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Sam GilliamSam Gilliam Handmade Paper "Untitled #34" Acrylic. Signed & Dated1975
1975
About the Item
“Untitled #34” was created by Sam Gilliam, one of the great innovators in postwar American painting. It is dated and signed on the lower front. The thick handmade paper is rich with folds and texture and the colors lively. In addition to Acrylic paint on the surface there appears to be imbedded color in the handmade paper which has additional embossed accents. Unframed the piece measures 16 x 14. Provenance of Yaw Gallery, Birmingham, Michigan is on the verso along with the note that the Paper Surfaces in contact with this artwork are acid free.
In the mid-1960s he emerged from the Washington D.C. scene with works that elaborated upon and disrupted the ethos of Color School painting. A series of formal breakthroughs would soon result in his canonical Drape paintings, which expanded upon the tenets of Abstract Expressionism in entirely new ways. One profound manner was the sculpture aspect of the painting giving it a free flowing expression of pure color.
In the latter half of the 1950s, Washington D.C. saw a flourishing of abstract art that emphasized the form-making capabilities of pure color. Known as The Washington Color School, the loosely affiliated group of abstract painters knew each other through various teaching experiences. The moniker has an uncertain origin but likely originated with the title of a 1965 exhibition at the Washington Gallery of Modern Art, "Washington Color Painters," curated by Gerald Nordland. The show exhibited the works of Kenneth Noland, Paul Reed, Morris Louis, Howard Mehring, Thomas Downing, and Gene Davis. Additionally, Leon Berkowitz and Sam Gilliam along with V.V. Rankine, Alma Thomas, Hilda Thorpe and Anne Truitt were also associated with The School.
Suspending without stretchers lengths of painted canvas from the walls or ceilings of exhibition spaces, Gilliam transformed his medium and the contexts in which it was viewed. For an African American artist in the nation’s capital at the height of the Civil Rights movement, this was not merely an aesthetic proposition; it was a way of defining art’s role in a society undergoing dramatic change. Gilliam has subsequently pursued a pioneering course in which experimentation has been the only constant. Inspired by the improvisatory ethos of jazz, his lyrical abstractions continue to take on an increasing variety of forms, moods, and materials.
Sam Gilliam will be the subject of a major retrospective exhibition in 2022 at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. In 2021, Dia Art Foundation, New York, and the Museum of Fine Arts, Houston made the historic joint acquisition of Gilliam’s significant early work, the monumental installation Double Merge (1968), which has been on long-term view since 2019 at Dia Beacon in New York. In addition to a 2005 traveling retrospective organized by the Corcoran Gallery of Art, Washington, D.C., Gilliam has been the subject of solo exhibitions at the Kunstmuseum Basel, Switzerland (2018); Phillips Collection, Washington, D.C. (2011); J.B. Speed Memorial Museum, Louisville, Kentucky (1996); Whitney Museum of American Art, Philip Morris Branch, New York (1993); The Studio Museum in Harlem, New York
(1982); and Museum of Modern Art, New York (1971), among many other institutions. His work is included in over fifty permanent collections, including those of the Musée d’Art Moderne de la Ville de Paris; Tate Modern, London; Museum of Modern Art, New York; Metropolitan Museum of Art, New York; and Art Institute of Chicago. Gilliam lives and works in Washington, D.C.
- Creator:Sam Gilliam (1933, American)
- Creation Year:1975
- Dimensions:Height: 20.75 in (52.71 cm)Width: 19.75 in (50.17 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Detroit, MI
- Reference Number:1stDibs: LU1286111468502
Sam Gilliam
Postwar American artist Sam Gilliam was an innovative Color Field painter and lyrical abstractionist perhaps best known for working directly on draped, unprimed canvases freed from their stretcher bars in as early as the mid-1960s.
Born in Tupelo, Mississippi, and raised in Louisville, Kentucky, Gilliam studied art at the University of Louisville, earning both undergraduate and graduate degrees in fine art. He moved to Washington, D.C., in 1962, where he became associated with the Washington Color School. Inspired by the vibrant hues of German Expressionism, Gilliam pushed the limits of his medium by eliminating the use of easels and stretchers. Instead, he painted on draped canvases suspended from the walls and the ceiling of his studio.
Overlooked at first, the resulting works, radiant and rippling with energy, would become universally recognized as a hallmark of Gilliam’s oeuvre. Later in his career, he would draw inspiration from jazz and textile artistry, creating improvisational collage-style “quilted” paintings on nylon or canvas that recall quilt patterns.
In 1972, Gilliam became the first Black artist to represent the United States at the Venice Biennale; he also exhibited at the 2017 Venice Biennale. His works can be found in more than 50 public collections around the world, including the Museum of Modern Art in New York, the Corcoran Gallery of Art (now the Corcoran School of the Arts and Design) in Washington, D.C., the Detroit Institute of Arts and the Paris Museum of Modern Art, among many others. Gilliam’s awards include the United States State Department Medal of Arts, the John Simon Guggenheim Memorial Foundation Fellowship and more.
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