Daniel Fuller
Bob Thompson: This House Is Mine
By Daniel FullerThompson (1937–66) had a knack for keeping us on the edge of our seats. Throughout the exhibition Bob Thompson: This House Is Mine it becomes clear that he moved fast, that in the moment, most could not keep up. After leaving Louisville University in 1958, he was relentless, finishing over 1,000 paintings before passing on at the age of 28.
Joe Light and Chris Martin: Be Natural
By Daniel FullerMartin’s career has been a gentle, deliberate burn. The consummate artist’s artist, his ingenuity and willingness to dive into possibility is that of tremendous envy from many younger artists. Light, famously, took to painting to proclaim his devotion after a stint in prison in 1966. His voice is sharp, urgent.
Hawkins Bolden: Seated
By Daniel FullerWhether Bolden’s scarecrows “speak” to us or not, hanging them at eye level feels appropriately aggressive. Despite being together, there is loneliness to them all. Free will was stolen from these totems long before they had an opportunity to come alive.
Hale Woodruff: The Amistad Murals
By Daniel FullerWoodruff saw this as an opportunity to resurrect the past, to connect it to the present. Over six canvases, completed in two cycles, there was the opportunity to illustrate the struggle for freedom, education, and the climb from slavery toward equality.
Really Free: The Radical Art of Nellie Mae Rowe
By Daniel FullerWhen Nellie Mae Rowe settled in the village of Vinings, it was a rural community twenty minutes northwest of Atlanta. Desegregation happened in various waves that occurred here between 1961 and 1973. Blockbusting, forced-housing patterns were outlawed, allowing Black citizens to own homes “in town.”
