Tyler Green
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Tyler Green Modern Art Notes

The MAN Podcast: Barkley Hendricks

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This week’s Modern Art Notes Podcast features Barkley L. Hendricks.

Hendricks is included in the Brooklyn Museum exhibition “Witness: Art and Civil Rights in the Sixties,” which examines how 66 artists addressed the civil rights struggle in their work. Curated by Teresa Carbone and Kellie Jones, the show is on view through July 6. The exhibition’s handsome catalogue is available from Amazon for under $30.

In 2008 Hendricks was the subject of a major retrospective organized by Trevor Schoonmaker for the Nasher Museum of Art at Duke University. The exhibition traveled to Houston, Philadelphia, New York and Santa Monica.  His work is in the collections of the National Gallery of Art, the Yale University Art Gallery, the Tate, the Philadelphia Museum of Art and the Harvard Art Museums.

Among the topics we discuss are:

  • Whether Hendricks sought to address the civil rights movements in his work;
  • Whether like Kerry James Marshall and other artists of their generation if Hendricks explicitly sought to insert black figures into the canon;
  • The genesis of his ‘limited palette’ series, which are portraits that feature the sitters and the backgrounds of the same color; and
  • How his extensive world travels has informed his work.

On the second segment, Saint Louis Art Museum curator Simon Kelly talks about “Impressionist France: Visions of Nation from Le Gray to Monet,” which is on view at the SLAM through July 6. Kelly co-curated the exhibition with Nelson-Atkins Museum of Art curator April M. Watson. Despite the show’s title, this isn’t really an exhibition of impressionist painting. Instead it looks at how artists — both painters and photographers — engaged with and helped shape France’s emerging national identity between 1850-80, a period during which France cycled through several governments and lost the Franco-Prussian War (and along with it Alsace and Lorraine) to Germany. The exhibition’s catalogue, available from Amazon for under $30,  is one of the smartest catalogues of 19th-century French history and art history a number of years. [Image: Auguste-Rosalie Bisson, The Ascent of Mont Blanc, 1861. Collection of the Metropolitan Museum of Art, New York.]

How to listen: Download the show directly to your PC/mobile device. Listen on SoundCloud. Subscribe to The MAN Podcast at iTunesSoundCloudStitcher or via RSS. Stream the program at MANPodcast.com.

The Modern Art Notes Podcast is an independent production of Modern Art Notes Media. The program is edited by Wilson Butterworth. The MAN Podcast is released under this Creative Commons license. Special thanks to Greg Allen, Trevor Schoonmaker and to the National Gallery of Art library for their assistance.

Click through to the jump to see more images of art discussed on this week’s program.

Barkley L. Hendricks, Lawdy Mama, 1969. Collection of The Studio Museum in Harlem, New York.

Barkley L. Hendricks, Icon for My Man Superman (Superman never saved any black people—Bobby Seale), 1969.

Barkley L. Hendricks, Family Jules: NNN (No Naked Niggahs), 1974. Collection of Tate, London.

Barkley L. Hendricks, Vertical Hold, 1967.

Barkley L. Hendricks, Dippy’s Delight, 1969.

Barkley Hendricks, Sir Charles, alias Willie Harris, 1972. Collection of the National Gallery of Art, Washington.

Barkley L. Hendricks, George Jules Taylor, 1972. Collection of the National Gallery of Art, Washington.

Barkley L. Hendricks, Slick (Self-Portrait), 1977. Collection of the Chrysler Museum of Art, Norfolk, Va.

Barkley L. Hendricks, Sweet Thang (Lynn Jenkins), 1975-76.

Barkley L. Hendricks, My Black Nun, 1964.

Barkley L. Hendricks, Arriving Soon, 1973.

Barkley L. Hendricks, Misc. Tyrone (Tyrone Smith), 1976.

Barkley L. Hendricks, What’s Goin On, 1974.

Barkley L. Hendricks, The Anglican Perspective on January 3rd, 2006.

Barkley L. Hendricks, Brilliantly Endowed (Self-Portrait), 1977.

Barkley L. Hendricks, Take All the Time You Need (Adrienne Hawkins), 1975. Collection of the Nasher Museum of Art at Duke University.

Edouard Manet, The Rue Mosnier with Flags, 1878. Collection of the J. Paul Getty Museum, Los Angeles.

Claude Monet, The Rue Montorgueil in Paris: Celebration of June 30, 1878, 1878. Collection of the Musee d’Orsay, Paris.

Paul Huet, The Ruins of the Chateau of Pierrefonds, 1867-68. Collection of the Musees nationaux du Palais de Compiegne.

Jean-Baptiste-Camille Corot, Ruins of the Cheateau of Pierrefonds, ca. 1840-45, reworked ca. 1866-67. Collection of the Cincinnati Art Museum.

Edouard Baldus, Pont du Gard, ca. 1861. Collection of the Metropolitan Museum of Art, New York.

Edouard Baldus, Arles, Amphitheatre, ca. 1855-59. Collection of the Metropolitan Museum of Art, New York.

Gustave Dore, Deer in a Pine Forest (Vosges), ca. 1865. Collection of the Carnegie Museum of Art, Pittsburgh.

Jules Andrieu, Disasters of the War: Pont d’Argenteuil, 1870 or 1871. Collection of the National Gallery of Canada, Ottawa.

Claude Monet, Railroad Bridge, Argenteuil, 1874. Collection of the Philadelphia Museum of Art.

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