The work, combining drawing, painting and assemblage techniques, features linear designs that resemble topographical diagrams. Okioso (2022) is a triptych on aluminum panels mounted to wood supports. Two new works, Okioso and Blueprint for a Cosmic Mirror, Variant #1, are installed in the East Room of the Picture Gallery, the primary exhibition space on the grounds. Otitigbe, a polymedia artist whose interdisciplinary practice includes sculpture, performance, installation, and public art, interrogates historical narratives and posits alternatives to conventional lines of thought through works that frequently combine sculpture, installation and new media.
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Abra Ancliffe, exhibitions coordinator at Saint-Gaudens said, “Those of us at the Saint-Gaudens Memorial and the curatorial staff of the Saint-Gaudens National Historical Park support the artist’s vision and allow them to determine the scope of the exhibition.”įellow Eto Otitigbe’s exhibition opened this spring with a series of new works in Saint-Gaudens Picture Gallery. The Fellowship culminates in an exhibition at the Saint-Gaudens Memorial each spring.
By promoting the work of contemporary American artists, the program links the legacy of Saint-Gaudens to current discourses in sculptural practice. The Fellowship is stewarded by the Saint-Gaudens Memorial, a non-profit organization housed on the grounds of Augustus Saint-Gaudens (1848–1907) home and studio in Cornish, NH. who are selected based on their exceptional exhibition record and the rigor of their work. The Saint-Gaudens Fellowship was launched in 1978 to provide financial support and exhibition opportunities to artists based primarily in the U.S.
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His beautifully composed photographs, too, are full of life and character, whether it’s the saucy trio of sex workers, or the young boy at a local Fourth of July celebration whose smile lingers as a distillation of pure joy.
Thomas, Jr., suggested in an essay that Hendricks was the contemporary counterpart of “a West African griot who documents, preserves, and visually articulates the history of his people.”Īnd what an assortment-from young male fashion plates Hendricks encountered in Paris, to an ex-con he’d known when they were kids, stunning in a white-as-snow overcoat. The artist made life-size portraits of Black friends, relatives, and strangers-painting in the old master tradition, mindful that his interest in Black figuration in the 1960s and 1970s put him outside the mainstream of Black artists of that period. Hendricks studied at the Pennsylvania Academy of the Fine Arts and at Yale University before receiving his BA and MFA from Yale in 1972.
Tanya Pohrt, who curated this thoughtful exhibition, selected 35 works by which to explore Hendricks’s regional story. His photographs, which he often used as preparatory sketches, are highly valuable as well. Hendricks (1945–2017) died on the cusp of his ascendancy, and he perhaps would gasp at the news that one of his works just sold at auction for five million dollars or that an exhibition of his work will take center stage at Frick Madison in September. Or perhaps they had encountered him on a city street with what he referred to as his “mechanical sketchbook.” Hendricks and his camera were out to catch snippets of life in this gritty city, and the exhibition is a marvelous starting point by which to consider the role of place, community, and teaching in Hendricks’ career. For others, it was from remembering his large-scale hyper-realist portraits hanging in his downtown studio. For some, it was to pay homage to a masterful teacher who ruled with a demanding hand for close to 40 years at Connecticut College. Hendricks and Jack Shainman Gallery, New York.įriends, neighbors, former students, and colleagues turned out for the opening of the exhibition. Hendricks, (American, 1945–2017), Untitled (Lynn Jenkins, New London), ca.
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