The exhibit's title comes from a popular gospel
hymn that proclaims the Day of Reckoning - when Jesus will return
to earth and God will bestow his final judgment on man - to be soon
at hand. The curators organised the works thematically, based on
biblical narratives that were, and remain, central to the beliefs
of evangelical Christians. As viewers travel through the exhibition
space, they will encounter works that are touching in their naivety;
startling in the artists' profound understanding of the human condition;
or frightening in the artists' conception of what awaits those whose
who have courted God's displeasure. But in whichever category the
curators decided to place a piece (Southern Religious Life; the
Garden of Eden; the New Adam; or the New Heaven and Earth), all
of the works demonstrate how fragile was the line between the artists'
life experiences and their religious beliefs. For many Southern
folk artists, the sacred and secular aspects of their lives were
not and could not be separated, and this remains true today. The
hardship that poor Southerners in urban and rural areas continue
to experience, perhaps, has made biblical narratives, particularly
the imagery of the cross, relevant and accessible material from
which to make art.
While well-known self-taught, black American folk artists are well
represented in the show (Howard Finster, Clementine Hunter, Sister
Gertrude Morgan and Mose Tolliver), many of the most compelling
pieces were produced by emerging folk artists. For example, 'The
Last Trumpet,' by Joe Minter (b. 1943), is an inventive piece in
which the artist used abandoned objects, such as metal seats, a
meat grinder and an old cornet to form three angels that proclaim
the imminent end of time. In his hometown of Birmingham, Alabama,
Minter has filled his garden with such whimsical, even humorous
constructions. Similarly, in 'Taking up Serpents, Speaking in Tongues,
Singing God's Praises,' (2003) by Jim Shores (b. 1952), the artist
has made a literal representation of a passage in Mark's gospel
(16:17-18):
And these signs will accompany those who believe: In my name they
will drive out demons; they will speak in new tongues; they will
pick up snakes with their hands; and when they drink deadly poison,
it will not hurt them at all; they will place their hands on sick
people, and they will get well. (NIV)
In this over life-size statue, Shores created a frightening figure,
whose gender is unclear, casting out demons, which appear as metal
snakes that are wrapped around the figure's arms and sit coiled
in a wooden basin. The figure has a large, metal cross around its
neck. The eyes of the figure bulge from its head, and the mouth
is a perfectly formed circle that seemingly emits a cry of anguish.
Perhaps the most startling and effecting images that viewers will
see at this exhibit are four representations of the crucifixion,
which hang on a partition in the centre of the exhibition space:
'Crucifixion,' circa 1968, paint on wood with human hair, by Chester
Cornett (1912-1981); '9-11, The Cable That Snapped Before They Saved
Me,' circa 2001, metal, wood, cable and paint, by Lonnie Holly (b.
1950); 'Crucifixion,' neodymium, wood and cloth, by Jesse Aaron
(1887-1979); and 'Untitled (Crucifixion)', 1994, mixed media, wire,
wood, scrap metal and rubber, by Hawkins Bolden (1914-2005). In
Holly's piece, there is no figure, only a large metal cross and
a wooden bucket, presenting a stark image for viewers to consider
along with the provocative title. Aaron's work is a crudely constructed
piece fashioned from swamp wood found near the artist's home in
Gainesville, Florida. Like many Southern swamp dwellers, Aaron believed
that the roots and branches of swamp trees contained spirits, a
belief drawn from his African heritage. By creating his work, Aaron
believed he was freeing the spirits from the wood.
Many pieces exemplify two themes that emerge repeatedly in Southern
folk art: fervent patriotism and the hope for a Christian America.
For example, 'Homeplace,' circa 1998, paint on canvas, by Benjamin
(BF) Perkins (1904-1993), merges the American flag with symbols
of Calvary, while 'The Moon and the Stars,' circa 1980, oil on board,
by Howard Finster (circa 1915-2001), combines his vision of other
planets with the stars and stripes to relate a biblical prophecy
about the establishment of a Holy City on earth. Finster, whose
works have been reproduced in a wide variety of media, including
on album covers by American rock bands REM and Talking Heads, is
one of the most famous Southern black folk artists. His work epitomises
the whimsicality and creativity combined with conservative and quite
literal readings of biblical narratives that can be seen in much
Southern folk art. His innate sense of balanced composition, unorthodox
colour palette and beautifully constructed frames ('There Is A House
of Gold') are, indeed, wonderful examples of how self-taught artists
have used everything from five-and-dime store beads and sequins
to swamp wood to replicate their dreams and visions.
Although mainly uneducated or illiterate, many of the artists included
in the show incorporated written biblical texts or personal messages
into their work. In the South, it is common to see signs 'advertising'
religion, and some artists have chosen to mirror this tradition
by using their art to preach the gospel through a combination of
word and image - the primary tools of the advertising industry.
Certainly, Finster used his work for this purpose, as did Sister
Gertrude Morgan, who had a street ministry in New Orleans during
the 1960s and 1970s.
Because they did not have formal training, for the most part self-taught
artists did not create lifelike representations but drew on their
visions, dreams and memories. Visions were important elements of
spiritual life for black slaves from Africa, and for blacks from
such other cultures as Haitian. In 'He Doth Great Wonders', circa
1970, pen, watercolour and gouache on paper, by Morgan (1900-1980),
for example, Morgan depicted her red dragon with seven heads, as
described in the Bible (Book of Revelation, 12:3), but her dragon
appears as a white giant, similar to giants seen in contemporary
illustrations of fairy tales, but these heads have what seem to
be antennae and goggle-like glasses, making them look like aliens
from another planet. Morgan's image is not nearly as frightening
as the most severe forms of God's judgment that are described in
the Bible, and which other artists have depicted more forcefully,
but certainly it is an intensely personal and quirky expression,
two qualities inherent in all genuine folk art.
While MOBIA's space is relatively small, the design is apt to capture
for viewers the qualities that spiritual seekers through the ages
have cultivated. Soft lighting; intimate corners created with partitions
within the single, large room; and the nature of the art itself
all contribute to what most likely will be a contemplative experience
for museum visitors.
'Coming Home!' can be viewed at MOBIA, 1865 Broadway, through until
24 July 2005. Admission is free. The exhibit was organised by the
Art Museum of the University of Memphis with support from Humanities
Tennessee, the National Endowment for the Arts and The Rockefeller
Foundation.
Cindi DiMarzo
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