cls journal of museum studies volume 2 no.1

CLS Journal of Museum Studies, Volume 2, Number 1

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CLS Journal of Museum Studies, Vol. 2, No. 1. (2008) URL: http://www.ou.edu/cls/jms/ CLS Journal of Museum Studies is currently published online by the College of Liberal Studies, MALS Museum Studies Program, the University of Oklahoma. Your use of the CLS Journal of Museum Studies archives indicates your acceptance of the Terms and Conditions of Use, available at http://www.ou.edu/cls/jms/. Museum professionals, students, and other readers are encouraged to distribute the articles published in this journal as widely as possible, to use them in classes, and to reprint them as needed. For commercial use of any of these articles (e.g., charging for articles, republishing figures, tables, text, etc.), permission must be obtained from the Editor. All questions relating to the journal should be directed to the Editor. Publisher contact information may be obtained at http://www.ou.edu/cls/jms/board.html. Each copy of any part of a CLS Journal of Museum Studies transmission must contain the same copyright notice that appears on the screen or PDF file of such transmission. CLS Journal of Museum Studies is an independent not-for-profit publication dedicated to creating and preserving a digital archive of scholarly articles in the field of museum studies. For more information regarding CLS Journal of Museum studies, please contact Dr. Michael Mares at [email protected]

http://www.ou.edu/cls/jms/index.html Publication date: August 13, 2008

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CLS JOURNAL OF MUSEUM STUDIES Volume 2, Number 1/2008 The CLS Journal of Museum Studies is issued annually (with individual numbers appearing as they are completed) by the College of Liberal Studies, MALS Museum Studies Program of the University of Oklahoma. The CLS Journal of Museum Studies is designed to provide a worldwide e-journal as a publication outlet for students enrolled in the Museum Studies Program of the College of Liberal Studies of the University of Oklahoma. The journal is also designed for use by faculty in the CLS MALS program. Any topic of relevance to the field of museum studies is considered suitable for publication in the journal. Contributions may be solicited by the Editor from museum professionals not affiliated with the MALS Museum Studies Program. All submissions are reviewed by one or more members of the Editorial Board or by outside reviewers. COVER ILLUSTRATION: John F. Kennedy, by Artis Lane (1963). Oil on canvas, 28" x 22". Collection of the artist. Photo by Jerry Schneider.


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Journal Editor Dr. Michael A. Mares, Research Curator and Former Director, Sam Noble Okla-homa Museum of Natural History, and Presidential Professor, Department of Zo-ology, University of Oklahoma Editorial Board Gail Kana Anderson, Assistant Director/Curator of Collections, Fred Jones Jr. Museum of Art, University of Oklahoma Marcia Britton, Executive Director, Wyoming Council for the Humanities, Laramie, Wyoming Dr. Wendy Gram, Program Specialist, Sam Noble Oklahoma Museum of Natural History, University of Oklahoma Dr. Marilyn Ogilvie, Curator, History of Science Collection of Bizzell Library, University of Oklahoma Byron Price, Director, University of Oklahoma Press and Charles M. Russell Cen-ter for the Study of Art of the American West, University of Oklahoma Peter Tirrell, Associate Director, Sam Noble Oklahoma Museum of Natural History, University of Oklahoma Dr. Mary Jo Watson, Associate Dean, College of Fine Arts, Director, School of Art, and Associate Professor of Art History, University of Oklahoma


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CLS Journal of Museum Studies, Vol. 2, No. 1. (2008) The CLS Journal of Museum Studies is published annually by the College of Liberal Studies, MALS Museum Studies Program, the University of Oklahoma Dr. Michael A. Mares, Journal Editor Manuscripts submitted for the Journal and all correspondence concerning them should be addressed to Dr. Michael A Mares. Guidelines for contributors are given on the last page of this volume. Copyright © 2008 by the College of Liberal Studies, University of Oklahoma

Laid out by Catherine Kerley, on a format established by Dr. Michael A. Mares.


CLS Journal of Museum Studies, Vol. 2, No. 1. (2008)

Contents Foreword vi Michael A. Mares

A Woman’s Journey: The Life and Work of Artis Lane 1 Drew Talley, Jill Moniz, Mar Hollingsworth, and Evelyn

Carter


The Sam Noble Oklahoma Museum of Natural History University of Oklahoma

Foreword

Michael A. Mares

Sam Noble Oklahoma Museum of Natural History and Department of Zoology, University of Oklahoma, Norman, OK

E-mail: [email protected]

W orking with graduate students in a program of museum studies is one of the most exciting things a faculty mem-ber can do. The University of Oklahoma’s College of Liberal Studies’ Masters in Museum Studies Program is

a completely Web-based program, designed for adult students, many of whom are already working in museums. Classes are bound neither by walls nor time as professor and students interact across the virtual world. During

Forward: Michael A. Mares

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any one of my classes, I may be corresponding with students across 16 time zones. Additionally, students may be employed by art museums, historic houses, natural history museums, government museums, or other cultural organizations. One student was the director of a submarine museum and another worked for a museum no one could visit without a security clearance—the Museum of the Central Intelligence Agency. The only thing about which we can be certain is that both the students and the professors are learning new things as the educa-tional enterprise unfolds across the electronic universe.

The latest publication of the CLS Journal of Museum Studies is a good example of the interesting and diverse topics pursued by our graduate students. Sad to say, I knew nothing about Artis Lane before I began working with Drew Talley as he prepared his thesis and worked to get it into shape for publishing. I was introduced to a remarkable artist with an outstanding history of making major contributions to art using many media. I found her story compelling and her art uplifting. I am pleased that this very gifted artist is having part of her story told in this number of the CLS Journal of Museum Studies. Once again, I have been en-riched by my students.

The Sam Noble Oklahoma Museum of Natural History University of Oklahoma

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A Woman’s Journey: The Life and Work of

Artis Lane

Drew Talley, Jill Moniz, Mar Hollingsworth, and Evelyn Carter

Drew Talley California African American Museum

600 State Drive, Exposition Park • Los Angeles, CA 90037 E-mail: [email protected]

Jill Moniz

P.O. Box 4911 Culver City, CA 90230

Mar Hollingsworth

California African American Museum 600 State Drive, Exposition Park • Los Angeles, CA 90037

E-mail: [email protected]

Evelyn Carter [email protected]

T he California African American Museum honored one woman’s jour-ney to explore and reveal the divine in her body of work. A Woman’s Journey: the Life and Work of Artis Lane celebrated Lane’s 50-year artistic career and documented the evolution of form from mere image to

ethereal symbol. The exhibition centered on the body, especially its hierarchical positions manifested in purely physical form—figures laden with emotion and persona—and finally as the essence of a greater consciousness. The artwork mir-rors Lane’s own progression from the secular to the sacred and secures her posi-tion as one of California’s most thoughtful and prolific living artists. Artis Lane is a phenomenon. At 80 years of age, she is a significant presence in visual art, having lived and worked as an artist for most of her life. Her patron base is for-midable, painting presidents, first ladies, and many of the nation’s elite, including the Getty’s, the Annenberg’s, the Hammer’s, and Oprah Winfrey. No other black woman artist can boast such longevity and access. Numerous celebrities have posed for Lane’s portraits, each interaction helping to sustain her, while her exposure to diverse aesthetic principles influenced her con-cepts of the body and furthered her ontological and artistic pursuits. In this latter effort, she honors a woman’s body as temple, and through her sculpture, Lane reveals to men their potential for divinity.

mailto:[email protected]�



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Lane’s ultimate goal is to portray intangible spiritual elements, wherein godly characteristics can define the soul. Her work can be seen as a pedagogical instru-ment to guide viewers toward a universal understanding of the power of truth and righteousness. A Woman’s Journey: The Life and Work of Artis Lane was a testa-ment to Lane’s search for immortality aspiring beyond the materiality of art. Her retrospective was divided into three sections:

The Material: representing the grounded human figure; The Transcen-dent: symbolizing the human evolution to a higher consciousness; and lastly Her Life: showcasing the artistic process of creating her work and portraits of celebri-ties, friends, and family.

The Material

Shame on anyone who has an attitude of judgment about the nude body. Artis Lane

Artis Lane is a formally trained artist who explores the materiality of the hu-man form in much of her two and three dimensional work. The human figure is the basis for her creative production because the body is central to her ideas about physical and ethereal essence. The paintings, drawings and sculpture in this section of the exhibit refer to the tangible. Humans are connected to the natural world through sensory perceptions and they engage that world through their humanity. Lane captures the body in various poses, depicting the movement and fluidity of living in the physical world. Nudity is fundamental, man stripped bare, free of adornment and pretensions of society. Lane removes the distraction of the philoso-phical, revealing textural muscles and flesh—the physiology of life.

Abstract. The California African American Museum (CAAM) in Los Angeles organ-ized a retrospective exhibition featuring the artwork of Artis Lane. The decision to cu-rate a retrospective was based upon her longevity in the fine arts arena and her prolific work in the public sector. This first retrospective of the Black Canadian-American was an exploration of an artist’s work that expands over fifty years. The exhibition in-cluded self-portraits, as well as representations of family and friends; busts and paint-ings of historical figures and celebrities; and studio nudes. It featured both drawings and sculptures, from traditional to more abstract that evolved into her current work of metaphysical sculptural pieces. For popular culture interest it featured a gallery of painted portraits, including Oprah Winfrey, Aretha Franklin, and President John Fitzgerald Kennedy. The retrospective exhibition was shown at the California African American Museum from September 27, 2007 through March 9, 2008.


Art of Artis Lane: Drew Talley et al.

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Fig. 1: Untitled (Male nude) 1983

Artis Lane drew Untitled (Male nude), 1983 (Fig. 1) from a live model in a stu-dio. Drawing a nude from life is challenging, requiring knowledge of human anat-omy and the ability to understand how bones and muscles coalesce; otherwise, the drawing of the body seems lifeless, often artificial. Drawing a nude also requires a high level of concentration because the live model usually moves and alters the pose, so the drawing needs to be fast-paced and fluid. This drawing was made using pencil for the contours of the body and finished with watercolors to achieve value and definition.

After many years of portraiture work, designated as “artist to the stars,” Artis Lane realized that “portraits could never satisfy her deepest creative and spiritual urges” (Fauntleroy 1997) and decided to instead pursue figurative work in bronze. Lane found herself “caught up in sittings, unveilings, how people felt about them-selves and the way I painted them. It wasn’t enough” (Colby 1990). Lane promotes the primacy of corporeal experience with sculptures that speak to Africa as the be-ginning of human life. These “generic” pieces reflect the dignity and beauty of Afri-canness, either real or imagined, as the core of all human beings. Thus was the moti-vation to investigate the sculptural process with encouragement from her late hus-band, Vince Cannon.

In the physical, material world, Lane keeps men and women separate. Although sensuality is nearly absent in her sculptural work, the primary characteristics of women are exaggerated, the maternal functions of women’s bodies are emphasized. Men, however, are nearly devoid of sexuality. In her material drawings and paint-ings, men are almost invisible and seem unfinished, supporting the idea that women have a natural connection to the world in which their bodies are vessels of life. Many years after finishing art school, Lane attended classes at UCLA and fo-cused on sculpture. Wise Virgin I, 2003 (Fig. 2), reflects the influences of her ear-lier, academic training. The piece shows the classical pose, contraposso (or contra-pose); standing on one leg, the figure maintains tension on the opposite upper arm—by extension, the leg that appears relaxed balances that serenity to the oppo-site arm. Therefore, this sculpture presents a dynamic counterbalance. “The male and female figures she creates in bronze with a black patina represent not only all humans as we share the struggles and joys of life; the figures are also symbols of the divine and colorless spirit of man and woman that emerges from the

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Fig. 2: Wise Virgin I, 2003



human experience to express its oneness with God,” as explained by Gussie Fauntleroy (1997).

Caress (Mother and child), 1986 (Fig. 3) is one of the most representative pieces within THE MATERIAL since it speaks directly to the physiology of life. Lane cast the body of a real pregnant woman and altered it to make it more distinctive. To create a cast, the artist starts by building a mold. A mold is made by adding lay-ers of plaster/resin and gauze on top of a model. Usually, half of the body, in this case the front, is done first, and the second half is done afterwards. When each part is dry and solid, it is separated, very slowly, from the body. The two halves are then joined. After retouching the mold, making sure all the surfaces are sealed, the artist pours polyurethane and lets it dry. Once the outer mold is removed, the sculpture appears. Lane finished this work with some additional materials—gauze and pig-ments.

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Fig. 3: Caress (Mother and child), 1986

The Transcendent

My moral commitment as an artist is to portray enduring and conceptual truths, not specifics. Artis Lane

Artis Lane is one of the faithful who believe strongly in humanity’s ability to transcend the bonds of flesh. For her, womanhood and manhood are equal parts of the whole spiritual being that is eligible for eternal life once elements of the mate-rial are shed. Lane focuses on ideas of the body as a divine vessel. Lane considers this body of work her more mature and complex production, charged with serene emo-tion and spirituality. Often, she creates figurative works with a universal meaning, depicting men and women in pairs or in dialogue.

Lane captures the evolution from materiality to the spirit through her inclusion of casting and firing elements in the final product of her sculptures. Artis Lane pio-neered the technique of “displaying cast bronze sculptures still partially embedded in their plaster moulds reinforced with resin” (Hanna 1997). Lane underscores that the prevailing models for perfection—beauty, symmetry and proportion in Ameri-can culture—are of Greco-Western origin and sets about to alter that image. As she states, “I was in search of a pure African male to depict rather than as to David a hero, or a symbol of the Greek heroes. My African was to portray all mankind—generic man. I was in search of this generic man” (Robinson 2007). She claims to use African models, but also abstracts the features as much as possible because she feels it is a conceptual abstraction of all humanity, of our move from material awareness to a spiritual awareness (Donohue 2000). The plaster and tubing visible in several pieces reflect the moment of rebirth, emerging from the base human form into a different consciousness. This way, she reveals the emergence of the opportu-nity for transcendence. These pieces are in dialog with their counterparts that are clean and refined in order to document the stages of spiritual growth and under-standing.

Analogous to the plaster and tubing is the birth metaphor that Lane employs. Man is Adam, woman is Madonna; however, Lane broadens the birthing process to a rite of passage, implying that all mankind can symbolically recreate life. This birthing reflects emergence of new life, a spiritual one—a transcendent one.

Artis Lane uses the figure in her spiritual series to illuminate the body as tem-ple. According to Lane, the human body as a physical structure is not godly; how-ever, the temple within is capable of achieving godly characteristics as depicted in the transparent, acrylic figure, New Man, 2004 (Fig. 4) that has lost its materiality of flesh. He symbolizes the Christ consciousness in the light to the artist (Douglass 2001). This transcendent state for Lane is part of her own journey, one that takes precedence over her more concrete, artistic expressions.

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Fig. 4: New Man, 2004

Emerging Into Spirit. In the late 1990s, Artis Lane began exploring the con-cept of metaphysics in her work. For Lane, metaphysics refers not to ontology, in-vestigations of existence and what is known and knowable, but to modern concepts of what lies beyond the physical. Lane deliberately ignores the traditional bronze finishing process by “leaving tubing and fragments of the ceramic mold clinging to her heads and figures after they come from the foundry,” states Joy Hakanson Colby (1990). The real epiphany for Lane came with the piece aptly titled Break-through (Fig. 5). While at the foundry waiting to oversee the completion of her work, Lane saw a piece in mid-process. After bronze is poured and set, the outer ceramic shell, which holds the wax mold in place, must be removed to reveal the finished bronze within. What Lane saw was a female head with parts of the glisten-ing bronze peering out from behind chunks of chalky, ceramic shell. To Lane, this was the exact visual metaphor for the process by which humankind moves out of the tangible and the physical toward the perfect, spiritual Ideal itself (Lane 2006). “I left the shell on the bronze—and the bound wire, which symbolizes being bound—it’s all a mental concept,” according to the artist (Robinson 2007). This succession of her work is entitled the Emerging Into Spirit series and is a dramatic departure from her portraits of celebrities and dignitaries. At first, she conceived of the series using a woman, but decided to glorify and elevate manhood, the symbol of the human construct of mankind.

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Fig. 5: Breakthrough, n.d.

Emerging into Spirit chronicles the journey of one man, whom Artis Lane de-

scribes as generic man, from darkness to light. Lane approached a man from Benin, Africa to model for the series because she wanted to dignify blackness in relation to Judeo-Christian traditions and depict the invisible qualities of spirituality. Each figure represents the progression from mortal life toward the spiritual reality, the essence of truth, epitomized by light.

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Fig. 6: Emerging First Man, 1997



Emerging First Man, 1997 (Fig. 6) represents what Lane calls a generic man who stands for all humanity. The piece presents the remains of the investment cast-ing, which appears as a metaphor for the process of liberation. The way Lane uses the physicality of bronze and the bronzing process to express spiritual matters represents one of the most innovative characteristics of her work. “The sculpture has the intense energy of subject, not only physically, but also spiritually” writes Leonard Simon (2007).

Her Life

I am the symbol of mankind’s journey. Artis Lane

Born in 1927, in North Buxton, Ontario, Canada, Lane’s art was the catalyst for her journey from an all black, rural town to the wealth and prestige of Hollywood. Along the way, she married, bore a daughter and spent many years exploring new ideas and faith with her husband, Vincent Cannon.

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Among these ideas, Lane became interested in socio-political aspects of culture and consequently created busts of Mary McLeod Bethune, Rosa Parks (Fig. 7), and Ronald Reagan, among others. She articulated her decision to portray Rosa Parks in bronze by envisioning the quiet strength and humility of the woman as exemplified by the durability of bronze (Robinson 2007). Her portraits document a range of celebrities, from Leontyne Price to Audrey Hepburn to President John F. Kennedy (Fig. 8). Her portrait of John F. Kennedy not only presents a likeness of the man but also seeks to convey his dignity. The main characteristics of this painting are the position of the head and the concerned look of the eyes, giving an impression of austerity and the burden of power (Simon 2007). Marlena Donohue describes

Fig. 7: Rosa Parks, n.d.

Lane’s portraiture as characteristic of a certain inchoate energy that animates her subjects (2005). In many ways, Lane has been an official chronicler of America in the 20th century, representing the honor, glory and joy of the times.

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Fig. 8: John F. Kennedy, 1963

As Artis Lane captures prominent personalities and the sacrosanct within, so too she has preserved her own journey. Her self-portraits (Fig. 9), and paintings and sculptures of her family, illuminate her struggle as an “African and German” woman to transcend the material while retaining the purity of human interaction. Her self-portraits are more innovative and experimental than her commissioned portraits as she searches for ways to illustrate her innermost spirituality through less conventional means. She uses vertical and horizontal lines to break up the work in segments and experiments with bars of color. Figure 9 is from her “do-rag” series, which explores the connotation of the Black woman from the Aunt Jemima stereo-type.



Fig. 9: Artis Lane, self portrait, about 1989

Athlete Michele Tiff (Fig. 10) posed for Lane in the early 1980s. Lane is fasci-nated with athletes, people who, according to her, work extremely hard and sacri-fice themselves for little recognition and scarce financial compensation. Several of the athletes Lane met later became models for her sculptural work. Tiff’s portrait is masterfully executed on a colored background that reflects her brownish hue; black pencil with umber and sienna conté crayons add volume and definition to her facial features. Her eyes, nose and lips are drawn with graceful lines completed at a quick, confident pace. The tiny strokes applied to the face contrast with the broadness and lack of detail on the garment. The white of the blouse, earring, and the reflec-tion on the skin add the final highlights that brighten her expression. Lane con-nected with her model on a personal level since both shared an interest in the arts; Michelle Tiff was also a gifted pianist who excelled in athletics. Despite the strong physicality of the rendering, Tiff emerges serene and introspective. Her gaze seems unfocused, conveying the naiveté of youth.

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Fig. 10: Michelle Tiff, about 1984

Artis Lane’s work is her life. She surrounds herself with her creations as reminders, inspiration, and lessons learned. While her work reflects her formal training in the European tradition—Picasso, Matisse, and Rodin—her muses are not of the West-ern Canon.

The goal of Lane’s art is to reveal the potential of mankind through the sensi-tivity of an aesthetic that is also beyond the superficial. Her work, therefore, is grounded by the physical but extends to the spiritual in her depictions of greater love.

Appendix: Artis Lane Biography

Compiled from an interview with the artist conducted by Ruth Adkins Robinson

Artis Lane was born in 1927 in North Buxton, Ontario, a Canadian rural vil-lage. Since early childhood, Lane enjoyed a benevolent, culturally sophisticated en-vironment with a family that respected and encouraged her artistic endeavors. The artist can trace her ancestors back to Southern runaway slaves who escaped via the Underground Railroad. Many of them were accomplished, like her great, great aunt Mary Ann Shadd Cary, who founded a school and launched a newspaper, The Pro-vincial Freeman. When she was two years old, her family moved to Ann Arbor, Michigan, where she attended school. At four she began to sculpt mud clay dolls by the river while at her grandparents’ house, and by six she was already painting portraits. When she was sixteen, she won the Canadian Portraiture Award and the Edith Chapman Scholarship to the Ontario College of Art. She also attended Cranbrook

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Academy, Bloomfield Hills, Michigan. Lane lived several years in Detroit, where she supported her family by painting portraits of auto industry executives. After meeting actress Diahann Carroll, she moved to New York City, where she continued to paint portraits. Lane moved to the West Coast in 1959, and in Los Angeles, she worked for Universal Studios. She met actor Gary Grant and began to paint portraits of stars she admired. She received numerous commissions from ac-tors, actresses and politicians, among them Oprah Winfrey and Samuel L. Jackson. She also created bust sculptures of relevant African American artists and social ac-tivists, such as Rosa Parks. Encouraged by her husband, Vincent Cannon, in the early 1990s, she devoted herself mostly to sculpture. Lane’s work can be seen in the Smithsonian Institution, the National Museum of Women in the Arts, the Califor-nia African American Museum, the University of Missouri Library, the offices of Motown Records, and many private galleries. She has been the recipient of numer-ous awards, including the Women of Excellence Award from the Chatham-Kent Family YMCA in Canada, the Museum of African American Art Award in Los Angeles, Lifetime Achievement Award from An Artful Evening at CAAM, and the Women for Women Award from the Martin Luther King, Jr. General Hospital Foundation.

Acknowledgments This article was part of a research project presented for a Master of Liberal Studies degree to the College of Liberal Studies Masters in Museum Studies Pro-gram of the University of Oklahoma by Drew Talley. Talley offers his deepest ap-preciation to Artis Lane and collectors Clarence & Jacqueline Avant, Danny & Aline Bakewell, the City of Detroit, Bill & Brenda Galloway, Marla Gibbs, and Mattie & Michael Lawson for graciously allowing the California African American Museum to borrow artworks for the exhibition. Curators Dr. Jill Moniz and Mar Hollingsworth were instrumental in selecting and interpreting the artworks for the exhibition from the considerable number of pieces Talley was able to document. Charmaine Jefferson, Executive Director of CAAM, spearheaded the idea of an Artis Lane retrospective and diligently managed the progress of the exhibition from its inception to the final product. Jerry Schneider skillfully and thoughtfully added new life to the artworks of Artis Lane with his beautiful photography and gra-ciously allowed them to be reproduced for this article. Additionally, Talley would like to acknowledge Alisa Adona, Studio Manager for Artis Lane, for all of her as-sistance with conducting my research and accessing the archives of the artist. Fi-nally, Talley thanks the University of Oklahoma’s College of Liberal Studies Mas-ters in Museum Studies Program, especially my committee, Dr. Marilyn Ogilvie, Chair, Gail Kana Anderson, and B. Byron Price. Also I would like to thank Dr. Mi-chael A. Mares, editor of the CLS Journal of Museum Studies for encouraging the publication of this research.

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References Colby, J. H. 1990. Portrait of change: celebrated painter creates unusual bronzes. The Detroit News, December 24: 1B, 5B.

Donohue, M. 2000. Artis Lane at M. Hanks Gallery. Our Times, Santa Monica, May 14.

Donohue, M. 2005. Artis Lane: making art her life. Valentine New York, The Magazine II (2), 48-54.

Douglass, C. April 2001. Emerging into spirit: an interview with Artis Lane. The Christian Science Journal 119 (4): 12-14.

Fauntleroy, G. 1997. Artis Lane explores divine nature of man. Pasatiempo: The Santa Fe New Mexican, September 12.

Hanna, D. 1997. Sculpture star Artis Lane returns home. Now Magazine, Toronto’s Weekly, May 29-June 4: 68.

Hollingsworth, M., J. Moniz, and L. Simon. 2007. A Woman’s Journey: The Life and Work of Artis Lane. Los Angeles: California African American Museum.

Lane, A. 2006. Artis Lane—The Artist’s Intent. Unpublished manuscript.

Robinson, R., and A. Lane. 2007. CAAM 2007 Interview Artis Lane. Unpublished manuscript.

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Photo Credits Figure 1: Untitled (Male nude), 1983 • Mixed media on paper • 26” x 20” • Col-lection of the artist • Photo by Jerry Schneider

Figure 2: Wise Virgin I, 2003 • Bronze with patina • 33” x 9” x 8” • Collection of the artist • Photo by Jerry Schneider

Figure 3: Caress (Mother and child), 1986 • Polyurethane foam, gauze, resin • 30½” x 19” x 13½” • Collection of Mattie and Michael Lawson • Photo by Jerry Schneider

Figure 4: New Man, 2004 • Kalonite • 34” x 14” x 9” • Collection of the artist • Photo by Jerry Schneider Figure 5: Breakthrough, n.d. • Bronze, ceramic shell, resin • 6” x 5¾” x 7¼” • Pri-vate Collection • Photo by Alisa Adona

Figure 6: Emerging First Man, 1997 • Bronze, ceramic shell, resin • 75” x 20” x 12” • Collection of the artist • Photo by Jerry Schneider

Figure 7: Rosa Parks, n.d. • Bronze • 24½” x 20” x 15” • Collection of the artist • Photo by Jerry Schneider

Figure 8: John F. Kennedy, 1963. • Oil on canvas • 28” x 22” • Collection of the artist • Photo by Jerry Schneider

Figure 9: Self-portrait, about 1989 • Mixed media on paper • 24” x 18½” • Collec-tion of the artist • Photo by Jerry Schneider

Figure 10: Michelle Tiff, about 1984 • Mixed media on paper • 20” x 14” • Collec-tion of the artist • Photo by Jerry Schneider

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Fred Jones Jr. Museum of Art

University of Oklahoma








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