Exhibitions

Curated by Legacy Russell, Executive Director & Chief Curator of The Kitchen, ‘The New Bend’ brings together 12 contemporary artists working in the raced, classed, and gendered traditions of quilting and textile practice – Anthony Akinbola, Eddie R. Aparicio, Dawn Williams Boyd, Diedrick Brackens, Tuesday Smillie, Tomashi Jackson, Genesis Jerez, Basil Kincaid, Eric N. Mack, Sojourner Truth Parsons, Qualeasha Wood, and Zadie Xa.

This installation celebrates major acquisitions made possible by funds from an anonymous donor to purchase work by contemporary Black artists based in the United States. Acutely aware of the underrepresentation of works by artists of color in museum collections, she offered to support acquisitions over a multiyear period, culminating in this special presentation of work by twelve artists.

Sanford Biggers’s Intersections project presents a visual and conceptual interplay—a mosaic—of distinct histories, cultural narratives, and art styles. Drawing from works in the Phillips’s permanent collection, including the Gee’s Bend quilts that were recently acquired and a number of European modernist sculptures, Biggers produced a new body of work that bridges past art traditions with current multimedia practices.

Quilts and coverlets have a unique capacity to tell stories: their tactile, intricate mode of creation and their traditional use in the home impart deeply personal narratives of their creators, and the many histories they express reveal a complex record of America. Quilts have also been used in North America since the 17th century, and their story, told by many voices, has evolved alongside the United States.

This exhibition celebrates the Morgan’s 2018 acquisition of eleven drawings from the Souls Grown Deep Foundation, an organization dedicated to supporting Black Southern artists and their communities. The artists represented in the acquisition are Thornton Dial, Nellie Mae Rowe, Henry Speller, Luster Willis, and Purvis Young.

The world’s most joyful art exhibition is back. From icons to the up-and-coming, find the art you love from over 1,300 works selected by coordinator Yinka Shonibare and a panel of artists, under the theme of ‘Reclaiming Magic’.

In 2021, the Hood Museum of Art acquired ten artworks from the Souls Grown Deep Foundation, including the three by Thornton Dial that form Thornton Dial: The Tiger Cat. This exhibition celebrates this acquisition, asking us to look closely at Dial’s work and consider the ways in which it broadens our understanding of American art.

“New Light: Encounters and Connections” presents more than 60 works of art from across the MFA’s collection, many of which are on view for the first time. The exhibition is organized into 21 “conversations”—in each, a contemporary piece that has recently joined the collection is juxtaposed with one or two rarely seen objects acquired earlier in the Museum’s history.

The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse investigates the aesthetic impulses of early 20th-century Black culture that have proved ubiquitous to the southern region of the United States.

Gee’s Bend, Alabama, is home to generations of extraordinary Black craftswomen whose quilts represent a crucial chapter in the history of American Art. Since the early 1800s, women of Gee’s Bend have transformed worn clothes, sacks, and other fabric remnants into patterns that surpass the boundaries of the genre. Born out of necessity, the quilts provided warmth for family and friends while bearing witness to shared knowledge passed down among quilting groups and female lineages.

“In the Presence of Our Ancestors: Southern Perspectives in African American Art” brings together methods of visual storytelling and ancestral memory through the individual practices of artists from the “Black Belt” region of the American South—a term that refers to the region’s black soil, as well as the le

Radical Tradition: American Quilts and Social Change brings historical and contemporary works together in critical dialogue to consider how quilts have been used to voice opinions, raise awareness, and enact social reform in the U.S. from the mid-nineteenth century to the present.

Punta della Dogana presents the exhibition ‘Untitled, 2020. Three perspectives on the art of the present’, conceived and curated by Caroline Bourgeois, Muna El Fituri and the artist Thomas Houseago.

The Toledo Museum of Art will feature 10 newly acquired works in the free exhibition, Trip to the Mountaintop: Recent Acquisitions from the Souls Grown Deep Foundation from April 4 to July 5, 2020, in the New Media Gallery. The Souls Grown Deep Foundation is a non-profit organization that is dedicated to documenting, preserving and promoting the work of African American artists from the South and their cultural traditions.

We Will Walk – Art and Resistance in the American South is the first exhibition of its kind in the UK and reveals a little-known history shaped by the Civil Rights period in the 1950s and 60s. It will bring together sculptural assemblages, paintings and quilts by more than 20 African American artists from Alabama and surrounding states.

Out of Place: A Feminist Look at the Collection presents artworks that defy conventional museum display and collecting frameworks. By featuring works that have routinely been seen as “out of place” in major museums—because of the artist’s identity or their unorthodox approach to materials and subjects—the exhibition examines how artists can transform long-held cultural assumptions.

Charles Williams (1942-1998) was born in Blue Diamond, Kentucky, a place he described as a “little old country hick town in coal mining territory, eight miles from Hazard, Kentucky, back up in the hollow where the blacks lived.” As a child, Williams taught himself to draw by copying comic book figures like Superman, Dick Tracy, and Captain Marvel but never finished high school.

The Philadelphia Museum of Art presents Souls Grown Deep: Artists of the African American South, an exhibition including paintings, sculptures, and quilts that celebrates the recent acquisition of 24 works from the Souls Grown Deep Foundation.

As embodiments of the African American experience and cultural legacies, the works of art featured in Cosmologies from the Tree of Life: Art from the African American South are rooted in African aesthetic legacies, familial tradition, and communal ethos. Previously marginalized as “folk or self-taught” art, they now take their rightful place as significant contributors to the canon of American Modernism.

This exhibition will present 30 paintings, sculptures, drawings, and quilts by self-taught contemporary African American artists to celebrate the 2014 gift to The Metropolitan Museum of Art of works of art from the Souls Grown Deep Foundation.

Self-taught artists—variously termed folk, primitive, visionary, naïve, and outsider—have played a significant role in the history of modernism, yet their contributions have been largely disregarded or forgotten. Again and again in the United States during the past century, vanguard artists found affinities and inspiration in the work of their untutored, marginalized peers and became staunch advocates, embracing them as fellow artists.

"Revelations: Art from the African American South" celebrates the debut of the Fine Arts Museums of San Francisco major acquisition from the Souls Grown Deep Foundation in Atlanta of 62 works by contemporary African American artists from the Southern United States.

"When the Stars Begin to Fall: Imagination and the American South" queries the category of “outsider” art in relation to contemporary art and black life. With the majority of work having been made between 1964 and 2014, the exhibition brings together a group of thirty-five intergenerational American artists who share an interest in the U.S. South as a location both real and imagined.

This exhibition explores parallels and intersections in the works of the world-famous Gee’s Bend quilters and the master of assemblage art, Thornton Dial. Quilts made by the women of Gee’s Bend feature a sophisticated orchestration of color and eccentric quasi-geometric shapes composing what the New York Times has said are “some of the most miraculous works of modern art America has produced.”

"Hard Truths: The Art of Thornton Dial" highlights the artist’s significant contribution to the field of American art and shows how Dial’s work speaks to the most pressing issues of our time—including the war in Iraq, 9/11, and social issues like racism and homelessness. The exhibition presents 70 of Dial’s large-scale paintings, drawings and found-object sculptures, including 25 works on view for the first time.

"Gee's Bend: The Architecture of the Quilt" features seventy spectacular quilts made by four generations of women in Gee's Bend, a small, isolated African American community in southwest Alabama. With bold improvisation of traditional quilt motifs, these women have created a style all their own. Made between the 1930s and the present, the Gee's Bend quilts’ bright patterns, inventive color combinations, lively irregularities and unexpected compositional variations make them outstanding examples of modern art.

"The Quilts of Gee’s Bend" celebrates the artistic legacy of four generations of African-American women from a small, historically all-black community in rural southern Alabama. This exhibition of over sixty extraordinary quilts that were made between 1930 and 2000 showcases a body of work that is bold, spirited, moving, and hailed by Michael Kimmelman, in The New York Times, as “some of the most miraculous works of art America has produced.”

Thornton Dial: Remembering the Road features 75 relief paintings works on paper and sculptures created by Alabama artist Thornton Dial over the last decade.

"Thornton Dial: Image of the Tiger" was the first major solo museum exhibition of the 65-year-old African American painter. Organized by guest curator, Thomas McEvilley, this exhibition was presented at both The New Museum and the American Folk Art Museum. It included approximately twenty paintings at each venue, along with works on paper from 1988-1993.