pepa documented the era and graced genre-defining album covers. “My husband, John, who is a hip-hop DJ and producer, shared a photograph of Salt-N-Pepa, and when I saw who did it, I thought, let me be brave,” Butler says. “I sent [Beckman] a message, and I asked her if she would be willing to let me make a quilt based off of her photograph. She was so lovely. She agreed. She even visited me and my husband in our studio, which we share, and she took our photo as well!”
Working in close proximity to her husband has strongly influenced the artist’s practice. While she was creating the Salt-N-Pepa portrait, he made a compilation they call the “Goddess Mixtape,” featuring Aretha Franklin, Diana Ross, Rapsody, Queen Latifah, Cardi B, and others. Those songs surfaced memories and helped to define the message of her works. “If you listen to the ‘Goddess Mixtape,’ and then you see my quilt of Salt-N-Pepa, you’ll see something about me, something about the 1980s, something about young Black Americans, and something about the expression of women—what it is that we want and what it is that we need,” she says.
“Hot, Cold, and Vicious” portrays Salt-N-Pepa’s era-defining bomber jackets, boots, and bodysuits in bold, African wax fabric, also known as Dutch wax. Combined with vinyl, glitter, and velvet, details like bamboo-shaped “door-knocker” hoop earrings, boomboxes, and LP records were screen-printed onto cotton swatches in collaboration with Butler’s studio neighbor, artist Gary Lichtenstein. “I must have at least forty, maybe fifty bins of fabric, but there are still things that I just don’t have,” she says. “I like Nigerian wax fabric and Nigerian batik or tie-dye fabrics. I also like using Ghanaian kente fabric, and I like Swiss lace—a lot of Nigerian brides use Swiss lace.”
From start to finish, a piece can take about four to six weeks to complete, beginning with loose sketches in Sharpie marker on top of a printout of a photograph and culminating in quilts that include appliquéd details. “When I’m creating quilts, I think about what the personality is of the person who I’m trying to portray,” she says.
Do I want to portray somebody who is contemporary or somebody from the past? Do I want to say that this person is strong and bold and powerful? I might use bright, intense colors: bright red, bright fuschia, bright orange, or even an electric green. If I’m trying to say that this person is more laid-back, more calm, more cool, I’m going to use actual cool colors, like cool water and deep blues.
In her monumental tribute to African American soldiers who fought in World War I, “Don’t Tread On Me, God Damn, Let’s Go!—The Harlem Hellfighters” consists of nine figures detailed in blues, pinks, and reds on a monochrome backdrop of green florals. The 369th Infantry Regiment consisted mainly of African Americans and also included men from Puerto Rico, Cuba, and Guyana, among other places. “When they went over to Europe, the white American soldiers refused to fight alongside Black men,” Butler says. “They had been so miseducated—lied to—and had the wool pulled over their eyes to believe that African Americans didn’t have the intellectual capacity to fight as men because they were not full men, some sort of ‘sub-men.'” They were often assigned menial tasks in the U.S. Army, which, like the rest of the country, was segregated.
When the French Army needed support, the U.S. Army lent them the 369th, which ultimately spent more time in the front-line trenches and suffered more casualties than any other American unit. Legend has it that the Germans called them the Höllenkämpfer or “Hellfighters” for their tenacity and resilience on the battlefield, and the name stuck. “They went over; they wanted to help win that war. And they wanted the respect as men,” Butler says. The scale of her quilt puts the soldiers at nearly life-size, and they meet the viewer’s gaze directly, evoking a sense of familiarity and connection with each individual.
Butler’s solo exhibition Materfamilias at the Gordon Parks Foundation Gallery runs through April 14, and her quilts are also included in This Present Moment: Crafting a Better World at the Smithsonian American Art Museum through April 2, and Reckoning: Protest. Defiance. Resilience. at the National Museum of African American History and Culture through April 1. She will present a solo show with Jeffrey Deitch Gallery in New York City this May and is currently preparing for a large-scale solo exhibition in Washington, D.C., in 2025. Find more on the artist’s website, and follow updates on Instagram.
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Art Craft Design
Color-Blocked Wall Hangings Stitch Graphic Design Principles into Quilts by Emily Van Hoff
Emily Van Hoff merges her background in graphic design with the practical crafting skills she picked up as a child in her vibrant wall hangings. From her home studio in Chicago, Van Hoff pays homage to women crafters of generations past as she stitches geometric quilts in bold color palettes of bubblegum pink, lavender, and cobalt. Thick stripes, bisected circles, and clean rows of stitches comprise many of the curved pieces, which the artist describes as a translation of “my digital design into a beautiful tactile object.”
Van Hoff’s vivid works sell out quickly, so keep an eye on her site and Instagram for future shop updates.
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Hundreds of Tiny Patchwork Bubbles Form a Colorful Geometric Quilt
What began as an early pandemic project designed to use up scrap fabric has resulted in an ingeniously designed field of color and geometries. “Tiny Bubbles” is a kaleidoscopic work by Marla Varner of Penny Lane Quilts in Sequim, Washington, that’s comprised of hundreds of curved pieces stitched into an abstract, variegated pattern of tiny rounds nestling into larger forms.
In total, the sewn work utilizes 1,320 individual pieces and took more than a year to complete. “Quilted during the pandemic, these tiny bubbles kept me occupied while isolated in my own small bubble. All of the quarter circles were traced from templates, cut with scissors, and pieced by hand. The curved units were then assembled by machine,” she says.
Varner will show “Tiny Bubbles” and the colorfully meandering patchwork titled “Crevices” at QuiltCon 2022 in Phoenix next month. In addition to those pieces, she’s also been working on a temperature quilt and smaller functional goods like potholders, which you can see below. For more on her meticulous process, head to Instagram and her site. (via Kottke)
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African Fabrics Connect to Form Quilted Portraits of Black Figures by Bisa Butler
Brooklyn-based artist Bisa Butler (previously) uses brightly colored cotton, wool, and chiffon fabrics with bold patterns to piece together quilts featuring detailed portraits of Black people. The materials and themes connect American subjects with their African roots and tell visual stories of history and culture.
Butler is a New Jersey-born African American artist with Ghanian heritage. A closer look at her portraits reveals intricate mosaics of shapes and patterns and complex multi-hued skin tones. For her James Baldwin-inspired piece “I Am Not Your Negro,” Butler created a portrait of a man seated in a pose similar to Rodin’s “Thinker” and a warm complexion inspired by The Fire Next Time, an important book written by Baldwin that was first published in 1963. “I used reds and oranges in his complexion to indicate this while this man sits calmly [there] is fire inside,” Butler said in a statement. “I use colorful imaginative colors in my figures because I am connecting color to emotion and I want their images to indicate a personality, mood, and temperament.”
The artist’s quilts also incorporate nods to Black wedding traditions, references to historically Black colleges and universities, and other elements that speak to the Black and African American experience. The Katonah Museum of Art is set to host the artist’s first solo museum exhibition with approximately 25 of her quilts on display from March 15 to June 14, 2020.
To learn more about the Bisa Butler’s work, head over to the Claire Oliver Gallery website and follow the artist on Instagram.
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Colorful Quilts by Bisa Butler use African Fabrics to Form Nuanced Portraits
Artist Bisa Butler draws from an array of vibrant patterned fabrics to create portraits of everyday people. She eschews representational colors, favoring layered jewel-toned hues to form the skin of her Black subjects, and often groups figures together into strong silhouettes.
“I have always been drawn to portraits,” Butler explains in a statement on her gallery’s website. “I was the little girl who would sit next to my grandmother and ask her to go through her old family photo albums. I was the one who wanted to hear the story behind every picture. This inquisitiveness has stayed with me to this day. I often start my pieces with a black and white photo and allow myself to tell the story.”
Butler studied fine art at Howard University. In a video interview by BRIC TV, the artist explains that she began using fabric in her paintings in college, and then converted to quilting as a way to continue her dedicated art practice while protecting her young daughter from toxic materials and fumes.
The artist was born in Orange, New Jersey, and now lives and works in Brooklyn, New York. She is represented by Claire Oliver Gallery. You can see more from Butler on Instagram. (via #WOMENSART)
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