1096:; in 1967 he became acting director of the WGMA, where he worked to integrate his policy ideas, refocusing the institution on local and regional living artists and building an outreach program oriented in part toward D.C.'s large black community, soon offering Gilliam a space in the WGMA's new artist-in-residence program. This offer in December 1967, just after Gilliam's Phillips exhibition - of a $ 5,000 stipend and studio space in the institution's new workshop downtown with a $ 50,000 operations budget - led him to continue painting full time instead of returning to teaching, but the workshop did not open until April 1968 and Gilliam did not receive the stipend until June. Looking back on this decision, Gilliam said, "I survived at least six months just on the promise of $ 5,000," and "It took a lot of guts." When the WGMA workshop opened in 1968, Gilliam shared the space with Krebs; other artists in the program included printmaker
1964:, which he said was "an example of direct conversion of the ideas behind the draped paintings into a more formal material: metal," and he called his works from this period "constructed painting." In the mid-late 1980s he extensively integrated painted and printed metals, wood and plastics as the primary material in many new works, creating multidimensional collages with alternating patterns, textures, shapes, and materials. Gilliam hired a second studio assistant around 1985 to help him complete these increasingly heavy and labor-intensive works, and by the 1990s his sculptured paintings had become more elaborate, taking the form of both free-standing sculptures and wall-based constructions. He also started using new elements like piano and door hinges to create visual layers in different sections of the compositions, giving the works hinged panels that can be displayed folded in or out.
623:, the only core member of the Washington Color School's first generation still living in the city, attended the exhibition opening and quickly became a supporter and mentor of Gilliam. Downing told Gilliam that the best work in the exhibition was the single fully abstract watercolor painting, a note of feedback that led Gilliam to more wholly embrace a style of painting loosely. Gilliam began to work wholeheartedly in abstraction, continuing to travel to New York and researching notable contemporary artists, experimenting in depth with their theories, styles, and methods in order, in his words, "to get away from the look of so many painters who were capable of opening my eyes." He said this technique of mimicking others' styles to develop his own first occurred when he realized that the composition of a figurative work in progress resembled the structure of a painting by
1973:
across the country, and in several international exhibitions. Speaking about staying in
Washington, Gilliam himself said in 1989 that "I’ve learned the difference between what is really good and real for me and what is something that I dreamed would be real and good for me. I’ve learned to — I don’t mean to say I’ve learned to love this — but I’ve learned to accept this, the matter of staying here." Binstock argued that Gilliam's choices to pursue abstraction as a black artist and to not have a permanent gallery contributed to what he deemed "a process of growth or expansion and then perhaps a cooling or retrenching period." Speaking in 2013, Gilliam offered another explanation as to why he may have been overlooked by some in the art world, suggesting that younger
712:, whose praise had been instrumental in elevating the Washington School painters. Downing believed the movement's strengths were broader than Greenberg's focus - the importance of the flatness of the colored shapes - and he encouraged Gilliam and others to embrace a more expansive definition of abstraction. While the two were close and would often have the other over for dinners with their wives, Gilliam characterized their relationship - and his relationship with other artists - as competitive, later saying that Downing "didn't influence me, he was someone that I had to beat, to compete with, which meant we hung out together." Downing also introduced Gilliam to methods and materials used by the cohort, such as how to work with
586:
2152:, argued this "rediscovery" of Gilliam's work by critics and the market had actually occurred several times over the course of his career, and suggested that Gilliam was emotional at Kordansky and Johnson's offer because they were "promising the one thing that has always eluded him. No, not success but context." Gilliam himself later said that Kordansky "has been the best thing for me," because "he’s an artist himself and he works for you;" Kordansky subsequently helped place works by the artist in the Museum of Modern Art and Metropolitan Museum of Art and organized several exhibitions of Gilliam's historical and new work.
2170:
1848:. He adjusted his collage technique, cutting one or more shapes from paintings in progress and collaging them in a central position onto a separate, larger, brightly stained and traditionally stretched canvas. He continued experimenting with new surface qualities and textures, using different paints, hardeners, and physical materials in a specific combination he later said he could no longer remember, producing layered black compositions on top of the collage that resembled rocky tar or asphalt and extended over the beveled edges of the rectangular canvases. Works like
1529:
1864:
490:. Gilliam's thesis, inspired by this group of artists working in a mode that embraced chance and accidents, was not well received by his advisor Crodel, who believed it was "too subjective," but Gilliam still viewed Crodel as an important influence in the development of his work. Gilliam specifically credited Crodel for instilling in him both a respect for the relationship between students and teachers as well as the importance of the study of art history. While attending graduate school he also befriended painter
1889:
2343:
1823:
2146:, whose work during this period was often described as post-black - over their mutual admiration of Gilliam's early paintings and they approached him together in 2012 to offer gallery representation and propose an exhibition, an offer that, according to Kordansky, moved Gilliam to tears. Speaking about Johnson at the time of the exhibition, Gilliam said "He's more of a documentary-type artist I'm a picture artist; he's conceptual." Critic Kriston Capps, writing in the
564:; according to Gilliam, Porter said he was "too 'passionate' a painter to be worried about teaching," and recommended Gilliam teach at a local high school instead to allow for more time to make and exhibit art. Binstock suggested that Porter's rejection of Gilliam may have also been due to Gilliam's abstract figurative style clashing with Porter's view of the school's direction, during the era's cultural shifts and social movements, including the
7202:
2297:, and detritus from his studio, with the compositions sometimes overflowing onto the frames themselves. The paintings' beveled frames and exploration of the circle represented a return to forms the artist had originally explored in the 1960s and 1970s. Speaking in the run-up to the show, Gilliam called it "a real beautiful ending;" the exhibition opened one month before Gilliam's death and was his final show during his lifetime.
765:, one of Washington's most well-known commercial galleries in the 1960s. Downing had introduced him to Nesta Dorrance, the owner of the gallery, and suggested Gilliam for a group exhibition, but Dorrance invited him to exhibit solo. Gilliam only sold one painting from the exhibition, which did not see much critical attention or success, but his relationship with the gallery continued for another eight years.
407:, and encouraged him to pursue a similar style. Gilliam later said that Wilke would often refuse to let him use oil paint in class because "I treated the canvas with too much respect;" Wilke had Gilliam work with watercolors to learn to release some level of control in the painting process and allow for serendipity in the final product, as the medium can spread somewhat uncontrollably when applied.
1906:, by 1980 Gilliam had begun to further build up the surfaces of the canvases with additional collaged pieces and colors beyond black and white. He also experimented with stretching the stained and collaged canvases over irregular polygonal beveled stretchers each with nine distinct edges, before covering them with raked fields of paint, producing seventeen of these new forms that he called
656:
Binstock, as "at least as important as politics," a major departure from both the general outlook in
Washington, a political capital, and from the prevailing attitude of some black activists and artists who saw value in art as a tool for political action and message-making rather than as intrinsically worthwhile outside of politics. In 1993 Gilliam recalled that during this period activist
862:
951:"I stole it." "I stole it from Ron Davis. In fact, Rockne, who was always helping me steal things, was telling me things I ought to do. He pointed out for us how Ron Davis was using the Plexiglas and allowing it to float right in space by putting it on this beveled edge... I lifted it in order to try it, and it worked. And then when I flipped it over, it worked even better."
732:
969:
1561:
portions of the painting; the beams also served as anchors for a series of cords, ropes, and pulleys to further suspend other portions of the painting, creating tall wave-like forms. Art historian
Courtney J. Martin has called it "a hinge in Gilliam's practice, showing how his work matured up to that moment," and said the installation spoke to "his desire to work in
7496:
1104:
3792:, p. 41: "I did that in college. If you paint on paper, particularly on a hard surface paper, it pushes back. It holds the color up. The water moves, or it moves with the paper so you can't stop it. You go with the flow, and you don't have to play just for the accidental aspect. You can learn to do deliberate things; you establish your references on the page."
1210:, but he was noted for taking the method a step further than his contemporaries, situating each piece differently depending on the space it was being presented in and working on a much greater scale to create an immersive experience for the viewer that blended architecture and sculpture with painting, a development that would influence the burgeoning field of
1261:
1316:" do not change the meaning of the painting for me. Rather, they help me to interpret and to clarify times and concepts. Figurative art doesn't represent blackness any more than a non-narrative media-oriented kind of painting, like what I do. The issue is the works ... deal with metaphors that are heraldic. I must have made some six or seven
33:
4962:
7341:
5476:
2264:
1242:. Because Gilliam's particular form of unstretched canvas went beyond other artists' experiments and emerged with conceptual parallels to an array of rising art movements, critics and art historians identified him as a key pioneer in contemporary art of the era, and he has been cited as the "father of the draped canvas."
1992:, said "if, at some periods in his extensive career, Gilliam seemed invisible, it’s simply because people refused to see him." Contemporaneous reviews of Gilliam's work in Washington, and elsewhere during this period were positive and framed his career as an ongoing success. Critic Alice Thorson described Gilliam in the
363:, in 1942. Gilliam said that his father "did everything," working variously as a farmer, janitor, and deacon, in addition to being a hobbyist carpenter; his mother was a school teacher, cared for the large family, and was an active member of the neighborhood sewing group. At a young age, Gilliam wanted to be a
5021:, p. 45: "If you're making stripes, you lay out the canvas using masking tape. And if you tape variously you get hard and soft areas, making different markings. The tape will move beyond and you get a stripe of the color. If you loosen the tape, it will move under and cause a mark of how you did things."
2863:
Jonathan P. Binstock, curator, art historian, and director of The
Phillips Collection, is the most widely cited scholar on Gilliam's life and career, having first begun a correspondence with the artist in the 1990s in research for his Ph.D. dissertation on Gilliam's art. As the most broadly published
2093:
Gilliam staged his first full retrospective in 2005 at the
Corcoran, curated by Binstock, who also wrote Gilliam's first monograph to accompany the exhibition. Binstock, who first met Gilliam in the 1990s in research for his dissertation on Gilliam's career, has said that he was hired by the Corcoran
1941:
series, produced by constructing multiple sharply angular geometric canvases all attached in a row, many of which can be displayed in multiple arrangements or installed around corners. Alternately painted in all black or all red acrylic paint mixed with
Rhoplex - an acrylic emulsion - and extensively
1720:
for anxiety, which he took for the first time before boarding his flight. In the air he became disoriented and agitated, believing the plane was crashing and trying to access a life raft, and on landing in
Memphis he was arrested for assaulting a fellow passenger and interfering with the flight crew.
923:
canvases; he would alternately stretch the canvases with the stretchers oriented either toward the wall or toward the viewer. When oriented toward the wall, the bevel gave the canvas the appearance of floating, disembodied from any physical support when viewed from the front; when oriented toward the
911:
by folding the canvases on top of themselves to create clear "slices" and bisected pools of color throughout the compositions before crumpling them in piles to dry, sometimes splashing additional paint on while they lay drying, adding several elements of chance into the final image. Finally, he built
745:
Gilliam went through several distinct stages working in this style, starting with a series of solid color field paintings that were bisected by diagonal stripes of alternating color, separated by thin lines of bare canvas, inspired by Gene Davis' extensive use of the stripe motif and by Morris Louis'
1982:, is meant to describe black artists who explicitly invoke and explore black history, culture, and politics in their work but refuse the label of "black art" to avoid singular ideas of how all black people or culture should be represented and the responsibilities associated with that representation.
1972:
In the late 1980s through the early 2000s, Gilliam was somewhat overlooked by the New York art world; he showed his work very infrequently in New York, but he continued to produce paintings and sculptures in new forms and developed new approaches to abstraction, exhibiting extensively in
Washington,
1950:
paintings, created during the same period, each of which comprise small stretched canvases built up with pigment and collage, usually adorned with a singular painted metal element - the letter D - on a corner of the painting, partly extending off the edge of the work. Gilliam and Butler separated in
1765:
using them to tie seahorses to his temple, the work consisted of six monumental unstretched painted canvases, two measuring 40 x 95 ft each and four measuring 30 x 60 ft each, all hung from their respective top corners on the outside walls of the museum, attached via the rings and drooping
1601:
from the Army, all splattered with paint and attached to a wooden door hung on a wall with a ladder, paint bucket, and other objects nearby. He also nailed his painting boots to a wooden board placed on the ground, hung his denim jacket on the wall next to the door, scrawled crayon on the walls, and
1050:
in 1968, described
Gilliam as "a former follower of the Washington Color School" who had "emerged as having broken loose from the 'flat color areas' style, and as an original painter in his own right." Binstock argued that the critics were recognizing Gilliam's artistic talent and potential while at
2130:
For several years in the early 2010s, Gilliam dealt with severe health complications from his long-term use of lithium to treat his bipolar disorder, which had extensively damaged his kidneys and brought on several years of depression. He was mostly unable to work and his daughter
Melissa described
2112:
In conjunction with The Phillips Collection's 90th anniversary in 2011, Gilliam was commissioned to create a site-specific installation for the large well next to the museum's interior elliptical spiral staircase, nearly 45 years after his debut solo museum show, at The Phillips in 1967. Later that
1660:
techniques in 1974, cutting out shapes from different stained canvases and collaging them into geometric designs, often comprising a circular collage within a larger square, marking Gilliam's first engagement with a circle motif. These early collages combined the precise geometries of his hard-edge
1560:
that dropped from the ceiling before spreading completely around the room to create an angled bay that allowed viewers to "enter" the piece. He installed several ceiling-height vertical oak beams around the gallery with horizontal beams attached lower down, building an armature from which he draped
1156:
paintings are unclear, as Gilliam offered multiple explanations throughout his life. Among the most-cited origin stories is that he was inspired by laundry hanging on clotheslines in his neighborhood in such volumes that the clotheslines had to be propped up to support the weight, an explanation he
894:
through the lens of Louis's brushless painting technique. He began creating paintings without a predetermined structure like his earlier abstractions, instead focusing on the physical process of painting, working quickly to pour watered-down acrylic over canvases laid on the floor, moving the pools
833:
To create his hard-edge paintings, Gilliam would tape over sections of unprimed canvas and use a brush or sponge to stain the uncovered portions with paint. In 1966 he began to remove the tape before the paint had dried, allowing the colors to run fluidly together over the entire surface, as in the
2830:
by gallerist Darthea Speyer from 1970 until she closed her practice in the 2000s, Gilliam's longest continuous relationship with any gallery. Between the 1970s and early 2010s he had relationships with dealers in cities across the country. In the late 1990s he began to show extensively with Marsha
1433:
In the early 1970s Gilliam began extensively incorporating printmaking techniques and paper into his practice, making his first prints in collaboration with Stovall in 1972. Stovall described Gilliam in the print shop as "one of the few artists who could work quickly and surely enough to invent an
1278:
Williams had organized the exhibition of exclusively abstract art at a moment of increasing disagreement between black artists who saw art-making of any kind as a liberatory act in itself, and those who viewed abstract aesthetics as anti-radical and irrelevant to black audiences, a debate that was
2250:
He began to show his work more frequently in New York, staging his first solo exhibition in the city in nearly 20 years, an exhibition of historical works at Mnuchin Gallery, in 2017. He then exhibited a series of new watercolor paintings at the FLAG Art Foundation in 2019. The same year, Gilliam
885:
from early 1967 that he said he couldn't remember making, an indication of the speed at which he was producing studies and experiments. This was a slightly crumpled watercolor in soft blues, greens, and rose, apparently made by folding the work over itself in places immediately after applying the
853:
neighborhood. Gilliam and Butler were expecting their third child at the time and had been struggling to make ends meet despite both achieving professional success, with Gilliam painting almost exclusively in the basement of their Manor Park home as he could no longer afford a studio after their
338:
in the 1980s and 1990s, although he continued to widely exhibit his work and completed numerous large-scale public and private commissions. Starting in the mid-2000s, his work began to see renewed national and international attention, and his contributions to contemporary art were reexamined and
2414:
on Boston's Red Line. This collection of overlapping aluminum shapes was painted with a mix of primary colors and tie-dye paint, attached to one another and to a supporting grid. Looked at from different angles, letters in the collection spell out the name of the station. In 1991, his geometric
1311:
which was among the most intense in the country and left large swaths of the city burned, particularly in neighborhoods close to Gilliam's home in Mount Pleasant and the WGMA studio that he had begun to use the same month. He later explained that the paintings were not meant to be understood as
655:
would later write that he had "emerged disenchanted," feeling that "the sum total of his activism had amounted to little more than gaining political honors for others." The 1963 March on Washington was Gilliam's last major protest for social change; he had come to view art-making, according to
638:
neighborhood soon after Gilliam's first exhibition. Once his first year of teaching at McKinley ended in 1963, he didn't secure a summer job and was able to spend several months exploring different styles of abstraction, beginning to embrace a style of distinct geometric shapes. In August 1963
8216:, p. 18: "American abstractionist Sam Gilliam continues to innovate in areas from studio art to public commissions. Confusion reigns in the art world, but Gilliam is consolidating his position as a cutting edge modernist who has simulated the tradition and carried it forward in his own terms."
2831:
Mateyka Gallery in D.C., his primary dealer until he joined David Kordansky Gallery in Los Angeles in 2013, and Pace Gallery in 2019 - his first-ever exclusive New York dealer - which both co-represented the artist until his death. Kordansky and Pace continue to co-represent Gilliam's estate.
2427:
over a staircase. The sculpture has a blue outer ellipse with red and yellow inner parts, representing the subway lines. In the artist's words, the predominant blue offers "a visual solid in a transitional area that is near subterranean," and the work calls to mind "movement, circuits, speed,
1361:
in solidarity with a boycott organized by the Black Emergency Cultural Coalition (BECC). Gilliam and other artists were frustrated with the museum, which had organized the exhibition in response to earlier BECC protests over the lack of black artists in the Whitney's programming, because they
367:
and spent most of his time drawing with encouragement from his mother. As an adult, Gilliam recalled that creativity was an essential part of his home life as a child: "Almost all of my family members used their hands to create ... In this atmosphere of construction, I too began to flourish."
572:
as a clear, declarative, and often overtly political aesthetic: "Gilliam's somewhat ethereal and apparently raceless figures may have seemed irrelevant to Porter." Gilliam followed Porter's advice – and that of his college professors – to become a high school teacher, teaching art at D.C.'s
1597:, a mixed-media work that existed in the artist's studio in various forms for five years before he exhibited it as an immersive installation at Jefferson Place Gallery in November 1973. The piece comprised an assemblage of tools, clothing, and found objects from his studio, including his
1629:
represented Gilliam's "most explicit response to the accusation that he was indifferent to the challenges that faced African Americans" because he was pursuing abstraction instead of representational art. Speaking several decades later on the subject of race in his art, Gilliam said:
1985:
Additionally, several authors - and Gilliam's family - rebutted the idea that his career truly declined, given the breadth of exhibitions he staged and participated in during the period, and suggested in retrospect that this was an overdramatized narrative. Greg Allen, writing in
4222:, p. 15: "It happened that once when I was doing a figurative study the construction of that composition paralleled a construction of an artist I was interested in–Hans Hofmann–so, immediately, instead of painting the figure I changed courses and started to paint the structure."
1051:
the same time attempting to establish the early Washington School style as a movement of the past, to encourage more local innovation like Gilliam's to cement Washington's role as an art center. Gilliam's solo show in New York was less noticed, but still received praise in
2814:
Gilliam exhibited and sold his work through a broad array of galleries in Washington, throughout the United States, and internationally, and his career was marked by multiple periods of both rising and stagnating interest in - and prices for - his work. Gilliam's painting
1729:
while the Corcoran exhibition was opening to the public. The case went to court later that year, where a court-ordered psychiatrist testified that he had been "suffering a temporary attack of manic depression or schizophrenia," and he was acquitted after a two-day trial.
1942:
raked on their surfaces, the paintings featured similar textures to his previous series, but with the addition of distinct lines dragged through the paint to create the outlines of geometric forms imposed on top of and within the compositions. Gilliam presented a set of
1871:
Gilliam's new critical successes led to rising prices for his work, allowing him to purchase a building near 14th and U St NW in 1979 that he shared with Krebs and which served as his primary studio for over 30 years, in exchange for $ 60,000 and three of his paintings.
443:. Gilliam later said that seeing Klein's work in particular "had an effect on me, and I thought about making art beyond the interiors that it is usually presented in, about making art more in the outside world." He was honorably discharged from the Army with a rank of
1606:
that he could "sense heaviness cut through by fun," and said he saw "anguish in playfulness." In the following months Gilliam reworked elements of the assemblage, condensing them onto a smaller board and encrusting it with additional paint, renaming the new version
1198:
that "every visible and tactile and kinetic element was drawn into an ensemble of compelling force;" Forgey later called the exhibition "one of those watermarks by which the Washington art community measures its evolution." He also began testing new fabrics for the
660:
had brought him and several other black artists together to tell them, "You’re Black artists! I need you! But you won’t be able to make your pretty pictures anymore." Despite this general mood among many of his contemporaries, Gilliam committed himself to exploring
3133:
1802:
comprised multiple different installations of stained fabrics, woods, and rocks draped across the landscape, which he re-worked and re-installed over the course of the residency. In 1977 he was also one of the first artists-in-residence at the newly established
1624:
was developed as a somewhat humorous response to his sense that abstract art by black artists was not being accepted as a valid form of expression, in particular in response to a critic who wrote that Gilliam "had painted out of the race." Binstock suggested
724:, giving them a translucent appearance. Gilliam showed his early hard-edge experiments in 1964 in his second solo exhibition at The Adams Morgan Gallery, his first show of exclusively abstract art. The same year he also began teaching in the summers at the
4509:
1465:"break away from painting's traditional imitation of the panel picture by dealing with the palpable, soft qualities of the canvas." He recommended Gilliam to other curators for his first international exhibitions including the 1969 Triennale-India at the
577:
for five years, eventually becoming close with Porter as a friend and colleague. As an art teacher, Gilliam could dedicate time to his own art on the weekdays reserved for his students' academic classes, renting a painting studio at 17th and Q St NW near
1774:
was made with traditional canvas material displayed open to the elements and was blown off the museums' walls by the wind in both Philadelphia and Brooklyn, and the canvases were tattered and partly destroyed by the time he deinstalled them in New York.
1043:
wrote that Gilliam had begun to let his paintings "go soft" as opposed to the hard geometry of the Washington School, and described the new work as showing "the effervescence of an artist experiencing a new liberation;" while Andrew Hudson, writing in
2358:, an unstretched canvas in earthy tones with extensive cut-outs, bolted flat and draped against the wall, with two curved blocks of marble and an aluminum beam resting on the ground. It was commissioned through the Art in Architecture Program of the
795:
in 1966, critic Benjamin Forgey described Gilliam as "one of the minor followers in the wake of the color school." Gilliam later said that the association with the Washington School was an important milestone that encouraged him to continue working.
1634:"I do not see myself as a particularly Afro-American artist, in the sense that it is the subject of my art. I am an Afro-American artist. I am who I am in that regard. But I feel that specific questions raised about race do not relate to what I do."
286:
that he suspended, draped, or arranged on the ground in galleries and outdoor spaces. Gilliam has been recognized as the first artist to have "freed the canvas" from the stretcher in this specific way, putting his paintings in conversation with the
1279:
playing out among the Studio Museum's staff and supporters. Several reviews of the exhibition focused on this perceived tension. Around the same time, Gilliam introduced explicit references to politics and current events in the titles of several
906:
series. Continuing to stain and soak his canvases with thinned acrylic paint while they lay on the floor, he began to mix metals like ground aluminum into his paint and started physically splashing the canvas as well. He drew on the approach of
1786:
the surfaces to achieve texture and physical depth. He then cut long sections from these canvases and collaged them in horizontal or vertical arrangements, disrupting the patterns on their surfaces. This series was formalized in 1976 as his
4997:, p. 19: "For the first time I felt like an artist ought to feel. Not only did I create an image, but my personality took hold. It became very important to become known as one of the youngest members of the Washington Color Field School."
1027:
was so heavy it destroyed the wall, and Gilliam said that the gallery owner temporarily shut off the lights at the opening as a gesture to show that he believed the work was too large to be sellable. After seeing this exhibition, artist
2121:
work. Elaborating on his approach to creating site-specific installations, he explained to the curator that in his view, "You don't remove the artwork from its environment, so that the painting is not the painting, it can be the wind."
789:, calling his paintings "poorly executed" and writing, "One wonders whether Gilliam wants his colors to run into one another or not, and why he doesn't try giving up sharp edges and defined color areas and see what happens." Writing in
1573:
multiple times over the following decade in modified configurations and with new additions for different exhibitions, sometimes with new titles when reinstalled; the piece was exhibited through 1982 under its original title as well as
1469:, and introduced him to gallerist Darthea Speyer, who staged Gilliam's first European exhibition in 1970 at her gallery in Paris and became his longest continuous art dealer. Hopps also included him in a group exhibition for the 1972
1356:
installations and re-installing previous ones. In 1970, Gilliam was also hospitalized for anxiety and depression for a second time. In April 1971, he withdrew from a group exhibition of contemporary African-American art at New York's
2259:
that can be displayed in different combinations, which had been inspired by his time in Basel, where he said he saw many recently arrived migrants, leading him to think more deeply about the shapes of what he called "early Africa."
1684:, had begun research for a biography on Robeson when their young daughter Melissa noticed her mother's excitement and wrote Robeson a letter asking him to be interviewed, inspiring Gilliam to begin his own project honoring Robeson.
1582:. In 1973 he also made his first pieces with printmaker William Weege at his Jones Road Print Shop and Stable in Wisconsin, a relationship that would yield a sizeable body of collaborative print works, many published as editions by
2255:, his first ever long-term relationship with a gallery in the city. In 2020 he staged his first solo show with Pace, premiering a new body of stained and painted monochrome wooden sculptures, some in the form of small pyramids on
6098:, p. 44: "Gilliam's single most significant and celebrated invention, the draped or suspended painting, was a major development of the post-1960 era, and one that has earned him an enduring place in the history of formalist art."
2949:
Interviewed in 2015, Gilliam's second wife Annie Gawlak said his U St studio was purchased "in the early 1970s;" Binstock and Helfenstein, writing in 2018 in a revised chronology of Gilliam's career, cited 1979 as the year of
2864:
author of both early histories of Gilliam's life and later evolutions in his career and style, as well as the curator of two of Gilliam's career retrospective exhibitions, Binstock is extensively cited throughout this article.
2003:
Throughout the 1990s Gilliam completed a number of public and private commissions in relatively quick succession, received several grants, and regularly sold his work, with consistent acquisitions at museums and galleries at
1122:
During this period between late 1967 and mid-1968, Gilliam started experimenting with leaving his paintings unstretched, free of any underlying wooden support structure, a technique that developed into what he would call his
2058:, in 1998. He presented work experimenting with new forms of site-specificity, including paintings on wood with digitally rendered details of the Kreeger's noted Modernist architecture, and a temporary installation of small
1619:
was a phrase one of Gilliam's daughters thought up while walking through a run-down neighborhood on her way to school. Gilliam said this series was an attempt to "shock" viewers familiar with his preexisting style, and that
1010:
paintings, eventually reaching a size that could fill entire walls. He would later say that in the 1960s he felt "a need for scale," which he referred to as "both practical and psychological." Gilliam exhibited more beveled
1410:, a nearly 18 ft long canvas that hung from the ceiling onto a ladder the artist placed in the gallery and stretched around a corner between two different spaces, along with a set of watercolors and several wall-based
10387:
768:
Despite some unenthusiastic reviews, this series of works cemented Gilliam in the eyes of critics as one of the inheritors of the Washington Color School. Among his first media coverage was a profile in the debut issue of
1394:
instead of and in addition to canvas; this material is stronger and more lightweight than traditional woven fabrics and Gilliam found it to be better suited to absorbing pigment in combination with water-tension breaker.
3098:
1369:
throughout this period, embellishing the paintings' environments with metal, rocks, wooden beams, ladders, and sawhorses, sometimes draping or piling the canvases over the objects instead of suspending them from above.
4568:
1136:, or knot the paintings from the walls and ceiling in his basement and the WGMA workshop after they dried, instead of attaching them to a stretcher. As with the folding of the wet canvas that he had begun with his
303:
paintings after the early 1980s, primarily returning to the form for several commissions and a series of late-career pieces, usually created with new techniques or methods that he was exploring in his other work.
4474:
3901:
2327:(b. 1967). Gilliam and Butler separated in 1982 and divorced soon after. In 1986 he met Annie Gawlak, the owner of Washington's G Fine Art gallery. Gilliam and Gawlak married in 2018 after a 30-year partnership.
282:, first developed in the late 60s and widely exhibited across the United States and internationally over the following decade. These works comprise unstretched paint-stained canvases or industrial fabric without
720:, the group's so-called "secret ingredient." Gilliam primed his canvases with the water-tension breaker, to "open the pores" of the canvas, letting him mix paint colors as they soaked in, instead of mixing on a
2098:, critic Michael O'Sullivan identified a broad stylistic range in Gilliam's career and said he "can be seen moving forward and backward stylistically, dropping one thing, only to pick it up again years later."
708:. Binstock has argued that Gilliam's work was informed in large part by Downing and his relationship to the formation of the movement; unlike Louis and Noland, Downing had not yet been championed by art critic
2183:
Throughout the next decade Gilliam participated in a large number of high-profile solo and group shows and created several new commissions, including a permanent installation in the lobby of the newly opened
1131:
works by soaking, staining, and splashing unstretched canvases laid on the ground before leaving them crumpled and folded to dry, he began to use rope, leather, wire, and other everyday materials to suspend,
556:, a painting professor interested in the same Bay Area Figurative style, but Gates declined, saying Gilliam would not gain much from being his student. Gilliam was also turned down for a teaching position at
1398:
After the WGMA workshop space closed in 1971, Gilliam and Krebs were allowed to continue using the remaining operations budget to fund their personal studios, supporting them for an additional seven years.
1704:
praised the installation and said it "probably is the best painting he's ever made," and "Gilliam somehow brings all of his excesses together, and makes a room that is virtually saturated with painting."
8520:
1977:
making work during this era had been "able to do something I was not – to keep the political in the front," and that they had received greater attention for it. This term, usually attributed to curator
414:
after seeing her on the bus, and the two began dating. He staged his first ever solo art exhibition in 1956 at the university, the year following his graduation. From 1956 to 1958 Gilliam served in the
2090:. He built up thick surfaces of high-gloss acrylic with gel medium on wood to create wall-based works with polished, nearly reflective surfaces, some with puzzle-like insets of alternating rectangles.
2293:
paintings, the first of Gilliam's works in that form, comprising circular compositions on wood board in beveled frames containing fields of pockmarked paint textured with wood shavings, small metal
2155:
Several news outlets reporting on Gilliam's resurgence embellished the degree to which his career had suffered in previous decades or incorrectly described him as having disappeared completely:
8990:
3866:
2166:
After switching doctors and stopping the use of lithium around 2014, Gilliam saw significant recovery from his health challenges and began to create work and travel at a much more rapid pace.
1442:
series; he described this as his first attempt to create a "perfect" white composition. These works, begun by staining canvases with color and stretching them over beveled wood similar to his
1190:, a 150 ft long canvas suspended from the rafters in the Corcoran's two-story atrium gallery, and several separate 75 ft long wall-sized canvases draped on the sides of the gallery.
1194:
in particular was broadly acclaimed by critics as marking a singular achievement in combining painting and architecture to explore space, color, and shape, with LeGrace G. Benson writing in
5716:
1257:. Afterward, Gilliam, Edwards, and Williams – all African-American artists working in abstraction – became closer, and went on to stage exhibitions as a trio multiple times in the 1970s.
8347:
find however were Alma Thomases, and Sam Gilliams, and William T. Williams. So this gives us another narrative about those abstract artists and their engagements with a wider community.
5884:
1382:
placed on the ground. These two pieces typified what Binstock termed a "drop-cloth aesthetic," describing both the new textures Gilliam explored in his canvases, which looked like the
845:
in Dupont Circle. Gilliam was able to leave his teaching position at McKinley to focus on his painting in the run-up to the exhibition, thanks to an individual artist's grant from the
6347:
1778:
In the mid-1970s Gilliam started covering stained canvases with thick layers of white acrylic paint and acrylic hardener that made them appear more dimensional than the earlier white
9334:
5897:
Gilliam was partially inspired to drape canvases by his father's work as a carpenter building sets for local church plays, as he said in a 2004 interview with scholar Rohini Talalla.
899:, with circles of dark red spreading from the points where Gilliam allowed the paint to pool, and traces of fluid movement where the different paints ran together across the canvas.
4784:
3963:
8802:
2826:
Gilliam's first exclusive dealer in Washington was Jefferson Place Gallery from 1965 to 1973, followed by Fendrick Gallery, and then Middendorf/Lane Gallery. He was represented in
10377:
6942:
775:
in October 1965, which described him as "one of the younger (31), less touted 'Washington Color Painters.'" In 1966, his hard-edge paintings were included in the group exhibition
10063:
4637:
1761:
as part of a city-wide festival in April and May 1975. Inspired by the large bronze rings that decorate the top of the museum's building, which Gilliam said had made him imagine
1386:
used to protect the floor in an artist's studio, and the resemblance of the installations to studios full of works in progress. In the early 1970s he also began using industrial
2078:
Beginning in the early 2000s, Gilliam returned to a new version of his early-career geometric abstractions; after experimenting with making monochromatic print works in 2001 at
1692:
each suspended from the gallery's tall ceilings and spread horizontally across the ground to create pyramidal or tent-like forms. Art historian Josef Helfenstein has described
8838:
1615:
series, are considered by scholars of Gilliam's work to be unique within his overall oeuvre, in that they are straightforwardly autobiographical or narrative works. The title
9930:
2469:
He received eight honorary doctorates, including from his alma mater the University of Louisville, in 1980, and he was named the 2006 alumnus of the year. He was awarded the
799:
This early media coverage also coincided with a few group exhibitions outside of Washington that helped raise his national profile, including two exhibitions in Los Angeles:
5338:
4037:
11503:"Sam Gilliam" files, Thelma & Bert Ollie Memorial Collection of Abstract Art by Black Artists: Files for Research and Education, Museum Archives, Saint Louis Art Museum
9310:
4533:
895:
of paint around and into each other by physically manipulating the canvases, allowing a composition to appear by both improvisation and chance. This resulted in works like
10646:
Binstock, Jonathan P. (2018). "Selections From an Ongoing Conversation Between Sam Gilliam and Jonathan P. Binstock". In Binstock, Jonathan P.; Helfenstein, Josef (eds.).
9567:
8933:
1152:
is also determined in part by the specific layout of the space the work hangs in, and by the actions of the person installing the piece. The exact inspirations behind the
1144:, the gesture of draping left a large element of the artwork's visual presence to be determined by chance - as the canvas folds or bunches unpredictably - but, unlike the
1174:. The same year, Hopps facilitated the merger of the WGMA with the Corcoran Gallery, becoming director of the newly combined institution and inviting Gilliam, Krebs, and
3889:
2012:, a monumental painted aluminum work made of helix-like forms hung from the ceiling via aircraft cables and stretching across multiple floors in an atrium in the former
8104:
3071:
2247:. Gilliam himself said that "rising prices" during this period gave him more freedom to pursue new, large works. He also married Gawlak, his longtime partner, in 2018.
11610:
9872:
5839:
6827:
2051:, inside the museum's historic chapel. He re-used the printed fabric he made with Weege, adding paint to the work before sewing it in strips from the chapel ceiling.
9242:
7808:
6086:, pp. 22-23: "Gilliam's 'drapes' are an important part of the post-minimalist dialogue of the late '60s that engaged the avant-garde on both sides of the Atlantic."
4140:
3236:
11615:
1438:
installations for a series of commissions and exhibitions, he also returned to the format of the rectangular stretched canvas around this time, beginning with his
8864:
2801:
2185:
344:
8509:
11333:
9593:
9831:
3195:
1362:
believed the curator had made only cursory attempts to contact established black curators and scholars of African-American art to help shape the exhibition.
886:
paint, creating several vertical "slices" emanating from the bottom edge of the painting. After seeing a posthumous exhibition of Morris Louis's work at the
6767:
758:, which showcased how he was moving beyond the Washington School's core styles, as the distinct regions of colors blend together in the lower-right corner.
611:. Although unaware of the abstract art movements in Washington when he arrived in the city, Gilliam was introduced to what had recently become known as the
9774:
3036:
1766:
down in upside-down arches of folds. In 1977 he reinstalled the work for a second and final time, with five canvases instead of six, on the outside of the
7883:
6850:
3521:
2192:, comprises a series of glossy geometric colored rectangles of acrylic on wood in the style he began exploring in the mid-2000s, and was inspired by the
10491:
10457:
9680:
8192:
3477:
1922:
paintings and others from the period as "quilted," for their resemblance to African and African-American quilting patterns. The transition between his
10258:
8956:
6038:
3398:
1602:
attached a pair of sunglasses to the light fixture in the small gallery. Reviewing the installation after it premiered, critic Paul Richard wrote in
5977:
3855:
9519:
383:
in painting in 1955 as a member of the second admitted class of black undergraduate students. While in school he studied under professors including
1856:
exemplify this series, with flecks of bright color and outlines of sharp geometric shapes partly visible under a thick impasto of black paint. His
669:
wrote that Gilliam "stood firm for his own kind of painting at a time when abstract art was said by some to be irrelevant to black American life."
395:, eventually working as Wilke's studio assistant; Gilliam became interested in Wilke's collection of woodcut prints, African sculpture, and art by
11486:
8647:
7460:
4376:
11545:
10194:
9370:
9171:
9114:
8670:
6583:
5681:
4725:
2354:
Starting in the late 1970s, some of Gilliam's works were commissions for public buildings. His first work made for permanent public display was
11575:
11565:
9204:
3630:
2524:
8371:
5874:
10923:
9638:
875:
In preparing for the exhibition, Gilliam revisited his fluid experimentations from the previous weeks and discovered a study he later titled
672:
In December 1963 Gilliam was hospitalized in Louisville, in connection with anxiety he felt about his artistic career; he was diagnosed with
466:
has described as "typically dark and muddy in tone." He was inspired in large part during this period by several artists associated with the
268:
painting in the 1950s and 1960s, Gilliam moved beyond the group's core aesthetics of flat fields of color in the mid-60s by introducing both
10098:
9012:
6313:
3356:
2025:
2005:
9742:
4749:
3928:
330:
After early critical success, including becoming the first African American artist to represent the United States in an exhibition at the
11550:
8784:
315:
paintings begun in the mid-1960s, often displayed with custom beveled stretcher bars that make the paintings protrude from the wall; his
10421:
10292:
6930:
2220:
from the 1970s, and Gilliam said that he wanted the piece "to billow like that early work." His first solo museum exhibition in Europe,
11595:
11560:
10050:
9673:"Johns Hupkins University Opens New State-of-the-Art Higher Education Facility on Pennsylvania Avenue in the Heart of Washington, D.C."
4603:
369:
327:
forms; and a series of monumental painted metal sculptures, developed beginning in the 1980s and 1990s for several public commissions.
3512:"Painter Sam Gilliam Spent His Entire Career in Washington, D.C. Here's How the City Sustained Him When the Art World Wasn't Watching"
10130:
9050:
7661:
2420:
2378:
8828:
11635:
11630:
10708:
Binstock, Jonathan P.; Webb, Tatem (2005). "Annotated Chronology and Selected Exhibition History". In Binstock, Jonathan P. (ed.).
9962:
9911:
6477:
5573:
5534:
640:
10162:
5632:
5326:
4029:
2159:
was forced to run a correction after claiming that Gilliam had once bartered his paintings in exchange for laundry detergent, and
692:
and color field styles, with precise geometric fields of color similar to those of Washington Color School painters like Downing,
11605:
11585:
11570:
11555:
11028:
Helfenstein, Josef (2018). "From Object to Process: The Drapes in Context". In Binstock, Jonathan P.; Helfenstein, Josef (eds.).
10226:
9294:
8057:
1300:
513:
while Gilliam remained in Louisville, and he traveled to New York to visit her often, where he also became interested in work by
499:
8923:
4441:
3441:
1430:-like series of folds at the top of the canvas, oriented variously angled up or down and radiating into the rest of the canvas.
1163:
in 1973. He offered several different explanations later in his life, and eventually directly refuted the laundry origin story.
4410:
2540:
1896:
599:
In 1963 he presented his first solo exhibition in the city at The Adams Morgan Gallery, showing a selection of figurative and
359:, on November 30, 1933, the seventh of eight children born to Sam Gilliam Sr. and Estery Gilliam. The Gilliam family moved to
11580:
11095:
10835:
10448:
10355:
9617:
9366:
8761:
8330:
8093:
3060:
2781:
2680:
2575:
2282:
2275:
1834:
1352:, Gilliam was invited to present his work at a number of museums and galleries in the early and mid-1970s, both creating new
1203:
paintings, working with linens, silks, and cotton materials to find the best canvas for his soaking and staining techniques.
814:
9996:
9854:
5805:
2381:. It is a 34'x 12' sculpture of painted 3D aluminum shapes, suspended from a 60 ft (18 m) ceiling, with a central
6793:
2200:'s poem which serves as the work's title. The following year he exhibited at the Venice Biennale for a second time, in the
1910:. This marked a return to the exploration of painting as sculpture, with art historian Steven Zucker describing one of the
10525:
9448:
9230:
7774:
368:
Throughout his middle and high school education he participated in school-sponsored specialized art programs. He attended
10028:
7920:
4125:
3218:
2481:; his work was shown in embassies and diplomatic facilities in over 20 countries during his career. He received multiple
2363:
1583:
1497:, and he lived in the pavilion for a week to install the works. His paintings were shown in Venice alongside the work of
6201:
3753:
3272:
2485:
grants starting in 1967, and he participated in numerous fellowships and artist-in-residence programs, including at the
10889:
10577:
10221:
8899:
2706:
1795:
1549:
1537:
1090:
7688:
5408:
2142:, which brought a new wave of national media attention to his work. David Kordansky had bonded with Johnson - a noted
525:. They married in 1962 and moved to Washington, for Butler's new job as the first African-American woman reporter for
502:, often in conjunction with local Unitarian churches. He was arrested and jailed on several occasions for non-violent
11620:
11600:
11516:
11461:
11427:
11389:
11243:
11212:
11158:
11124:
11072:
11041:
11010:
10980:
10897:
10863:
10812:
10725:
10690:
10659:
10628:
3679:
2474:
2044:
1749:
In the run-up to the Corcoran exhibition, Gilliam also prepared one of his largest and most well-known draped works,
1320:
paintings. The paintings are about the sense of a total presence of the course of man on earth, or man in the world."
855:
850:
232:
1002:, marking Gilliam's first inclusion in a museum collection, and he followed up this exhibition with another show of
11302:
10592:
2501:
Gilliam regularly staged exhibitions in the United States and internationally. Notable group exhibitions included
2486:
887:
806:
299:. While this became his signature style in the eyes of some critics and curators, Gilliam mostly moved on from his
9797:
9705:
3553:
3160:
11625:
11590:
11180:
9444:
6740:
3432:
2753:
2482:
2359:
1996:
in 1991 as "an acknowledged master of 20th-century painting and Washington's most famous living artist;" and the
1115:
846:
780:
574:
9764:
3001:
10760:
10713:
10616:
7868:
7656:
6868:
1804:
1076:
10565:
3511:
1378:
both comprised crumpled, unstretched stained canvases with sewn patchwork elements, arranged on top of wooden
837:
After seeing Gilliam's earlier hard-edge abstractions and works in this new transitional style, art collector
343:. Late-career milestones included creating a work for permanent display in the lobby of the then-newly opened
307:
He produced art in a range of styles and materials, exploring the boundaries between painting, sculpture, and
10443:
1206:
Gilliam was neither the first or the only artist to experiment with unstretched painted canvases and fabrics
635:
11507:
10975:(Exhibition catalogue). Magdeburg: Kunstmuseum Kloster Unser Lieben Frauen Magdeburg. pp. Unpaginated.
10479:
9672:
8162:
3467:
2013:
1918:." The combination of colors, textures, and shapes have led multiple critics and historians to describe the
1039:
paintings and Gilliam's evolution beyond the core tenets of the Washington Color School. Benjamin Forgey of
295:, this contributed to collapsing the space between painting and sculpture and influenced the development of
11230:
Osadtschy, Olga (2018). "Plates - Explanatory Notes". In Binstock, Jonathan P.; Helfenstein, Josef (eds.).
10751:
10248:
9541:
8715:
8134:
6028:
3754:"The Art of Survival (and Vice Versa): Four Young Artists Illustrate the Shift from Bohemia to Bureaucracy"
3548:
3388:
2722:
1308:
1086:
482:, whose work he had been introduced to by Wilke, his undergraduate professor, and by seeing the exhibition
467:
5996:
5962:
2047:. Gilliam was invited in 1997 to create an installation at the Kunstmuseum Kloster Unser Lieben Frauen in
1513:. Gilliam was the first African-American artist to represent the United States in a show at the Biennale.
750:
paintings, a series that combined the striated stripe format with the style of Kenneth Noland's geometric
585:
11453:
10487:
9507:
8128:
3759:
2693:
Following his death, several galleries and museums staged posthumous exhibitions of his work, including:
1230:, all themes explored by a range of other artists cited by Gilliam as influences at the time, from early
2713:, a two-part exhibition staged at Pace's New York gallery in 2023 and Kordansky in Los Angeles in 2024.
2169:
1708:
After the pre-opening reception for artists and press at the Corcoran, Gilliam was set to travel to the
924:
viewer, the bevel support was visible under the canvas, making the works appear like painted sculptural
10677:
Binstock, Jonathan P.; Helfenstein, Josef, eds. (2018). "Annotated Chronology and Exhibition History".
8681:
8639:
7455:
7450:
4342:
2114:
1758:
1712:
to deliver a lecture and teach a week-long workshop. He reported feeling great stress after installing
801:
665:
abstraction instead of clearly legible figuration. Reflecting on this period two decades later, critic
10184:
9362:
2450:- is a 20 × 8 ft painting on a beveled stretcher completed in 2021, created for the lobby of the
2289:. The show eventually opened in May 2022 as an exhibition of chiefly new work; he debuted a series of
1794:
In 1977 Gilliam completed his first formal engagement with land art during an artist residency at the
1006:
paintings at Jefferson Place Gallery before the end of the year. He began increasing the size of his
9231:"This D.C. Artist Painted Furiously Through The Pandemic. The Hirshhorn Is Now Displaying Their Work"
9137:
9079:
8685:
6568:
4691:
4338:
2466:
Gilliam's work was broadly acclaimed during his lifetime and he received numerous awards and grants.
1860:
were widely acclaimed when he began exhibiting them and brought a new wave of institutional support.
1055:
from critic Emily Wasserman who wrote positively about the dimensional qualities of the color in his
936:
666:
9494:
9194:
2241:
2094:
on the specific condition that he begin planning the retrospective. In reviewing the exhibition for
1207:
400:
10589:
Sam Gilliam: Of Fireflies or Ferris Wheels, a Cultural Presentation of the United States of America
10417:
9676:
8360:
4874:
4130:
3674:
3612:
2772:
2478:
2477:'s inaugural Medal of Art Lifetime Achievement Award in 2015 for his longtime contributions to the
2470:
2451:
2106:
2105:
since he bought the property in 1979 - for $ 3.85 million in 2010, moving to a new building in the
1528:
1304:
1253:, alongside work by William T. Williams, Mel Edwards, and Stephan Kelsey, at the newly established
960:
771:
620:
376:
84:
9630:
2008:
in particular. His commissions during this period mostly comprised larger painted sculptures like
1035:
The exhibition at The Phillips was lauded by regional art critics, many specifically praising the
861:
817:, a historical survey of African-American art curated by James Porter that also included sculptor
11491:
11419:
11381:
11357:
10717:
10620:
10521:
10453:
10351:
10322:
10288:
10093:
10088:
10023:
9957:
9738:
9515:
9340:
9272:
9138:"Sam Gilliam, Groundbreaking Artist Who Brought Abstraction Into the Third Dimension, Dies at 88"
9020:
8721:
8550:
7958:
6518:
6002:
4136:
3437:
3066:
2791:
2743:
2733:
2651:
2641:
2618:
2592:
2556:
2386:
2201:
2135:
1474:
1272:
1254:
1170:
paintings in late 1968 in a group show at the Jefferson Place Gallery, which included works like
957:
869:
842:
838:
762:
739:
725:
612:
261:
125:
9264:
6029:"How to Look at a Sam Gilliam Painting: With One Eye on History and the Other on Color and Form"
3323:
2024:, a multi-part painted wood construction placed on four separate ledges near the ceiling in the
10998:
10572:(Exhibition catalogue). Washington, D.C.: Day Eight / Washington Studio School. pp. 9–37.
9730:
8343:...as we were going to Fisk and Atlanta University, and Howard and other institutions what we
6024:
2306:
2000:
described him in 1996 as "one of the few black American artists welcomed into the mainstream."
1709:
716:
acrylic resin paint which can soak into canvas rather than layering on top of it, along with a
644:
624:
411:
140:
11497:
11349:
10409:
10280:
9471:"Painting "Triple Variants" Russell Federal Building & U.S. Courthouse, Atlanta, Georgia"
9199:
8609:
8305:
8268:
8228:
7908:
7421:
7308:
7060:
6697:
5206:
4938:
4696:
4608:
4316:
2490:
2390:
2382:
2148:
2101:
Gilliam sold his studio at 14th and U St NW - in a neighborhood that had experienced intense
600:
553:
432:
428:
249:
11512:
11301:
10916:
10744:
9910:
9408:
9078:
8898:
8508:
8359:
8092:
8041:
7867:
6739:
6369:
5961:
5680:
5608:
5557:
5510:
4748:
4532:
4473:
4429:
3927:
3854:
3322:
3159:
3097:
3000:
2400:
Other installations were commissions for transit stations and airports. In 1980 he designed
2043:, one of a large number of international presentations of his work, many coordinated by the
1426:
format, each comprise a stained and painted canvas hung on the wall by a single point via a
11540:
11535:
10608:
10314:
9992:
6579:
2632:
2605:
2520:
2516:
2411:
2177:
1478:
1403:
968:
693:
677:
565:
491:
475:
463:
360:
10120:
9042:
7651:
5327:"Sam Gilliam, Longtime D.C. Painter Whose Work Is Celebrated Around The World, Dies At 88"
1700:
installations of the period to "provisional shelter." Forgey, reviewing the exhibition in
1299:
series; the dates that serve as the names of each painting in this series correspond with
731:
339:
reevaluated in several publications and exhibitions. His work has since been described as
8:
11064:
9594:"CultureNOW – Jamaica Center Station Riders, Blue: Sam Gilliam and MTA Arts & Design"
8643:
8580:
8515:
7502:
7392:
7347:
7279:
7208:
7039:
6676:
5482:
5185:
4968:
4917:
4539:
4480:
4287:
3934:
3166:
3104:
3007:
2532:
2315:
1762:
1029:
791:
785:
705:
569:
549:
527:
510:
356:
340:
53:
9952:
6463:
5558:
5511:
2916:
for consistency, was published between 1966 and its final printing in 1981 variously as
1844:, which he described as a decision "to create a fork in the road" for himself after the
1260:
11407:
11273:
11196:
10940:
10788:
10780:
10152:
9912:"Melvin Edwards, Sam Gilliam and William T. Williams: Abstract Artists and Old Friends"
9769:
9085:
8869:
7779:
7694:
6798:
6318:
6207:
5687:
5609:
4755:
4347:
3897:
2548:
2402:
2320:
2193:
1960:
1466:
1447:
1103:
824:
751:
721:
689:
657:
503:
498:
as a youth advisor and helped organize numerous sit-ins, pickets, and protests against
471:
424:
416:
192:
11502:
10216:
8042:
2216:
painting, was hung outside the entrance of the venue, similar to his early commission
1946:
paintings at a solo exhibition at the Studio Museum in 1982 along with several of his
252:. Born in Mississippi, and raised in Kentucky, Gilliam spent his entire adult life in
11467:
11457:
11433:
11423:
11395:
11385:
11361:
11325:
11317:
11285:
11277:
11249:
11239:
11235:
11218:
11208:
11184:
11164:
11154:
11130:
11120:
11099:
11078:
11068:
11047:
11037:
11033:
11016:
11006:
10986:
10976:
10948:
10932:
10903:
10893:
10881:
10869:
10859:
10839:
10818:
10808:
10800:
10792:
10772:
10731:
10721:
10696:
10686:
10682:
10665:
10655:
10651:
10634:
10624:
10596:
10573:
10382:
10125:
9922:
9864:
9823:
9815:
9807:
9302:
9163:
9155:
9147:
9106:
9098:
9090:
8982:
8974:
8966:
8890:
8882:
8874:
8794:
8601:
8593:
8585:
8544:
8273:
8249:
8241:
8233:
8184:
8176:
7800:
7792:
7784:
7715:
7707:
7699:
7523:
7515:
7507:
7413:
7405:
7397:
7352:
7300:
7292:
7284:
7213:
7052:
7044:
6860:
6819:
6811:
6803:
6759:
6751:
6746:
6689:
6681:
6539:
6531:
6523:
6339:
6331:
6323:
6228:
6220:
6212:
5831:
5823:
5815:
5708:
5700:
5692:
5624:
5526:
5487:
5400:
5392:
5387:
5198:
5190:
4973:
4930:
4922:
4879:
4776:
4768:
4760:
4717:
4709:
4701:
4629:
4621:
4613:
4560:
4552:
4544:
4501:
4493:
4485:
4430:
4368:
4360:
4352:
4308:
4300:
4292:
3955:
3947:
3939:
3772:
3764:
3622:
3427:
3348:
3340:
3332:
3228:
3187:
3179:
3171:
3125:
3117:
3109:
3028:
3020:
3012:
2763:
2661:
2286:
2225:
2017:
1822:
1640:
1565:;" Binstock has described the work as "arguably the preeminent example" of Gilliam's
1470:
1219:
1019:
in June 1968, his first solo show in New York, including the 30 × 9 ft painting
990:
paintings made that year, stretched over bevels oriented toward the wall, along with
709:
651:" speech. Although Gilliam had been deeply engaged as an activist in college, critic
557:
444:
9798:"How a 'Revolutionary' Racially Integrated Art Exhibition in Texas Changed the Game"
1454:, before being placed in custom aluminum frames made in collaboration with Stovall.
11520:
11297:
10851:
10764:
10058:
8278:
6994:
6983:
4282:"Soul Survivor: Sam Gilliam, the Last of the Color Painters, Toughs It Out in D.C."
3923:
2628:
2596:
2503:
2440:
2407:
1997:
1590:
1339:
1223:
1211:
673:
592:, the urban park near Gilliam's home in Washington, that inspired his early series
487:
388:
380:
296:
292:
257:
253:
206:
72:
10343:
9984:
8747:
3890:"Man of Constant Color: Sam Gilliam's Abstract Art Comes Home for a Retrospective"
2134:
Gilliam staged an exhibition of his early hard-edge abstract paintings in 2013 at
1023:, which he stretched at that size as a response to the width of the gallery wall.
754:
paintings. Paintings by Gilliam from this period of hard-edge abstraction include
746:
final series of striped abstractions. Gilliam's stripe paintings were followed by
334:
in 1972, Gilliam's career saw a period of perceived decline in attention from the
11498:
Sam Gilliam Papers, 1957–1989. Archives of American Art, Smithsonian Institution.
8743:
8613:
8366:
8309:
6196:
5879:
2512:
2079:
1808:
1767:
1451:
1227:
1133:
662:
608:
589:
561:
544:
On arriving in Washington in 1962, Gilliam and Butler rented an apartment in the
479:
331:
276:
275:
Following early experiments in color and form, Gilliam became best known for his
11001:(2019). "Abstraction in Tryin' Times, 1967-1980". In Martin, Courtney J. (ed.).
10513:
7425:
7312:
7064:
6701:
5210:
4942:
4320:
2473:'s Norman Walt Harris Prize, the Kentucky Governor's Award in the Arts, and the
1863:
264:, a group of Washington-area artists that developed a form of abstract art from
11373:
11308:
10547:
9436:
8860:
8167:
8099:
7351:. Vol. 123. Evening Star Newspaper Co. February 25, 1975. p. 7 (A5).
3669:
3389:"At Age 84, Living Legend Sam Gilliam Is Enjoying His Greatest Renaissance Yet"
3155:
2436:
2285:
in Washington, in 2020, but the exhibition was delayed and reworked due to the
2281:
Gilliam was originally scheduled to present a full-career retrospective at the
2197:
2143:
2139:
2102:
2055:
1988:
1974:
1358:
980:
841:
invited him to present his first solo museum exhibition in the fall of 1967 at
701:
688:
In 1964, Gilliam began developing a series of paintings that experimented with
648:
518:
459:
455:
451:
11471:
11437:
11253:
11222:
11168:
11134:
11051:
11020:
10873:
10822:
10700:
10669:
10018:
8574:
8317:
8188:
7912:
1888:
1716:
and other large works around the country, and his psychiatrist prescribed him
11529:
11399:
11321:
11289:
11281:
10990:
10936:
10907:
10776:
9868:
9859:
9811:
9470:
9306:
9195:"Sam Gilliam's Long-Awaited Pace Exhibition Blurs the Boundaries of Painting"
9151:
9094:
8970:
8878:
8589:
8237:
8180:
7788:
7770:
7703:
7511:
7401:
7386:
7288:
7273:
7033:
6938:
6864:
6855:
6807:
6789:
6763:
6755:
6670:
6575:
6527:
6512:
6327:
6216:
5819:
5696:
5628:
5530:
5396:
5179:
4911:
4883:
4764:
4705:
4617:
4548:
4489:
4356:
4296:
4281:
3943:
3768:
3748:
3626:
3617:
3336:
3262:
3232:
3223:
3175:
3113:
3016:
2820:
2609:
2331:
2263:
2082:, he developed a series of monochrome paintings on wood that he first called
1979:
1510:
1502:
1387:
1016:
986:
For his exhibition at The Phillips Collection in 1967, Gilliam exhibited six
916:
713:
652:
579:
283:
11365:
11313:
11188:
11082:
10952:
10735:
10638:
10600:
9926:
8798:
8757:
8253:
6543:
4721:
4633:
3776:
761:
In 1965, Gilliam showed his new hard-edge paintings in a solo exhibition at
11415:
11329:
11261:
11204:
11150:
11116:
11103:
10843:
10253:
10189:
10157:
9917:
9827:
9335:"86-Year-Old Artist Sam Gilliam Looks Back on a Tumultuous, Legendary Life"
9167:
9110:
8986:
8924:"At Smithsonian African American Museum, A Washington Painter Gets His Due"
8894:
8833:
8829:"Searching for Sam Gilliam: the 81-year-old art genius saved from oblivion"
8789:
8605:
8313:
8290:
7916:
7804:
7719:
7683:
7527:
7417:
7342:"Gilliam Arrested in Memphis: District Artist Charged With Violence on Jet"
7304:
7056:
6823:
6693:
6343:
6309:
6232:
5835:
5712:
5382:
5202:
4934:
4780:
4564:
4505:
4436:
4372:
4312:
3959:
3472:
3352:
3191:
3129:
3099:"When the Washington Color School earned its stripes on the national stage"
3032:
2564:
2429:
2342:
2324:
2294:
2252:
1840:
In the late 70s he explored a different end of the color spectrum with his
1816:
1677:
1598:
1239:
1082:
944:
940:
704:, who had been influenced in turn by the soak-stain painting techniques of
697:
628:
545:
514:
392:
384:
288:
188:
10803:(2019). "Nicholas Cullinan on Sam Gilliam". In Martin, Courtney J. (ed.).
10768:
9892:
9890:
8957:"SNMAAHC in the Middle of the Mall: Art Is the Chapel in This Mega Church"
8129:"Big Changes in Black America?; Touré's 'Who's Afraid of Post-Blackness?'"
1958:
paintings began with the development of his large-scale public commission
347:
in 2016, and exhibiting for a second time at the Venice Biennale in 2017.
11445:
2665:
2528:
2290:
2271:
2125:
1783:
1661:
color field work with the dynamic patterns and contrasting hues from his
1498:
1097:
818:
616:
522:
308:
269:
265:
10784:
10745:
8865:"With Black Artists' Input, One Gallery Is 'Starting to Look Different'"
2054:
Gilliam was the first artist to stage a solo exhibition at Washington's
1457:
Hopps remained a champion of Gilliam's work during this period, telling
11142:
10051:"Prominent African American Artist, Sam Gilliam, Dies at the Age of 88"
9887:
5875:"Remembering Abstract Pioneer Sam Gilliam through 5 Trailblazing Works"
3543:
1754:
1717:
1175:
1093:
932:
717:
436:
404:
364:
10971:
Gilliam, Sam (1997). "Sam Gilliam: Washington, D.C., April 15, 1997".
10944:
10917:
10570:
The Public Artworks of Rockne Krebs and Sam Gilliam, Built and Unbuilt
9390:
9388:
7832:
7830:
7828:
7826:
4750:"Sam Gilliam 'Took a Step Most People Didn't Understand Was Possible'"
2062:
paintings that Gilliam floated in the museum's outdoor swimming pool.
1819:
called this work "as subtle and beautiful as his abstract paintings."
1066:
928:
with angled edges. This use of beveled stretchers was inspired by the
531:; Gilliam would spend the rest of his life living and working in D.C.
319:
from the late 1970s, which Gilliam created with thick layers of black
5099:
5097:
5095:
5093:
5091:
5089:
5087:
5085:
4063:
4061:
4059:
4057:
4055:
3267:
2310:
2244:
2048:
1867:
1428 U St NW in Washington, Gilliam's former studio of over 30 years.
1383:
1235:
783:. Critic Andrew Hudson negatively reviewed that work in the show for
450:
He returned to the University of Louisville in 1958 and received his
396:
335:
245:
8303:
3002:"Sam Gilliam, abstract artist who went beyond the frame, dies at 88"
1434:
interesting format on the spot." While still creating new immersive
494:. Gilliam served on the executive board of the local chapter of the
9385:
8624:
8473:
8048:
7874:
7823:
7538:
7436:
7367:
7323:
7221:
7075:
6712:
6554:
6468:
5968:
5682:"Arts in America; Seeking to Stretch the Boundaries of Printmaking"
5615:
5564:
5517:
5495:
5221:
4981:
4946:
4475:"The not-so-simple comeback story of pioneering artist Sam Gilliam"
4324:
3861:
1506:
1379:
1231:
1178:
to present new work together at the Corcoran. The 1969 exhibition,
1100:, who would become Gilliam's long-term colleague and collaborator.
1046:
420:
241:
10858:(Exhibition catalogue). New York: Mnuchin Gallery. pp. 7–13.
9819:
9159:
9102:
8978:
8886:
8597:
8245:
7959:"On a Wild Goose Chase | Cooper Hewitt, Smithsonian Design Museum"
7796:
7711:
7519:
7409:
7356:
7296:
7217:
7048:
6815:
6685:
6535:
6335:
6224:
6137:
6135:
6133:
6131:
5827:
5704:
5491:
5404:
5194:
5082:
4977:
4926:
4772:
4713:
4625:
4556:
4497:
4364:
4304:
4052:
3951:
3344:
3183:
3121:
3024:
2373:
Some of his works are installed in university buildings. In 1986,
1446:
paintings, were then covered in layers of white acrylic glaze and
738:, one of Gilliam's early hard-edge geometric abstractions, at the
11111:
Martin, Courtney J. (2020). "Imagine the Show on the First Day".
11003:
Four Generations: The Joyner/Giuffrida Collection of Abstract Art
10805:
Four Generations: The Joyner/Giuffrida Collection of Abstract Art
9802:
9142:
8961:
8324:
8172:
7932:
6988:
6162:
6106:
6104:
5810:
2508:
2455:
2367:
2036:
1657:
1611:. This piece and other assemblages from the period, all from his
1569:. Gilliam re-staged and recycled the painted polypropylene from
1159:
929:
324:
320:
10591:(Exhibition catalogue). Washington, D.C.: Arts America Program,
9295:"The Final Rotation: Sam Gilliam's Full Circle at the Hirshhorn"
7247:
4872:
Noland, Cornelia (October 1965). "Meet an Artist: Sam Gilliam".
1914:
as "an object on the wall, not so much a painting we're looking
821:, and led Edwards and Gilliam to become friends and colleagues.
631:, marking the moment he transitioned completely to abstraction.
10973:
Sam Gilliam: Of Fireflies and Ferris Wheels: Monastery Parallel
8425:
6128:
6033:
5785:
4174:
4135:(Interview). Interviewed by Benjamin Forgey. Washington, D.C.:
3516:
3393:
2698:
2256:
925:
747:
458:. Most of Gilliam's art during this period was expressionistic
260:" of the city's arts community. Originally associated with the
9257:
6394:
6392:
6390:
6101:
6017:
4164:
4162:
4160:
4158:
3827:
3825:
3823:
3821:
3819:
3817:
3815:
1733:
683:
240:; November 30, 1933 – June 25, 2022) was an American abstract
32:
10963:
8502:
8500:
8449:
7212:. Vol. 123. Evening Star Newspaper Co. p. 14 (B2).
6289:
6287:
6285:
6179:
6177:
5600:
3324:"Sam Gilliam, Abstract Artist of Drape Paintings, Dies at 88"
2888:
for consistency, was published during Gilliam's life as both
2827:
2040:
1696:
as "precarious textile architecture," and compared Gilliam's
913:
881:
548:
neighborhood. Gilliam tried to enroll in painting courses at
495:
440:
224:
8386:
8297:
8004:
7977:
7475:
6719:
6202:"The Black Artist, the Black Community, the White Art World"
5914:
5486:. No. 295. Evening Star Newspaper Co. p. 45 (D3).
3091:
3089:
2527:
in 2016. He also staged a series of three-artist shows with
2309:, a Louisville native and the first African-American female
11061:
Since the Harlem Renaissance: 50 Years of Afro-American Art
9238:
8928:
8403:
8401:
8035:
8033:
8031:
7994:
7992:
7849:
7847:
7845:
7750:
7748:
7592:
7590:
7588:
7586:
7584:
7237:
7235:
7233:
7231:
6661:
6387:
5334:
4262:
4260:
4155:
3812:
3710:
1967:
1427:
1327:
Since the Harlem Renaissance: 50 Years of Afro-American Art
221:
11352:(1982). "Sam Gilliam: Journey Toward Red, Black and 'D'".
11177:
USA: XXXVI International Biennial Exhibition of Art/Venice
10807:. New York: Gregory R. Miller & Co. pp. 110–111.
10011:
9855:"Tracing the Contours of Power at the Marrakech Bienniale"
8708:
8706:
8497:
7622:
7620:
7130:
7082:
6445:
6443:
6430:
6428:
6426:
6424:
6314:"15 of 75 Black Artists Leave As Whitney Exhibition Opens"
6282:
6174:
6152:
6150:
6116:
6053:
5775:
5773:
5746:
5502:
5278:
5276:
5274:
5272:
5240:
3848:
3846:
3844:
3842:
3840:
3505:
3503:
3501:
3499:
3497:
3495:
2163:
claimed Kordansky and Johnson had "saved from oblivion."
2131:
him during this time as "sort of catatonic on the couch."
603:
oil and watercolor paintings from his first early series,
11005:. New York: Gregory R. Miller & Co. pp. 93–109.
8226:
Thorson, Alice (May 10, 1991). "Gilliam Makes a Splash".
8119:
7009:
6888:
6886:
6842:
6411:
6409:
6407:
5736:
5734:
5662:
5660:
5658:
5656:
5654:
5652:
5650:
5430:
5428:
5426:
5308:
5306:
5259:
5257:
5255:
5157:
5155:
5128:
5055:
5053:
5051:
5036:
4853:
4843:
4841:
4839:
4837:
4835:
4833:
4831:
4829:
4247:
4245:
4243:
4203:
4201:
4186:
4099:
4097:
4095:
4093:
3929:"Phillips Collection Hires Art Historian as New Director"
3802:
3800:
3798:
3086:
2823:
in New York for $ 2.17 million, a record for the artist.
2334:
at his home in D.C., on June 25, 2022, at the age of 88.
2319:. They had three children together: Stephanie (b. 1963),
1516:
998:, and three additional watercolors. The museum purchased
854:
first child was born. Gilliam also began teaching at the
215:
212:
10752:
Callaloo, A Journal of African Diaspora Arts and Letters
9977:
9846:
8485:
8461:
8413:
8398:
8072:
8028:
8016:
7989:
7903:
7901:
7859:
7842:
7745:
7581:
7569:
7557:
7545:
7228:
7163:
7161:
7159:
7157:
7094:
6962:
6960:
5469:
5467:
4604:"Color, Full: A Timeline of the Washington Color School"
4257:
4012:
4010:
4008:
3983:
3981:
3575:
3573:
3571:
3219:"Sam Gilliam, Groundbreaking Abstractionist, Dies at 88"
2859:
2857:
2855:
2853:
2851:
2849:
1880:
11410:(2023). "Sam Gilliam: Painting, Structure, and Space".
11096:
University Gallery, University of Massachusetts/Amherst
10836:
University Gallery, University of Massachusetts/Amherst
10566:"The Public Artworks of Rockne Krebs & Sam Gilliam"
9325:
8776:
8752:
8703:
7765:
7763:
7617:
7607:
7605:
6910:
6782:
6649:
6637:
6492:
6440:
6421:
6258:
6246:
6147:
5938:
5926:
5902:
5854:
5770:
5293:
5291:
5269:
5118:
5116:
5114:
5112:
5072:
5070:
5068:
4080:
4078:
4076:
3837:
3722:
3492:
3061:"'Sam Gilliam' Review: Flowing Color, Billowing Canvas"
2802:
National Museum of African American History and Culture
2186:
National Museum of African American History and Culture
1127:
paintings. Following a similar painting process to his
345:
National Museum of African American History and Culture
10145:
10081:
9355:
7689:"Some Summer Fare Materializes at Hudson River Museum"
7443:
7195:
7193:
7191:
7178:
7176:
7142:
6898:
6883:
6613:
6404:
5731:
5647:
5588:
5452:
5440:
5423:
5353:
5303:
5252:
5228:
5152:
5140:
5048:
5024:
5000:
4890:
4826:
4816:
4814:
4583:
4240:
4230:
4228:
4198:
4090:
3916:
3795:
3700:
3698:
3696:
3606:
3604:
3602:
3600:
3161:"Sam Gilliam never fought the canvas. He liberated it"
2716:
2126:
Health challenges, resurgence, and late-career acclaim
1344:
forms, national and international success, printmaking
1218:
paintings can also be understood in the frameworks of
1182:
presented ten of Gilliam's largest and most immersive
10336:
9186:
8680:(Exhibition booklet). Interviewed by Jack Rasmussen.
7939:
7898:
7733:
7632:
7266:
7264:
7262:
7154:
7118:
6957:
6625:
6601:
6270:
5464:
4116:
4114:
4112:
4005:
3978:
3645:
3568:
2846:
1937:
He adjusted his approach to shaped canvases with his
1902:
Iterating on what he explored in the textures of his
1406:, his first solo museum show in New York, presenting
1402:
In November 1971, he staged a solo exhibition at the
1307:
following King's murder, and the Washington-specific
311:. Other well-known series of works include his early
233:
11092:
Sam Gilliam: Indoor and Outdoor Paintings, 1967-1978
10832:
Sam Gilliam: Indoor and Outdoor Paintings, 1967-1978
10436:
9902:
9789:
9286:
9080:"At 84, Sam Gilliam Fires Up His Competitive Spirit"
8437:
7760:
7602:
7487:
7335:
7333:
7106:
6731:
6304:
6302:
6065:
5288:
5109:
5065:
4799:
4073:
3993:
3585:
2943:
2428:
technology, and passenger ships". And in 2011, his
2337:
849:(NEA), which he also used to purchase a home in the
218:
10676:
10472:
10113:
9896:
9723:
9394:
8853:
8479:
8319:
Coming Full Circle: Conversations About Sam Gilliam
7907:
7836:
7379:
7377:
7188:
7173:
6929:Weege, William; Axsom, Richard H. (April 7, 2018).
5955:
5953:
5172:
5170:
5103:
4811:
4225:
4067:
3693:
3664:
3662:
3660:
3597:
3256:
3254:
3148:
2236:paintings. The same year he staged a site-specific
2031:Gilliam collaborated with Weege in 1991 on a large
1680:. Two years prior, Butler, while still writing for
834:watercolor work Downing had first admired in 1963.
431:prior to its demolition in 1967, learned about the
399:. Wilke helped spark Gilliam's growing interest in
209:
9757:
9653:
9333:
9224:
9222:
9072:
9070:
9068:
8714:
8573:
8543:
8127:
7687:
7676:
7495:
7385:
7340:
7274:"Artist Gilliam Acquitted in Airline Assault Case"
7272:
7259:
7201:
7032:
6669:
6561:
6511:
6200:
5995:
5758:
5475:
5178:
4961:
4910:
4865:
4595:
4524:
4280:
4109:
3752:
3059:
1895:, a multi-part painted metal construction, at the
1589:Around this time Gilliam began experimenting with
634:Gilliam and Butler moved to a rented house in the
619:painting, historically centered in Dupont Circle.
11611:Central High School (Louisville, Kentucky) alumni
11145:(2020). "The Circle with a Whole in the Middle".
11063:(Exhibition catalogue). Lewisburg, Pennsylvania:
8822:
8820:
8662:
8269:"Touring Exhibit Presents Works of Black Artists"
7330:
6993:(Interview). Interviewed by Paul Davis. Houston:
6455:
6299:
4953:
4912:"Two Shows Here Demonstrate the Evolution of Art"
4413:, 516-517 (United States Tax Court 1986).
3210:
2908:
2906:
2904:
2902:
2880:
2878:
2876:
2874:
2872:
2870:
1365:He continued to create larger and more immersive
902:At this point Gilliam created and formalized his
868:, an example of Gilliam's fluid abstractions, at
11527:
11414:(Exhibition catalogue). New York / Los Angeles:
11348:
11094:(Exhibition catalogue). Amherst, Massachusetts:
10886:The Storied South: Voices of Writers and Artists
10834:(Exhibition catalogue). Amherst, Massachusetts:
10209:
8565:
8352:
8260:
7374:
7253:
7026:
7024:
6972:
6931:"William Weege's Collaboration with Sam Gilliam"
6189:
6168:
6141:
6110:
5950:
5167:
4902:
4740:
4467:
4465:
4463:
4461:
4459:
4457:
4455:
4453:
4451:
3657:
3461:
3459:
3251:
2953:
2615:Red & Black to “D”: Paintings by Sam Gilliam
2385:supporting other shapes below it. And in 2002,
1645:The Storied South: Voices of Writers and Artists
1544:In 1973 he was featured in the group exhibition
615:, a loose collection of artists making abstract
11616:Deaths from kidney failure in the United States
10931:(1). New York: College Art Association: 10–11.
9475:Library of Congress, Washington, D.C. 20540 USA
9219:
9065:
8948:
8535:
4331:
3743:
3741:
3739:
3737:
2458:building in Washington, and installed in 2023.
1670:34th Biennial of Contemporary American Painting
1032:began a long-term correspondence with Gilliam.
943:, after being introduced to them by his friend
11450:Of the Land: The Art and Poetry of Lou Stovall
10273:
9945:
8817:
8506:
8094:"The Art World Before and After Thelma Golden"
5806:"Hanging loose: An interview with Sam Gilliam"
5672:
5549:
3382:
3380:
3378:
3376:
3374:
2998:
2899:
2867:
2446:Gilliam's final permanent public commission -
2138:in Los Angeles, curated by the younger artist
10914:
10830:Davies, Hugh M. (1978). "Outdoor Paintings".
9618:"Jamaica Center-Parsons-Archer | Sam Gilliam"
9129:
8010:
7021:
6851:"Basking in Sam Gilliam's Endless Iterations"
6461:
5797:
5376:
5374:
5372:
5370:
5368:
5180:"Fine Young Color Painter Has a One-Man Show"
4448:
3456:
3051:
2410:commission. It was installed in 1983 for the
1481:. Gilliam exhibited three earlier wall-sized
11448:(2022). "My Story". In Stovall, Will (ed.).
11266:International Review of African American Art
10707:
10548:"Post-War and Contemporary Art Evening Sale"
10402:
10177:
9512:Philander Smith College African American Art
9429:
8915:
8640:"Groundbreaking Spanish Design at AU Museum"
8392:
8084:
7865:
7644:
7270:
5989:
5987:
5920:
4685:
4683:
4681:
4679:
4677:
4675:
4400:
4398:
4396:
4394:
4180:
4168:
3831:
3734:
3716:
2039:engravings at the Walker Hill Art Center in
2026:University of Michigan School of Social Work
1676:, named for the singer, actor, and activist
1552:, completely filling the gallery space with
1348:Following the critical success of his early
462:bordering on abstraction that art historian
11199:(2020). "A Conversation with Sam Gilliam".
11027:
10712:. Berkeley, California / Washington, D.C.:
10615:. Berkeley, California / Washington, D.C.:
9795:
9135:
8748:"The Anxiety and Ecstasy of Rashid Johnson"
8736:
8545:"A Master of Color Too Long in the Shadows"
8541:
8316:; Powell, Richard J. (September 22, 2022).
8039:
6398:
6059:
5866:
5791:
5752:
4673:
4671:
4669:
4667:
4665:
4663:
4661:
4659:
4657:
4655:
4530:
4423:
4421:
4419:
3371:
3316:
3314:
3312:
3310:
2994:
2992:
2990:
2988:
2986:
2984:
2982:
2581:
2435:was installed in an open-air passageway in
684:Early color field and hard-edge abstraction
350:
11508:Sam Gilliam at the National Gallery of Art
11296:
11238:. pp. 33, 47, 69, 79, 114, 123, 129.
11179:(Exhibition catalogue). Washington, D.C.:
9700:
9698:
9665:
9331:
9192:
8921:
7383:
7271:Newton Jones, Linda (September 11, 1975).
6984:"Conversation with an Artist: Sam Gilliam"
6928:
6504:
5365:
5318:
3881:
3422:
3420:
3418:
3416:
3308:
3306:
3304:
3302:
3300:
3298:
3296:
3294:
3292:
3290:
2926:The Evening Star and Washington Daily News
2648:Sam Gilliam: Hard Edge Paintings 1963-1966
2570:His final exhibition during his lifetime,
1807:, where he used the workshop's industrial
272:and sculptural elements to his paintings.
31:
11232:The Music of Color: Sam Gilliam 1967-1973
11229:
11030:The Music of Color: Sam Gilliam 1967-1973
10679:The Music of Color: Sam Gilliam 1967-1973
10648:The Music of Color: Sam Gilliam 1967-1973
10586:
9852:
8631:
8572:Trescott, Jacqueline (January 30, 2011).
8419:
7775:"Art: Casting Space in a Different Light"
7384:Bredemeier, Kenneth (February 26, 1975).
7015:
6922:
6794:"Venice Biennale Is Optimistic in Spirit"
5984:
5555:
5282:
4534:"Celebrating The Birth of Stain Painting"
4431:"Red Orange Yellow Green and Blue Period"
4391:
4272:
4126:"Oral history interview with Sam Gilliam"
3922:
3216:
2966:are both names of common quilt patterns.
2688:
486:, which traveled in 1958 to Louisville's
105:Double Merge (Carousel I and Carousel II)
11354:Sam Gilliam: From Red & Black to "D"
11090:Kloner, Jay (1978). "Indoor Paintings".
10799:
10645:
10607:
10587:Beardsley, John (1991). "Then and Now".
10563:
8859:
8783:Griffin, Jonathan (September 10, 2014).
8571:
8542:Freudenheim, Tom L. (January 11, 2006).
8507:O'Sullivan, Michael (October 20, 2005).
8491:
8467:
8455:
8407:
8125:
8078:
8022:
7998:
7983:
7853:
7754:
7626:
7596:
7575:
7563:
7551:
7481:
7387:"D.C. Artist Charged In Airline Assault"
7241:
7136:
7088:
6916:
6737:
6655:
6643:
6513:"Sam Gilliam has new show at Modern Art"
6498:
6449:
6434:
6293:
6264:
6252:
6183:
6156:
6122:
6095:
5944:
5932:
5908:
5860:
5779:
5740:
5666:
5594:
5458:
5446:
5434:
5359:
5312:
5263:
5246:
5234:
5161:
5146:
5134:
5059:
5042:
5030:
5006:
4994:
4896:
4859:
4847:
4652:
4589:
4416:
4251:
4219:
4207:
4192:
4103:
4016:
3987:
3887:
3852:
3806:
3728:
3579:
3465:
3386:
2979:
2341:
2262:
2168:
2113:year he staged a solo exhibition at the
2070:
1968:Art world decline, continued commissions
1887:
1862:
1821:
1586:'s Tandem Press, also founded by Weege.
1527:
1259:
1245:In 1969 Gilliam presented several large
1102:
967:
860:
730:
641:March on Washington for Jobs and Freedom
584:
375:After high school, Gilliam attended the
11444:
10997:
10970:
10850:
9908:
9695:
9409:"GSA Art in Architecture: Introduction"
9373:from the original on September 26, 2023
8922:Schweitzer, Ally (September 22, 2016).
8782:
8742:
8668:
8637:
8431:
8225:
8219:
8156:
8154:
8152:
8090:
7913:"Sam Gilliam, Purpled (Chasers Series)"
7030:
6978:
6945:from the original on September 30, 2023
6667:
6619:
6462:Pincus-Witten, Robert (February 1972).
5678:
5411:from the original on September 26, 2023
5380:
5176:
4878:. Vol. 1, no. 1. p. 24.
4444:from the original on February 25, 2017.
4337:
4278:
4266:
4120:
4030:"Kenneth Victor Young: Exploring Space"
3999:
3413:
3287:
3260:
3198:from the original on September 22, 2023
1668:Gilliam was included in the Corcoran's
639:Gilliam and Butler participated in the
509:Butler earned her master's degree from
11546:20th-century African-American painters
11528:
11372:
11195:
11110:
11089:
11058:
10880:
10829:
10424:from the original on November 13, 2020
10261:from the original on November 16, 2023
9777:from the original on November 27, 2023
9745:from the original on February 20, 2024
9683:from the original on November 17, 2023
9522:from the original on November 15, 2022
9313:from the original on November 27, 2022
9207:from the original on November 26, 2022
9117:from the original on November 27, 2023
8826:
8764:from the original on February 19, 2024
8712:
8523:from the original on February 21, 2024
8374:from the original on February 18, 2024
8266:
8060:from the original on November 18, 2023
7945:
7886:from the original on December 17, 2023
7769:
7739:
7682:
7664:from the original on February 12, 2024
7638:
7611:
7493:
7200:Forgey, Benjamin (February 21, 1975).
7199:
7167:
7148:
7124:
7100:
6966:
6904:
6892:
6788:
6741:"Sam Gilliam: A Life Beyond the Frame"
6631:
6607:
6480:from the original on February 23, 2024
6415:
6308:
6276:
6195:
5993:
5980:from the original on October 29, 2023.
5959:
5872:
5803:
5635:from the original on November 14, 2023
5606:
5576:from the original on November 11, 2023
5537:from the original on November 11, 2023
5508:
5477:"Sam Gilliam Bursts Forth at Phillips"
5473:
5297:
5122:
5076:
5018:
4960:Forgey, Benjamin (November 20, 1966).
4959:
4908:
4871:
4805:
4728:from the original on November 27, 2023
4531:Carmean Jr., E.A. (October 25, 1982).
4471:
4084:
3966:from the original on November 30, 2022
3789:
3747:
3651:
3591:
3401:from the original on November 27, 2023
3217:Di Liscia, Valentina (June 27, 2022).
3074:from the original on November 27, 2023
3057:
3039:from the original on November 29, 2023
2912:This publication, referred to here as
2884:This publication, referred to here as
2834:
2541:School of the Art Institute of Chicago
2397:, a draped canvas, for their library.
2188:in Washington, in 2016. His painting,
1059:paintings, which she termed "color as
372:in Louisville, and graduated in 1951.
11576:African-American contemporary artists
11566:21st-century African-American artists
11380:(Exhibition catalogue). Los Angeles:
11336:from the original on November 9, 2020
11303:"How to Read Sam Gilliam's Formalism"
11141:
10742:
10449:Hirshhorn Museum and Sculpture Garden
10390:from the original on November 6, 2022
10229:from the original on January 17, 2024
10197:from the original on October 11, 2022
10101:from the original on October 14, 2021
10069:from the original on November 6, 2022
9796:Greenberger, Alex (August 11, 2021).
9574:. Smithsonian Art Inventories catalog
9367:Hirshhorn Museum and Sculpture Garden
9332:Delistraty, Cody (October 13, 2020).
9299:BmoreArt | Baltimore Contemporary Art
9292:
9228:
8993:from the original on December 8, 2022
8936:from the original on October 29, 2023
8841:from the original on January 31, 2023
8650:from the original on December 1, 2022
8575:"Sam Gilliam: An Ever-Changing Force"
8443:
8333:. Event occurs at 1 hr 16 min 38 sec
8331:Hirshhorn Museum and Sculpture Garden
8160:
8107:from the original on February 5, 2024
7866:Bryan-Wilson, Julia (November 2023).
7463:from the original on January 31, 2024
7112:
6848:
6830:from the original on February 8, 2024
6350:from the original on November 4, 2023
6071:
6023:
5960:Benson, LeGrace G. (September 1970).
5887:from the original on October 21, 2022
5474:Forgey, Benjamin (October 22, 1967).
5324:
4820:
4689:
4601:
4427:
4234:
4143:from the original on February 1, 2023
3869:from the original on February 1, 2024
3853:Campbell, Andrianna (July 11, 2017).
3704:
3633:from the original on January 31, 2024
3610:
3524:from the original on February 9, 2023
3509:
3444:from the original on December 9, 2023
3320:
3239:from the original on October 26, 2023
3095:
2999:O'Sullivan, Michael (June 27, 2022).
2782:Hirshhorn Museum and Sculpture Garden
2574:, opened in May 2022 at Washington's
1166:Gilliam first publicly exhibited his
956:Sam Gilliam, Oral history interview,
256:, eventually being described as the "
11406:
11260:
11175:
10915:Gawlak, Annie; Gilliam, Sam (1991).
10133:from the original on October 7, 2022
9918:T: The New York Times Style Magazine
9659:
9406:
9363:"In Memorian: Sam Gilliam 1933-2022"
9076:
8954:
8827:Fowler, William (October 15, 2015).
8790:T: The New York Times Style Magazine
8213:
8149:
8091:Tomkins, Calvin (February 5, 2024).
7182:
6849:Weber, Jasmine (November 29, 2019).
6725:
6083:
6041:from the original on October 1, 2023
5764:
4909:Hudson, Andrew (December 11, 1966).
4787:from the original on January 4, 2023
4746:
4571:from the original on August 28, 2017
3387:Kinsella, Eileen (January 2, 2018).
3154:
3096:Cohen, Jean Lawlor (June 26, 2015).
2819:sold at auction in November 2018 at
2461:
1067:Support from Walter Hopps and early
454:in painting in 1961, studying under
435:, and was introduced to the work of
11264:(1996). "Abstraction as Identity".
11234:. Cologne / Basel: Walther König /
11032:. Cologne / Basel: Walther König /
10681:. Cologne / Basel: Walther König /
10650:. Cologne / Basel: Walther König /
10557:
10528:from the original on August 7, 2023
10460:from the original on April 15, 2022
9737:(Press release). Washington, D.C.:
9568:"Sculpture with a "D", (sculpture)"
9365:(Press release). Washington, D.C.:
9193:D'Arcy, David (November 11, 2020).
9136:Greenberger, Alex (June 27, 2022).
8642:(Press release). Washington, D.C.:
7811:from the original on March 10, 2018
7494:Forgey, Benjamin (April 25, 1975).
7031:Richard, Paul (November 30, 1973).
6589:from the original on April 12, 2021
5719:from the original on March 11, 2023
5679:Kennedy, Shawn G. (June 25, 1998).
5556:Wasserman, Emily (September 1968).
4640:from the original on April 15, 2023
4279:Richard, Paul (February 28, 1993).
3888:Triplett, Jo Anne (June 20, 2006).
3556:from the original on March 29, 2023
3136:from the original on August 2, 2015
2717:Notable works in public collections
2417:Jamaica Center Station Riders, Blue
2364:Richard B. Russell Federal Building
1556:, a 365 ft long polypropylene
1325:Sam Gilliam, in Joseph Jacobs,
1222:or site-responsiveness, along with
13:
11551:20th-century American male artists
11513:Sam Gilliam Lecture, March 9, 1977
11356:(Exhibition catalogue). New York:
11203:(Exhibition catalogue). New York:
11149:(Exhibition catalogue). New York:
11115:(Exhibition catalogue). New York:
10890:University of North Carolina Press
10514:"Yet Do I Marvel (Countee Cullen)"
10480:"Master Builder Pieces and Eagles"
10358:from the original on July 31, 2022
10249:"Sam Gilliam: The Last Five Years"
10222:Madison Museum of Contemporary Art
9965:from the original on July 19, 2022
9933:from the original on April 6, 2023
9875:from the original on July 22, 2022
9451:from the original on June 29, 2022
9174:from the original on June 27, 2022
9013:"La Biennale di Venezia – Artists"
8805:from the original on July 17, 2022
8267:Dalton, Greg (February 11, 1996).
8195:from the original on June 28, 2022
8040:Wennerstrom, Nord (January 2006).
7923:from the original on June 11, 2022
7911:; Zucker, Steven (June 13, 2022).
7652:"Artist-in-Residence: Sam Gilliam"
7506:. Vol. 123. p. 19 (B3).
7348:The Washington Star and Daily News
7209:The Washington Star and Daily News
5325:Rudig, Stephanie (June 29, 2022).
5177:Richard, Paul (November 5, 1967).
4040:from the original on June 25, 2021
3670:"Sam Gilliam | Medal of Arts 2015"
3613:"Beer with a Painter: Sam Gilliam"
3611:Samet, Jennifer (March 19, 2016).
3480:from the original on June 14, 2023
3466:Basciano, Oliver (June 30, 2022).
3359:from the original on June 29, 2022
3275:from the original on June 28, 2022
2934:The Washington Star and Daily News
2707:Madison Museum of Contemporary Art
2228:, focusing primarily on his early
1688:comprised three monumental indoor
1550:San Francisco Museum of Modern Art
1538:San Francisco Museum of Modern Art
1249:paintings in the group exhibition
1186:works up to that point, including
829:paintings, and Phillips exhibition
534:
14:
11647:
11596:Artists from Louisville, Kentucky
11561:20th-century American printmakers
11517:Maryland Institute College of Art
11479:
10494:from the original on May 28, 2022
10295:from the original on May 28, 2022
10165:from the original on May 31, 2022
10031:from the original on July 7, 2022
9999:from the original on June 9, 2022
9897:Binstock & Helfenstein (2018)
9834:from the original on July 2, 2022
9641:from the original on July 9, 2022
9548:. National Endowment for the Arts
9495:"Sam Gilliam, Solar Canopy, 1986"
9395:Binstock & Helfenstein (2018)
9245:from the original on May 27, 2022
9229:Rudig, Stephanie (May 26, 2022).
9053:from the original on July 8, 2022
8638:Barrett, Maggie (April 1, 2011).
8480:Binstock & Helfenstein (2018)
8126:Pinckney, Darryl (May 24, 2012).
7837:Binstock & Helfenstein (2018)
7040:The Washington Post, Times Herald
6770:from the original on July 1, 2022
6677:The Washington Post, Times Herald
6522:. November 27, 1971. p. D3.
5994:Cronin, Brenda (August 7, 2019).
5842:from the original on May 23, 2023
5341:from the original on July 4, 2023
5186:The Washington Post, Times Herald
5104:Binstock & Helfenstein (2018)
4972:. No. 324. p. 47 (D3).
4918:The Washington Post, Times Herald
4690:Capps, Kriston (March 27, 2015).
4512:from the original on July 8, 2016
4379:from the original on May 24, 2015
4068:Binstock & Helfenstein (2018)
3904:from the original on June 4, 2023
3680:United States Department of State
3058:Panero, James (August 19, 2020).
2890:The Washington Post, Times Herald
2338:Selected permanent public artwork
2117:, creating another site-specific
1811:to add printed designs to fabric
1753:, his first commissioned work of
1721:The incident was reported in the
1140:paintings and continued with his
975:, one of Gilliam's early beveled
856:Maryland Institute College of Art
607:, which depicted views in nearby
155: 1962, divorced)
11412:Sam Gilliam: The Last Five Years
11181:National Collection of Fine Arts
10854:(2017). "Sam Gilliam: Betwixt".
10593:United States Information Agency
10540:
10506:
10370:
10307:
10241:
10043:
9909:Bradley, Adam (March 31, 2022).
9623:
9611:
9586:
9560:
9534:
9500:
9488:
9463:
9400:
9035:
9005:
8955:Tate, Greg (February 13, 2017).
8713:Schama, Chloe (March 14, 2013).
8207:
7951:
6738:da Silva, José (June 14, 2018).
6668:Richard, Paul (April 20, 1972).
6362:
6089:
6077:
5997:"The Artist Catching Fire at 85"
5963:"Sam Gilliam: Certain Attitudes"
5873:Dozier, Ayanna (June 27, 2022).
5607:Hudson, Andrew (December 1968).
4428:Lewis, Jim (November 28, 2014).
3321:Smith, Roberta (June 27, 2022).
2798:Yet Do I Marvel (Countee Cullen)
2788:Master Builder Pieces and Eagles
2640:(2005–2007), originating at the
2487:Washington Gallery of Modern Art
2300:
2251:acquired representation through
1930:can be seen most clearly in his
1609:Composed (formerly Dark as I Am)
888:Washington Gallery of Modern Art
807:Los Angeles County Museum of Art
781:National Collection of Fine Arts
205:
11636:University of Louisville alumni
11631:People from Tupelo, Mississippi
10888:. Chapel Hill, North Carolina:
10153:"Sam Gilliam: Existed Existing"
9853:Vartanian, Hrag (May 6, 2016).
9445:General Services Administration
8671:"An Interview with Sam Gilliam"
7497:"D.C. Artist Aids Philadelphia"
5804:Miller, Donald (January 1973).
5381:McGlynn, Tom (September 2019).
5012:
4988:
4602:Capps, Kriston (June 2, 2017).
4213:
4022:
3783:
3536:
3510:Capps, Kriston (July 8, 2022).
3433:Smithsonian American Art Museum
3261:Rappolt, Mark (July 21, 2014).
2754:Smithsonian American Art Museum
2658:Sam Gilliam: The Music of Color
2454:Bloomberg Center in the former
2360:General Services Administration
2270:, one of Gilliam's late-career
2190:Yet Do I Marvel, Countee Cullen
1815:works instead of paint. Critic
1532:Gilliam standing with his work
1116:Smithsonian American Art Museum
847:National Endowment for the Arts
170:
152:
11606:Painters from Washington, D.C.
11586:American contemporary painters
11571:21st-century American painters
11556:20th-century American painters
11183:. 1972. pp. Unpaginated.
10761:Johns Hopkins University Press
10714:University of California Press
10617:University of California Press
10089:"Sam Gilliam: a retrospective"
7657:The Fabric Workshop and Museum
5383:"Sam Gilliam with Tom McGlynn"
4963:"Tom Bostelle Show at Bader's"
4472:Edgers, Geoff (July 9, 2016).
2673:(2020), Pace Gallery, New York
2578:, one month before his death.
2496:
2204:'s main pavilion for the show
2065:
1884:, wood and metal constructions
1875:
1798:in upstate New York. His work
1303:in April 1968, the nationwide
575:McKinley Technical High School
1:
11201:Sam Gilliam: Existed Existing
11147:Sam Gilliam: Existed Existing
11113:Sam Gilliam: Existed Existing
10185:"Sam Gilliam: Late Paintings"
10121:"Sam Gilliam: Music of Color"
9620:, MTA Arts & Design, MTA.
8161:Allen, Greg (February 2019).
7203:"Corcoran Show is Mostly Big"
5509:Hudson, Andrew (March 1968).
2809:
2377:was installed in a lounge in
890:(WGMA), Gilliam came to view
410:In 1954 he was introduced to
11581:African-American printmakers
11487:Sam Gilliam: A Retrospective
10710:Sam Gilliam: A Retrospective
10613:Sam Gilliam: A Retrospective
9675:(Press release). Baltimore:
9293:Watts, C.M. (July 4, 2022).
8510:"The Insightful Sam Gilliam"
8135:The New York Review of Books
5814:. Vol. 72, no. 1.
3549:Ogden Museum of Southern Art
2973:
2723:List of works by Sam Gilliam
2638:Sam Gilliam: A Retrospective
2224:, was hosted in 2018 by the
1951:1982, divorcing soon after.
1897:Washington Convention Center
1757:. This was exhibited at the
1674:Three Panels for Mr. Robeson
1422:, smaller variations on the
1148:paintings, the form of each
1110:, one of Gilliam's earliest
1087:Institute for Policy Studies
825:Fluid abstractions, beveled
809:, curated by Greenberg; and
468:Bay Area Figurative Movement
423:. While in Japan he visited
355:Sam Gilliam Jr. was born in
16:American painter (1933–2022)
7:
11454:Georgetown University Press
10488:The Studio Museum in Harlem
9572:siris-artinventories.si.edu
9497:, Unforgotten Masterpieces.
9077:Loos, Ted (June 12, 2018).
8684:. p. 2. Archived from
8678:Sam Gilliam: Close to Trees
8011:Gawlak & Gilliam (1991)
4747:Loos, Ted (June 28, 2022).
4411:51 T.C.M. (CCH) 515
3760:The New York Times Magazine
2222:Sam Gilliam: Music of Color
1672:in February 1975, debuting
1665:paintings and watercolors.
1656:, Gilliam began to develop
1461:that he believed Gilliam's
1312:abstract portraits of King:
10:
11652:
9731:"Acquisition: Sam Gilliam"
9265:"Sam Gilliam: Full Circle"
8682:American University Museum
8393:Binstock & Webb (2005)
7456:Philadelphia Museum of Art
7451:"Seahorses by Sam Gilliam"
7034:"Gilliam: Mellow and Calm"
6671:"Six Artists for Biennale"
5921:Binstock & Webb (2005)
4343:"Art: Clocks at the Frick"
4181:Binstock & Webb (2005)
4169:Binstock & Webb (2005)
3832:Binstock & Webb (2005)
3717:Binstock & Webb (2005)
2720:
2115:American University Museum
1805:Fabric Workshop and Museum
1759:Philadelphia Museum of Art
1074:
939:painting constructions of
802:Post-Painterly Abstraction
484:2nd Pacific Coast Biennial
10410:""A" and the Carpenter I"
9953:"Remembering Sam Gilliam"
7869:"The Rake and the Furrow"
6370:"Sam Gilliam's Biography"
2625:Sam Gilliam: Construction
2305:In 1962, Gilliam married
1077:Gilliam's Drape paintings
811:The Negro in American Art
568:, which were manifesting
183:
131:
121:
98:
90:
80:
61:
39:
30:
23:
11621:American modern painters
11601:Artists from Mississippi
11272:(3). Hampton, Virginia:
10418:Art Institute of Chicago
10217:"RECOLLECT: Sam Gilliam"
9677:Johns Hopkins University
8716:"The Art of Inspiration"
6574:(Exhibition checklist).
4131:Archives of American Art
3856:"Interview: Sam Gilliam"
2930:The Washington Star-News
2924:(Sundays through 1972);
2839:
2773:Art Institute of Chicago
2677:Sam Gilliam: Full Circle
2589:Paintings by Sam Gilliam
2582:Notable solo exhibitions
2572:Sam Gilliam: Full Circle
2479:Art in Embassies Program
2471:Art Institute of Chicago
2452:Johns Hopkins University
2448:A Lovely Blue and !
2107:Sixteenth Street Heights
1334:
961:Archives of American Art
560:by art department chair
539:
377:University of Louisville
351:Early life and education
85:University of Louisville
11492:Corcoran Gallery of Art
11420:David Kordansky Gallery
11382:David Kordansky Gallery
11358:Studio Museum in Harlem
11059:Jacobs, Joseph (1985).
10884:(2013). "Sam Gilliam".
10743:Brown, Jackson (2017).
10718:Corcoran Gallery of Art
10621:Corcoran Gallery of Art
10564:Anderson, John (2018).
10522:Smithsonian Institution
10454:Smithsonian Institution
10352:Smithsonian Institution
10344:"April 4 - Sam Gilliam"
10323:The Phillips Collection
10289:National Gallery of Art
10094:Corcoran Gallery of Art
10024:Studio Museum in Harlem
9985:"Projects: Sam Gilliam"
9958:The Phillips Collection
9739:National Gallery of Art
9631:"From Model to Rainbow"
9516:Philander Smith College
9341:The Wall Street Journal
9273:Smithsonian Institution
8722:The Wall Street Journal
8551:The Wall Street Journal
8361:"Stretching the Canvas"
8304:Binstock, Jonathan P.;
7698:. p. 399 (16 WC).
7254:Schmidt Campbell (1982)
6569:"Projects: Sam Gilliam"
6519:New York Amsterdam News
6169:Schmidt Campbell (1982)
6142:Schmidt Campbell (1982)
6111:Schmidt Campbell (1982)
6003:The Wall Street Journal
4406:Gilliam v. Commissioner
4137:Smithsonian Institution
3544:"Sam Gilliam Biography"
3438:Smithsonian Institution
3067:The Wall Street Journal
2792:Studio Museum in Harlem
2769:"A" and the Carpenter I
2744:The Phillips Collection
2734:National Gallery of Art
2697:which opened at Pace's
2652:David Kordansky Gallery
2642:Corcoran Gallery of Art
2619:Studio Museum in Harlem
2593:The Phillips Collection
2557:Morgan State University
2387:Philander Smith College
2362:, and installed in the
2136:David Kordansky Gallery
1372:"A" and the Carpenter I
1273:The Phillips Collection
1255:Studio Museum in Harlem
879:, a watercolor work on
870:The Phillips Collection
843:The Phillips Collection
763:Jefferson Place Gallery
740:National Gallery of Art
726:Corcoran Gallery of Art
613:Washington Color School
262:Washington Color School
126:Washington Color School
11626:Painters from Kentucky
11591:American male painters
11350:Schmidt Campbell, Mary
10856:Sam Gilliam: 1967-1973
10027:. September 10, 2020.
8306:Cassel Oliver, Valerie
7909:Cassel Oliver, Valerie
3468:"Sam Gilliam obituary"
3263:"Feature: Sam Gilliam"
2705:, which opened at the
2703:RECOLLECT: Sam Gilliam
2689:Posthumous exhibitions
2351:
2278:
2180:
1899:
1868:
1837:
1710:Memphis Academy of Art
1650:
1541:
1332:
1275:
1119:
983:
966:
872:
742:
645:Martin Luther King Jr.
625:abstract expressionist
596:
478:, and, in particular,
291:of their settings. In
10769:10.1353/cal.2017.0155
10609:Binstock, Jonathan P.
8669:Gilliam, Sam (2011).
8434:, p. Unpaginated
8370:. February 18, 1997.
8229:Washington City Paper
6941:. Wisconsin Channel.
6728:, p. Unpaginated
4697:Washington City Paper
4609:Washington City Paper
4124:(November 11, 1989).
3926:(November 30, 2022).
3751:(February 17, 1974).
2602:Projects: Sam Gilliam
2491:Guggenheim Fellowship
2433:From Model to Rainbow
2419:was installed in the
2345:
2266:
2172:
2149:Washington City Paper
1994:Washington City Paper
1891:
1866:
1825:
1632:
1531:
1314:
1283:paintings, including
1263:
1251:X to the Fourth Power
1180:Gilliam/Krebs/McGowin
1106:
1085:came to work for the
971:
949:
864:
734:
718:water-tension breaker
588:
433:Gutai Art Association
401:German Expressionists
11452:. Washington, D.C.:
11376:(2017). "Composed".
11300:(November 9, 2020).
11119:. pp. 114–124.
11036:. pp. 135–150.
10892:. pp. 200–205.
10720:. pp. 157–169.
10685:. pp. 181–187.
9993:Museum of Modern Art
9679:. October 18, 2023.
9518:. October 13, 2014.
8863:(October 20, 2020).
8329:. Washington, D.C.:
8163:"Color in Landscape"
7963:www.cooperhewitt.org
7773:(January 20, 1978).
7396:. p. 11 (A11).
6982:(October 30, 2015).
6580:Museum of Modern Art
4921:. p. 151 (C5).
4692:"Return to Splendor"
4133:Oral History Program
2633:Louisville, Kentucky
2606:Museum of Modern Art
2415:aluminum sculpture,
2412:Davis subway station
2240:installation at the
2178:57th Venice Biennale
2035:work decorated with
2028:'s library in 1998.
1961:Sculpture with a "D"
1702:The Washington Star,
1639:Sam Gilliam, in
1404:Museum of Modern Art
1301:King's assassination
1214:. Conceptually, the
566:Black power movement
492:Kenneth Victor Young
464:Jonathan P. Binstock
439:at an exhibition in
361:Louisville, Kentucky
11519:'s Decker Library,
11408:Sims, Lowery Stokes
11197:Obrist, Hans Ulrich
11065:Bucknell University
9741:. October 9, 2023.
9407:Heartney, Eleanor.
8903:on October 20, 2020
8746:(October 3, 2023).
8644:American University
8581:The Washington Post
8516:The Washington Post
7965:. February 10, 2018
7503:The Washington Star
7393:The Washington Post
7283:. p. 60 (C4).
7280:The Washington Post
7043:. pp. B1, B7.
6027:(August 29, 2019).
4540:The Washington Post
4481:The Washington Post
4341:(January 7, 1983).
4288:The Washington Post
3935:The Washington Post
3167:The Washington Post
3105:The Washington Post
3008:The Washington Post
2938:The Washington Star
2914:The Washington Star
2894:The Washington Post
2886:The Washington Post
2835:Citations and notes
2711:The Last Five Years
2533:William T. Williams
2316:The Washington Post
2096:The Washington Post
1829:, one of Gilliam's
1682:The Washington Post
1604:The Washington Post
1593:, culminating with
1459:The Washington Post
1305:riots and uprisings
1041:The Washington Star
1030:William T. Williams
792:The Washington Star
786:The Washington Post
777:The Hard Edge Trend
706:Helen Frankenthaler
550:American University
528:The Washington Post
460:figurative painting
370:Central High School
357:Tupelo, Mississippi
341:lyrical abstraction
54:Tupelo, Mississippi
11456:. pp. 75–95.
11384:. pp. 22–31.
11274:Hampton University
11207:. pp. 36–58.
11153:. pp. 78–96.
11098:. pp. 15–19.
10918:"Solids and Veils"
10882:Ferris, William R.
10801:Cullinan, Nicholas
10795:– via JSTOR.
10654:. pp. 11–27.
10490:. April 23, 2021.
9899:, pp. 183–184
9770:Dia Art Foundation
9086:The New York Times
9017:www.labiennale.org
8870:The New York Times
8458:, p. 139; 142
8274:The Sunday Gazette
7986:, pp. 118–119
7780:The New York Times
7695:The New York Times
7686:(August 1, 1982).
6799:The New York Times
6399:Helfenstein (2018)
6319:The New York Times
6208:The New York Times
6060:Helfenstein (2018)
5794:, pp. 139–141
5792:Helfenstein (2018)
5753:Helfenstein (2018)
5688:The New York Times
4756:The New York Times
4440:. pp. 87–88.
4348:The New York Times
4183:, pp. 158–159
4036:. March 11, 2021.
3898:Euclid Media Group
3329:The New York Times
2804:, Washington, D.C.
2784:, Washington, D.C.
2756:, Washington, D.C.
2746:, Washington, D.C.
2736:, Washington, D.C.
2683:, Washington, D.C.
2644:, Washington, D.C.
2549:Wadsworth Atheneum
2525:Marrakech Biennale
2403:Sculpture with a D
2352:
2279:
2274:paintings, at the
2194:Harlem Renaissance
2181:
2157:The New York Times
2086:and later renamed
2049:Magdeburg, Germany
1975:post-black artists
1900:
1869:
1838:
1796:Artpark State Park
1542:
1467:Lalit Kala Akademi
1418:series. Gilliam's
1318:Martin Luther King
1297:Martin Luther King
1276:
1269:Martin Luther King
1120:
1114:paintings, at the
984:
979:paintings, at the
873:
743:
658:Stokely Carmichael
597:
504:civil disobedience
472:Richard Diebenkorn
425:Frank Lloyd Wright
417:United States Army
11422:. pp. 8–17.
11360:. pp. 5–12.
11298:Schjeldahl, Peter
11236:Kunstmuseum Basel
11034:Kunstmuseum Basel
10852:Edwards, Adrienne
10683:Kunstmuseum Basel
10652:Kunstmuseum Basel
10595:. pp. 9–18.
10383:Kunstmuseum Basel
10126:Kunstmuseum Basel
9437:"Triple Variants"
9369:. June 27, 2022.
9047:Kunstmuseum Basel
7484:, p. 103-104
6792:(June 12, 1972).
6747:The Art Newspaper
6374:The HistoryMakers
6312:(April 6, 1971).
6199:(June 29, 1969).
5388:The Brooklyn Rail
5249:, pp. 22, 26
3924:Kennicott, Philip
3158:(June 28, 2022).
2764:Kunstmuseum Basel
2701:gallery in 2022;
2662:Kunstmuseum Basel
2462:Awards and grants
2226:Kunstmuseum Basel
2144:conceptual artist
2018:LaGuardia Airport
1800:Custom Road Slide
1652:After completing
1643:, "Sam Gilliam".
1641:William R. Ferris
1473:organized by the
1471:American pavilion
1267:, from Gilliam's
1081:In 1966, curator
1015:paintings at the
839:Marjorie Phillips
710:Clement Greenberg
558:Howard University
379:and received his
198:
197:
50:November 30, 1933
11643:
11521:Internet Archive
11475:
11441:
11403:
11369:
11345:
11343:
11341:
11305:
11293:
11257:
11226:
11192:
11172:
11138:
11107:
11086:
11067:Center Gallery.
11055:
11024:
10994:
10967:
10961:
10959:
10920:
10911:
10877:
10847:
10838:. pp. 1–3.
10826:
10796:
10759:(5). Baltimore:
10748:
10739:
10704:
10673:
10642:
10604:
10583:
10558:Cited references
10552:
10551:
10544:
10538:
10537:
10535:
10533:
10510:
10504:
10503:
10501:
10499:
10476:
10470:
10469:
10467:
10465:
10440:
10434:
10433:
10431:
10429:
10406:
10400:
10399:
10397:
10395:
10374:
10368:
10367:
10365:
10363:
10340:
10334:
10333:
10331:
10329:
10311:
10305:
10304:
10302:
10300:
10277:
10271:
10270:
10268:
10266:
10245:
10239:
10238:
10236:
10234:
10213:
10207:
10206:
10204:
10202:
10181:
10175:
10174:
10172:
10170:
10149:
10143:
10142:
10140:
10138:
10117:
10111:
10110:
10108:
10106:
10085:
10079:
10078:
10076:
10074:
10068:
10059:Speed Art Museum
10055:
10047:
10041:
10040:
10038:
10036:
10015:
10009:
10008:
10006:
10004:
9981:
9975:
9974:
9972:
9970:
9949:
9943:
9942:
9940:
9938:
9914:
9906:
9900:
9894:
9885:
9884:
9882:
9880:
9850:
9844:
9843:
9841:
9839:
9793:
9787:
9786:
9784:
9782:
9761:
9755:
9754:
9752:
9750:
9727:
9721:
9720:
9718:
9716:
9702:
9693:
9692:
9690:
9688:
9669:
9663:
9657:
9651:
9650:
9648:
9646:
9627:
9621:
9615:
9609:
9608:
9606:
9604:
9590:
9584:
9583:
9581:
9579:
9564:
9558:
9557:
9555:
9553:
9538:
9532:
9531:
9529:
9527:
9504:
9498:
9492:
9486:
9485:
9483:
9481:
9467:
9461:
9460:
9458:
9456:
9433:
9427:
9426:
9424:
9422:
9413:
9404:
9398:
9392:
9383:
9382:
9380:
9378:
9359:
9353:
9352:
9350:
9348:
9337:
9329:
9323:
9322:
9320:
9318:
9290:
9284:
9283:
9281:
9279:
9261:
9255:
9254:
9252:
9250:
9226:
9217:
9216:
9214:
9212:
9190:
9184:
9183:
9181:
9179:
9133:
9127:
9126:
9124:
9122:
9082:
9074:
9063:
9062:
9060:
9058:
9039:
9033:
9032:
9030:
9028:
9023:on June 29, 2017
9019:. Archived from
9009:
9003:
9002:
9000:
8998:
8952:
8946:
8945:
8943:
8941:
8919:
8913:
8912:
8910:
8908:
8902:
8897:. Archived from
8857:
8851:
8850:
8848:
8846:
8824:
8815:
8814:
8812:
8810:
8785:"The New Dealer"
8780:
8774:
8773:
8771:
8769:
8744:Sargent, Antwaun
8740:
8734:
8733:
8731:
8729:
8718:
8710:
8701:
8700:
8698:
8696:
8691:on June 17, 2011
8690:
8675:
8666:
8660:
8659:
8657:
8655:
8635:
8629:
8628:
8622:
8620:
8577:
8569:
8563:
8562:
8560:
8558:
8547:
8539:
8533:
8532:
8530:
8528:
8512:
8504:
8495:
8489:
8483:
8477:
8471:
8465:
8459:
8453:
8447:
8441:
8435:
8429:
8423:
8420:Beardsley (1991)
8417:
8411:
8405:
8396:
8390:
8384:
8383:
8381:
8379:
8363:
8356:
8350:
8349:
8340:
8338:
8328:
8310:Farrington, Lisa
8301:
8295:
8294:
8288:
8286:
8279:Associated Press
8264:
8258:
8257:
8223:
8217:
8211:
8205:
8204:
8202:
8200:
8158:
8147:
8146:
8144:
8142:
8131:
8123:
8117:
8116:
8114:
8112:
8096:
8088:
8082:
8076:
8070:
8069:
8067:
8065:
8045:
8037:
8026:
8020:
8014:
8008:
8002:
7996:
7987:
7981:
7975:
7974:
7972:
7970:
7955:
7949:
7943:
7937:
7936:
7930:
7928:
7905:
7896:
7895:
7893:
7891:
7871:
7863:
7857:
7851:
7840:
7834:
7821:
7820:
7818:
7816:
7767:
7758:
7752:
7743:
7737:
7731:
7730:
7728:
7726:
7691:
7680:
7674:
7673:
7671:
7669:
7648:
7642:
7636:
7630:
7624:
7615:
7609:
7600:
7594:
7579:
7573:
7567:
7561:
7555:
7549:
7543:
7542:
7536:
7534:
7499:
7491:
7485:
7479:
7473:
7472:
7470:
7468:
7447:
7441:
7440:
7434:
7432:
7389:
7381:
7372:
7371:
7365:
7363:
7344:
7337:
7328:
7327:
7321:
7319:
7276:
7268:
7257:
7251:
7245:
7239:
7226:
7225:
7205:
7197:
7186:
7180:
7171:
7165:
7152:
7146:
7140:
7139:, pp. 24–25
7134:
7128:
7122:
7116:
7110:
7104:
7098:
7092:
7086:
7080:
7079:
7073:
7071:
7036:
7028:
7019:
7016:Osadtschy (2018)
7013:
7007:
7006:
7004:
7002:
6997:. 36 min. 40 sec
6995:Menil Collection
6992:
6976:
6970:
6964:
6955:
6954:
6952:
6950:
6935:University Place
6926:
6920:
6914:
6908:
6902:
6896:
6890:
6881:
6880:
6878:
6876:
6871:on April 1, 2023
6867:. Archived from
6846:
6840:
6839:
6837:
6835:
6786:
6780:
6779:
6777:
6775:
6743:
6735:
6729:
6723:
6717:
6716:
6710:
6708:
6673:
6665:
6659:
6653:
6647:
6641:
6635:
6629:
6623:
6617:
6611:
6605:
6599:
6598:
6596:
6594:
6588:
6573:
6565:
6559:
6558:
6552:
6550:
6515:
6508:
6502:
6496:
6490:
6489:
6487:
6485:
6459:
6453:
6447:
6438:
6432:
6419:
6413:
6402:
6396:
6385:
6384:
6382:
6380:
6366:
6360:
6359:
6357:
6355:
6306:
6297:
6296:, pp. 89–90
6291:
6280:
6274:
6268:
6262:
6256:
6250:
6244:
6243:
6241:
6239:
6204:
6197:Mellow, James R.
6193:
6187:
6181:
6172:
6166:
6160:
6154:
6145:
6139:
6126:
6120:
6114:
6108:
6099:
6093:
6087:
6081:
6075:
6069:
6063:
6057:
6051:
6050:
6048:
6046:
6021:
6015:
6014:
6012:
6010:
5999:
5991:
5982:
5981:
5965:
5957:
5948:
5942:
5936:
5930:
5924:
5918:
5912:
5906:
5900:
5899:
5894:
5892:
5870:
5864:
5858:
5852:
5851:
5849:
5847:
5801:
5795:
5789:
5783:
5777:
5768:
5762:
5756:
5750:
5744:
5738:
5729:
5728:
5726:
5724:
5684:
5676:
5670:
5664:
5645:
5644:
5642:
5640:
5612:
5604:
5598:
5592:
5586:
5585:
5583:
5581:
5561:
5553:
5547:
5546:
5544:
5542:
5514:
5506:
5500:
5499:
5479:
5471:
5462:
5456:
5450:
5444:
5438:
5432:
5421:
5420:
5418:
5416:
5378:
5363:
5357:
5351:
5350:
5348:
5346:
5322:
5316:
5310:
5301:
5295:
5286:
5283:Osadtschy (2018)
5280:
5267:
5261:
5250:
5244:
5238:
5232:
5226:
5225:
5219:
5217:
5182:
5174:
5165:
5159:
5150:
5144:
5138:
5137:, pp. 26–27
5132:
5126:
5120:
5107:
5101:
5080:
5074:
5063:
5057:
5046:
5045:, pp. 20–21
5040:
5034:
5028:
5022:
5016:
5010:
5004:
4998:
4992:
4986:
4985:
4969:The Evening Star
4965:
4957:
4951:
4950:
4914:
4906:
4900:
4894:
4888:
4887:
4869:
4863:
4862:, pp. 17–18
4857:
4851:
4845:
4824:
4818:
4809:
4803:
4797:
4796:
4794:
4792:
4752:
4744:
4738:
4737:
4735:
4733:
4687:
4650:
4649:
4647:
4645:
4599:
4593:
4587:
4581:
4580:
4578:
4576:
4536:
4528:
4522:
4521:
4519:
4517:
4477:
4469:
4446:
4445:
4433:
4425:
4414:
4408:
4402:
4389:
4388:
4386:
4384:
4335:
4329:
4328:
4284:
4276:
4270:
4269:, pp. 95–96
4264:
4255:
4249:
4238:
4232:
4223:
4217:
4211:
4205:
4196:
4195:, pp. 11–12
4190:
4184:
4178:
4172:
4166:
4153:
4152:
4150:
4148:
4118:
4107:
4101:
4088:
4082:
4071:
4065:
4050:
4049:
4047:
4045:
4026:
4020:
4014:
4003:
3997:
3991:
3985:
3976:
3975:
3973:
3971:
3931:
3920:
3914:
3913:
3911:
3909:
3885:
3879:
3878:
3876:
3874:
3858:
3850:
3835:
3829:
3810:
3804:
3793:
3787:
3781:
3780:
3756:
3745:
3732:
3726:
3720:
3714:
3708:
3702:
3691:
3690:
3688:
3686:
3675:Art in Embassies
3666:
3655:
3649:
3643:
3642:
3640:
3638:
3608:
3595:
3589:
3583:
3577:
3566:
3565:
3563:
3561:
3540:
3534:
3533:
3531:
3529:
3507:
3490:
3489:
3487:
3485:
3463:
3454:
3453:
3451:
3449:
3424:
3411:
3410:
3408:
3406:
3384:
3369:
3368:
3366:
3364:
3326:
3318:
3285:
3284:
3282:
3280:
3258:
3249:
3248:
3246:
3244:
3214:
3208:
3207:
3205:
3203:
3163:
3152:
3146:
3145:
3143:
3141:
3101:
3093:
3084:
3083:
3081:
3079:
3063:
3055:
3049:
3048:
3046:
3044:
3004:
2996:
2967:
2960:Wild Goose Chase
2957:
2951:
2947:
2941:
2920:(through 1972);
2918:The Evening Star
2910:
2897:
2892:(1959-1973) and
2882:
2865:
2861:
2681:Hirshhorn Museum
2671:Existed Existing
2629:Speed Art Museum
2597:Washington, D.C.
2576:Hirshhorn Museum
2537:Interconnections
2504:The De Luxe Show
2475:State Department
2441:Washington Metro
2408:Arts on the Line
2330:Gilliam died of
2283:Hirshhorn Museum
2276:Hirshhorn Museum
2212:, a large-scale
2045:State Department
1998:Associated Press
1932:Wild Goose Chase
1835:Hirshhorn Museum
1648:
1580:Niagara Extended
1390:fabrics for his
1330:
1224:art intervention
1220:site-specificity
1212:installation art
964:
963:(November, 1989)
779:at Washington's
674:bipolar disorder
601:representational
488:Speed Art Museum
389:Mary Spencer Nay
297:installation art
293:contemporary art
254:Washington, D.C.
236:
231:
230:
227:
226:
223:
220:
217:
214:
211:
174:
172:
156:
154:
101:
73:Washington, D.C.
68:
49:
47:
35:
21:
20:
11651:
11650:
11646:
11645:
11644:
11642:
11641:
11640:
11526:
11525:
11482:
11464:
11430:
11392:
11374:Porter, Jenelle
11339:
11337:
11246:
11215:
11161:
11127:
11075:
11044:
11013:
10983:
10957:
10955:
10900:
10866:
10815:
10728:
10693:
10662:
10631:
10580:
10560:
10555:
10546:
10545:
10541:
10531:
10529:
10512:
10511:
10507:
10497:
10495:
10478:
10477:
10473:
10463:
10461:
10442:
10441:
10437:
10427:
10425:
10408:
10407:
10403:
10393:
10391:
10376:
10375:
10371:
10361:
10359:
10342:
10341:
10337:
10327:
10325:
10313:
10312:
10308:
10298:
10296:
10279:
10278:
10274:
10264:
10262:
10247:
10246:
10242:
10232:
10230:
10215:
10214:
10210:
10200:
10198:
10183:
10182:
10178:
10168:
10166:
10151:
10150:
10146:
10136:
10134:
10119:
10118:
10114:
10104:
10102:
10087:
10086:
10082:
10072:
10070:
10066:
10053:
10049:
10048:
10044:
10034:
10032:
10017:
10016:
10012:
10002:
10000:
9983:
9982:
9978:
9968:
9966:
9951:
9950:
9946:
9936:
9934:
9907:
9903:
9895:
9888:
9878:
9876:
9851:
9847:
9837:
9835:
9794:
9790:
9780:
9778:
9763:
9762:
9758:
9748:
9746:
9729:
9728:
9724:
9714:
9712:
9704:
9703:
9696:
9686:
9684:
9671:
9670:
9666:
9658:
9654:
9644:
9642:
9629:
9628:
9624:
9616:
9612:
9602:
9600:
9592:
9591:
9587:
9577:
9575:
9566:
9565:
9561:
9551:
9549:
9540:
9539:
9535:
9525:
9523:
9506:
9505:
9501:
9493:
9489:
9479:
9477:
9469:
9468:
9464:
9454:
9452:
9435:
9434:
9430:
9420:
9418:
9411:
9405:
9401:
9393:
9386:
9376:
9374:
9361:
9360:
9356:
9346:
9344:
9330:
9326:
9316:
9314:
9291:
9287:
9277:
9275:
9263:
9262:
9258:
9248:
9246:
9227:
9220:
9210:
9208:
9191:
9187:
9177:
9175:
9134:
9130:
9120:
9118:
9075:
9066:
9056:
9054:
9041:
9040:
9036:
9026:
9024:
9011:
9010:
9006:
8996:
8994:
8953:
8949:
8939:
8937:
8920:
8916:
8906:
8904:
8861:Pogrebin, Robin
8858:
8854:
8844:
8842:
8825:
8818:
8808:
8806:
8781:
8777:
8767:
8765:
8741:
8737:
8727:
8725:
8711:
8704:
8694:
8692:
8688:
8673:
8667:
8663:
8653:
8651:
8636:
8632:
8618:
8616:
8570:
8566:
8556:
8554:
8540:
8536:
8526:
8524:
8505:
8498:
8492:Binstock (2005)
8490:
8486:
8478:
8474:
8468:Cullinan (2019)
8466:
8462:
8456:Binstock (2005)
8454:
8450:
8442:
8438:
8430:
8426:
8418:
8414:
8408:Binstock (2005)
8406:
8399:
8391:
8387:
8377:
8375:
8367:Chicago Tribune
8358:
8357:
8353:
8336:
8334:
8322:
8302:
8298:
8284:
8282:
8265:
8261:
8224:
8220:
8212:
8208:
8198:
8196:
8159:
8150:
8140:
8138:
8124:
8120:
8110:
8108:
8089:
8085:
8079:Binstock (2005)
8077:
8073:
8063:
8061:
8038:
8029:
8023:Binstock (2005)
8021:
8017:
8009:
8005:
7999:Binstock (2005)
7997:
7990:
7984:Binstock (2005)
7982:
7978:
7968:
7966:
7957:
7956:
7952:
7944:
7940:
7926:
7924:
7906:
7899:
7889:
7887:
7864:
7860:
7854:Binstock (2005)
7852:
7843:
7835:
7824:
7814:
7812:
7768:
7761:
7755:Binstock (2005)
7753:
7746:
7738:
7734:
7724:
7722:
7681:
7677:
7667:
7665:
7650:
7649:
7645:
7637:
7633:
7627:Binstock (2018)
7625:
7618:
7610:
7603:
7597:Binstock (2005)
7595:
7582:
7576:Binstock (2005)
7574:
7570:
7564:Binstock (2005)
7562:
7558:
7552:Binstock (2005)
7550:
7546:
7532:
7530:
7492:
7488:
7482:Binstock (2005)
7480:
7476:
7466:
7464:
7449:
7448:
7444:
7430:
7428:
7382:
7375:
7361:
7359:
7339:
7338:
7331:
7317:
7315:
7269:
7260:
7252:
7248:
7242:Binstock (2005)
7240:
7229:
7198:
7189:
7181:
7174:
7166:
7155:
7147:
7143:
7137:Binstock (2018)
7135:
7131:
7123:
7119:
7111:
7107:
7103:, p. 22-23
7099:
7095:
7091:, p. 74-75
7089:Binstock (2005)
7087:
7083:
7069:
7067:
7029:
7022:
7014:
7010:
7000:
6998:
6986:
6977:
6973:
6965:
6958:
6948:
6946:
6927:
6923:
6917:Binstock (2005)
6915:
6911:
6903:
6899:
6891:
6884:
6874:
6872:
6847:
6843:
6833:
6831:
6787:
6783:
6773:
6771:
6736:
6732:
6724:
6720:
6706:
6704:
6666:
6662:
6656:Binstock (2005)
6654:
6650:
6644:Binstock (2005)
6642:
6638:
6630:
6626:
6618:
6614:
6606:
6602:
6592:
6590:
6586:
6571:
6567:
6566:
6562:
6548:
6546:
6510:
6509:
6505:
6499:Binstock (2005)
6497:
6493:
6483:
6481:
6460:
6456:
6450:Binstock (2005)
6448:
6441:
6435:Binstock (2005)
6433:
6422:
6414:
6405:
6397:
6388:
6378:
6376:
6368:
6367:
6363:
6353:
6351:
6307:
6300:
6294:Binstock (2005)
6292:
6283:
6275:
6271:
6265:Binstock (2005)
6263:
6259:
6253:Binstock (2005)
6251:
6247:
6237:
6235:
6211:. p. D23.
6194:
6190:
6186:, p. 60-61
6184:Binstock (2005)
6182:
6175:
6171:, pp. 9–10
6167:
6163:
6157:Binstock (2005)
6155:
6148:
6140:
6129:
6125:, p. 56-57
6123:Binstock (2005)
6121:
6117:
6109:
6102:
6096:Binstock (2005)
6094:
6090:
6082:
6078:
6070:
6066:
6058:
6054:
6044:
6042:
6022:
6018:
6008:
6006:
5992:
5985:
5958:
5951:
5945:Binstock (2005)
5943:
5939:
5933:Binstock (2005)
5931:
5927:
5919:
5915:
5909:Binstock (2005)
5907:
5903:
5890:
5888:
5871:
5867:
5861:Binstock (2005)
5859:
5855:
5845:
5843:
5802:
5798:
5790:
5786:
5780:Binstock (2005)
5778:
5771:
5763:
5759:
5751:
5747:
5741:Binstock (2005)
5739:
5732:
5722:
5720:
5677:
5673:
5667:Binstock (2005)
5665:
5648:
5638:
5636:
5605:
5601:
5595:Binstock (2005)
5593:
5589:
5579:
5577:
5554:
5550:
5540:
5538:
5507:
5503:
5483:The Sunday Star
5472:
5465:
5459:Binstock (2005)
5457:
5453:
5447:Binstock (2018)
5445:
5441:
5435:Binstock (2005)
5433:
5424:
5414:
5412:
5379:
5366:
5360:Binstock (2005)
5358:
5354:
5344:
5342:
5323:
5319:
5313:Binstock (2005)
5311:
5304:
5296:
5289:
5281:
5270:
5264:Binstock (2005)
5262:
5253:
5247:Binstock (2005)
5245:
5241:
5235:Binstock (2005)
5233:
5229:
5215:
5213:
5175:
5168:
5162:Binstock (2005)
5160:
5153:
5147:Binstock (2005)
5145:
5141:
5135:Binstock (2005)
5133:
5129:
5121:
5110:
5102:
5083:
5075:
5066:
5060:Binstock (2005)
5058:
5049:
5043:Binstock (2005)
5041:
5037:
5031:Binstock (2005)
5029:
5025:
5017:
5013:
5007:Binstock (2005)
5005:
5001:
4995:Binstock (2005)
4993:
4989:
4958:
4954:
4907:
4903:
4897:Binstock (2005)
4895:
4891:
4870:
4866:
4860:Binstock (2005)
4858:
4854:
4848:Binstock (2005)
4846:
4827:
4819:
4812:
4804:
4800:
4790:
4788:
4745:
4741:
4731:
4729:
4688:
4653:
4643:
4641:
4600:
4596:
4590:Binstock (2005)
4588:
4584:
4574:
4572:
4529:
4525:
4515:
4513:
4470:
4449:
4426:
4417:
4404:
4403:
4392:
4382:
4380:
4351:. p. C23.
4336:
4332:
4277:
4273:
4265:
4258:
4252:Binstock (2005)
4250:
4241:
4233:
4226:
4220:Binstock (2005)
4218:
4214:
4208:Binstock (2005)
4206:
4199:
4193:Binstock (2005)
4191:
4187:
4179:
4175:
4167:
4156:
4146:
4144:
4119:
4110:
4104:Binstock (2005)
4102:
4091:
4083:
4074:
4066:
4053:
4043:
4041:
4028:
4027:
4023:
4017:Binstock (2005)
4015:
4006:
3998:
3994:
3988:Binstock (2005)
3986:
3979:
3969:
3967:
3921:
3917:
3907:
3905:
3886:
3882:
3872:
3870:
3851:
3838:
3830:
3813:
3807:Binstock (2005)
3805:
3796:
3788:
3784:
3763:. p. 304.
3746:
3735:
3729:Binstock (2005)
3727:
3723:
3715:
3711:
3703:
3694:
3684:
3682:
3668:
3667:
3658:
3650:
3646:
3636:
3634:
3609:
3598:
3590:
3586:
3580:Binstock (2005)
3578:
3569:
3559:
3557:
3542:
3541:
3537:
3527:
3525:
3508:
3493:
3483:
3481:
3464:
3457:
3447:
3445:
3426:
3425:
3414:
3404:
3402:
3385:
3372:
3362:
3360:
3319:
3288:
3278:
3276:
3259:
3252:
3242:
3240:
3215:
3211:
3201:
3199:
3156:Smee, Sebastian
3153:
3149:
3139:
3137:
3094:
3087:
3077:
3075:
3056:
3052:
3042:
3040:
2997:
2980:
2976:
2971:
2970:
2958:
2954:
2948:
2944:
2922:The Sunday Star
2911:
2900:
2883:
2868:
2862:
2847:
2842:
2837:
2812:
2807:
2725:
2719:
2695:Late Paintings,
2691:
2686:
2584:
2513:Venice Biennale
2499:
2464:
2356:Triple Variants
2340:
2323:(b. 1965), and
2303:
2210:Yves Klein Blue
2174:Yves Klein Blue
2128:
2080:Ohio University
2076:
2074:, retrospective
2068:
1970:
1924:Black Paintings
1904:Black Paintings
1886:
1878:
1858:Black Paintings
1846:White Paintings
1842:Black Paintings
1831:Black Paintings
1789:White Paintings
1768:Brooklyn Museum
1747:
1744:Black Paintings
1649:
1638:
1546:Works in Spaces
1526:
1479:Venice Biennale
1452:lacquer thinner
1346:
1337:
1331:
1324:
1295:, all from his
1228:performance art
1208:during this era
1192:Baroque Cascade
1188:Baroque Cascade
1079:
1073:
965:
955:
831:
686:
676:and prescribed
647:delivered his "
609:Rock Creek Park
590:Rock Creek Park
542:
537:
535:Life and career
480:Nathan Oliveira
419:, stationed in
353:
332:Venice Biennale
317:Black Paintings
234:
208:
204:
179:
176:
173: 2018)
168:
164:
158:
150:
146:
143:
115:Yves Klein Blue
113:
108:
99:
81:Alma mater
76:
70:
66:
57:
51:
45:
43:
26:
17:
12:
11:
5:
11649:
11639:
11638:
11633:
11628:
11623:
11618:
11613:
11608:
11603:
11598:
11593:
11588:
11583:
11578:
11573:
11568:
11563:
11558:
11553:
11548:
11543:
11538:
11524:
11523:
11510:
11505:
11500:
11495:
11481:
11480:External links
11478:
11477:
11476:
11462:
11442:
11428:
11404:
11390:
11370:
11346:
11309:The New Yorker
11294:
11258:
11244:
11227:
11213:
11193:
11173:
11159:
11139:
11125:
11108:
11087:
11073:
11056:
11042:
11025:
11011:
10995:
10981:
10968:
10912:
10898:
10878:
10864:
10848:
10827:
10813:
10797:
10740:
10726:
10705:
10691:
10674:
10660:
10643:
10629:
10611:, ed. (2005).
10605:
10584:
10579:978-0999078051
10578:
10559:
10556:
10554:
10553:
10539:
10505:
10471:
10435:
10401:
10369:
10335:
10306:
10272:
10240:
10208:
10176:
10144:
10112:
10080:
10042:
10010:
9976:
9944:
9901:
9886:
9845:
9788:
9756:
9722:
9710:louisville.edu
9694:
9664:
9652:
9622:
9610:
9598:culturenow.org
9585:
9559:
9533:
9499:
9487:
9462:
9428:
9399:
9384:
9354:
9324:
9285:
9256:
9218:
9185:
9128:
9064:
9034:
9004:
8947:
8914:
8852:
8816:
8775:
8735:
8702:
8661:
8630:
8584:. p. E2.
8564:
8534:
8496:
8484:
8472:
8460:
8448:
8436:
8432:Gilliam (1997)
8424:
8412:
8397:
8385:
8351:
8296:
8259:
8218:
8206:
8168:Art in America
8148:
8118:
8100:The New Yorker
8083:
8071:
8027:
8015:
8003:
7988:
7976:
7950:
7938:
7897:
7858:
7841:
7822:
7771:Raynor, Vivien
7759:
7744:
7732:
7675:
7643:
7631:
7616:
7601:
7580:
7568:
7556:
7544:
7486:
7474:
7442:
7373:
7329:
7258:
7256:, pp. 6–9
7246:
7227:
7187:
7172:
7153:
7141:
7129:
7117:
7105:
7093:
7081:
7020:
7008:
6971:
6956:
6921:
6909:
6897:
6882:
6841:
6802:. p. 45.
6790:Kramer, Hilton
6781:
6730:
6718:
6680:. p. C5.
6660:
6648:
6636:
6624:
6620:Stovall (2022)
6612:
6600:
6560:
6503:
6491:
6454:
6439:
6420:
6403:
6386:
6361:
6322:. p. 50.
6298:
6281:
6269:
6257:
6245:
6188:
6173:
6161:
6146:
6127:
6115:
6100:
6088:
6076:
6064:
6052:
6016:
5983:
5949:
5937:
5925:
5913:
5901:
5865:
5853:
5796:
5784:
5769:
5757:
5745:
5730:
5671:
5646:
5599:
5587:
5548:
5501:
5463:
5451:
5439:
5422:
5364:
5352:
5317:
5302:
5287:
5268:
5251:
5239:
5227:
5189:. p. K8.
5166:
5151:
5139:
5127:
5108:
5081:
5064:
5047:
5035:
5023:
5011:
4999:
4987:
4952:
4901:
4889:
4864:
4852:
4825:
4810:
4798:
4739:
4651:
4594:
4582:
4523:
4447:
4415:
4390:
4330:
4291:. p. G1.
4271:
4267:Godfrey (2019)
4256:
4239:
4224:
4212:
4197:
4185:
4173:
4154:
4108:
4089:
4072:
4051:
4021:
4004:
4000:Edwards (2017)
3992:
3977:
3915:
3880:
3836:
3811:
3794:
3782:
3749:Raynor, Vivien
3733:
3731:, pp. 8–9
3721:
3709:
3692:
3656:
3644:
3596:
3584:
3567:
3535:
3491:
3455:
3412:
3370:
3286:
3250:
3209:
3147:
3085:
3050:
2977:
2975:
2972:
2969:
2968:
2952:
2942:
2898:
2866:
2844:
2843:
2841:
2838:
2836:
2833:
2811:
2808:
2806:
2805:
2795:
2785:
2775:
2766:
2757:
2747:
2737:
2726:
2721:Main article:
2718:
2715:
2690:
2687:
2685:
2684:
2674:
2668:
2655:
2645:
2635:
2622:
2612:
2599:
2585:
2583:
2580:
2547:(1974) at the
2539:(1972) at the
2498:
2495:
2489:in 1968 and a
2463:
2460:
2437:Takoma station
2421:Jamaica Center
2393:commissioned
2339:
2336:
2307:Dorothy Butler
2302:
2299:
2206:Viva Arte Viva
2198:Countee Cullen
2140:Rashid Johnson
2127:
2124:
2109:neighborhood.
2103:gentrification
2075:
2069:
2067:
2064:
2056:Kreeger Museum
1989:Art in America
1969:
1966:
1885:
1879:
1877:
1874:
1746:
1732:
1636:
1525:
1515:
1408:Carousel Merge
1359:Whitney Museum
1345:
1338:
1336:
1333:
1322:
1075:Main article:
1072:
1065:
981:Kreeger Museum
953:
917:stretcher bars
851:Mount Pleasant
830:
823:
805:(1964) at the
702:Kenneth Noland
685:
682:
649:I Have a Dream
621:Thomas Downing
605:Park Invention
594:Park Invention
541:
538:
536:
533:
519:Barnett Newman
456:Charles Crodel
429:Imperial Hotel
412:Dorothy Butler
403:like Klee and
352:
349:
284:stretcher bars
196:
195:
185:
181:
180:
178:
177:
166:
162:
161:
159:
148:
144:
141:Dorothy Butler
139:
138:
135:
133:
129:
128:
123:
119:
118:
102:
96:
95:
92:
91:Known for
88:
87:
82:
78:
77:
71:
69:(aged 88)
63:
59:
58:
52:
41:
37:
36:
28:
27:
24:
15:
9:
6:
4:
3:
2:
11648:
11637:
11634:
11632:
11629:
11627:
11624:
11622:
11619:
11617:
11614:
11612:
11609:
11607:
11604:
11602:
11599:
11597:
11594:
11592:
11589:
11587:
11584:
11582:
11579:
11577:
11574:
11572:
11569:
11567:
11564:
11562:
11559:
11557:
11554:
11552:
11549:
11547:
11544:
11542:
11539:
11537:
11534:
11533:
11531:
11522:
11518:
11514:
11511:
11509:
11506:
11504:
11501:
11499:
11496:
11493:
11489:
11488:
11484:
11483:
11473:
11469:
11465:
11463:9781647121716
11459:
11455:
11451:
11447:
11443:
11439:
11435:
11431:
11429:9781948701389
11425:
11421:
11417:
11413:
11409:
11405:
11401:
11397:
11393:
11391:9780989159852
11387:
11383:
11379:
11375:
11371:
11367:
11363:
11359:
11355:
11351:
11347:
11335:
11331:
11327:
11323:
11319:
11315:
11311:
11310:
11304:
11299:
11295:
11291:
11287:
11283:
11279:
11275:
11271:
11267:
11263:
11262:Rose, Barbara
11259:
11255:
11251:
11247:
11245:9783960983408
11241:
11237:
11233:
11228:
11224:
11220:
11216:
11214:9781948701389
11210:
11206:
11202:
11198:
11194:
11190:
11186:
11182:
11178:
11174:
11170:
11166:
11162:
11160:9781948701389
11156:
11152:
11148:
11144:
11140:
11136:
11132:
11128:
11126:9781948701389
11122:
11118:
11114:
11109:
11105:
11101:
11097:
11093:
11088:
11084:
11080:
11076:
11074:9780916279028
11070:
11066:
11062:
11057:
11053:
11049:
11045:
11043:9783960983408
11039:
11035:
11031:
11026:
11022:
11018:
11014:
11012:9781941366264
11008:
11004:
11000:
10999:Godfrey, Mark
10996:
10992:
10988:
10984:
10982:9783930030309
10978:
10974:
10969:
10965:
10954:
10950:
10946:
10942:
10938:
10934:
10930:
10926:
10925:
10919:
10913:
10909:
10905:
10901:
10899:9781469607542
10895:
10891:
10887:
10883:
10879:
10875:
10871:
10867:
10865:9780998453927
10861:
10857:
10853:
10849:
10845:
10841:
10837:
10833:
10828:
10824:
10820:
10816:
10814:9781941366264
10810:
10806:
10802:
10798:
10794:
10790:
10786:
10782:
10778:
10774:
10770:
10766:
10762:
10758:
10754:
10753:
10747:
10746:"Sam Gilliam"
10741:
10737:
10733:
10729:
10727:9780520246454
10723:
10719:
10715:
10711:
10706:
10702:
10698:
10694:
10692:9783960983408
10688:
10684:
10680:
10675:
10671:
10667:
10663:
10661:9783960983408
10657:
10653:
10649:
10644:
10640:
10636:
10632:
10630:9780520246454
10626:
10622:
10618:
10614:
10610:
10606:
10602:
10598:
10594:
10590:
10585:
10581:
10575:
10571:
10567:
10562:
10561:
10549:
10543:
10527:
10523:
10519:
10515:
10509:
10493:
10489:
10485:
10484:Studio Museum
10481:
10475:
10459:
10455:
10451:
10450:
10445:
10439:
10423:
10419:
10415:
10411:
10405:
10389:
10386:(in German).
10385:
10384:
10379:
10373:
10357:
10353:
10349:
10345:
10339:
10324:
10320:
10316:
10310:
10294:
10290:
10286:
10282:
10276:
10260:
10256:
10255:
10250:
10244:
10228:
10224:
10223:
10218:
10212:
10196:
10192:
10191:
10186:
10180:
10164:
10160:
10159:
10154:
10148:
10132:
10128:
10127:
10122:
10116:
10100:
10096:
10095:
10090:
10084:
10065:
10061:
10060:
10052:
10046:
10030:
10026:
10025:
10020:
10019:"Sam Gilliam"
10014:
9998:
9994:
9990:
9986:
9980:
9964:
9960:
9959:
9954:
9948:
9932:
9928:
9924:
9920:
9919:
9913:
9905:
9898:
9893:
9891:
9874:
9870:
9866:
9862:
9861:
9860:Hyperallergic
9856:
9849:
9833:
9829:
9825:
9821:
9817:
9813:
9809:
9805:
9804:
9799:
9792:
9776:
9772:
9771:
9766:
9765:"Sam Gilliam"
9760:
9744:
9740:
9736:
9732:
9726:
9711:
9707:
9706:"Sam Gilliam"
9701:
9699:
9682:
9678:
9674:
9668:
9661:
9656:
9640:
9636:
9632:
9626:
9619:
9614:
9599:
9595:
9589:
9573:
9569:
9563:
9547:
9543:
9542:"Sam Gilliam"
9537:
9521:
9517:
9513:
9509:
9503:
9496:
9491:
9476:
9472:
9466:
9450:
9446:
9442:
9438:
9432:
9417:
9410:
9403:
9397:, p. 185
9396:
9391:
9389:
9372:
9368:
9364:
9358:
9343:
9342:
9336:
9328:
9312:
9308:
9304:
9300:
9296:
9289:
9274:
9270:
9266:
9260:
9244:
9240:
9236:
9232:
9225:
9223:
9206:
9202:
9201:
9196:
9189:
9173:
9169:
9165:
9161:
9157:
9153:
9149:
9145:
9144:
9139:
9132:
9116:
9112:
9108:
9104:
9100:
9096:
9092:
9088:
9087:
9081:
9073:
9071:
9069:
9052:
9048:
9044:
9043:"Sam Gilliam"
9038:
9022:
9018:
9014:
9008:
8992:
8988:
8984:
8980:
8976:
8972:
8968:
8964:
8963:
8958:
8951:
8935:
8931:
8930:
8925:
8918:
8901:
8896:
8892:
8888:
8884:
8880:
8876:
8872:
8871:
8866:
8862:
8856:
8840:
8836:
8835:
8830:
8823:
8821:
8804:
8800:
8796:
8792:
8791:
8786:
8779:
8763:
8759:
8755:
8754:
8749:
8745:
8739:
8724:
8723:
8717:
8709:
8707:
8687:
8683:
8679:
8672:
8665:
8649:
8645:
8641:
8634:
8626:
8615:
8611:
8607:
8603:
8599:
8595:
8591:
8587:
8583:
8582:
8576:
8568:
8553:
8552:
8546:
8538:
8522:
8518:
8517:
8511:
8503:
8501:
8494:, p. 142
8493:
8488:
8482:, p. 186
8481:
8476:
8470:, p. 110
8469:
8464:
8457:
8452:
8445:
8440:
8433:
8428:
8421:
8416:
8410:, p. 138
8409:
8404:
8402:
8395:, p. 167
8394:
8389:
8373:
8369:
8368:
8362:
8355:
8348:
8346:
8332:
8326:
8321:
8320:
8315:
8314:Jones, Kellie
8311:
8307:
8300:
8292:
8280:
8276:
8275:
8270:
8263:
8255:
8251:
8247:
8243:
8239:
8235:
8231:
8230:
8222:
8215:
8210:
8194:
8190:
8186:
8182:
8178:
8174:
8170:
8169:
8164:
8157:
8155:
8153:
8137:
8136:
8130:
8122:
8106:
8102:
8101:
8095:
8087:
8081:, p. 133
8080:
8075:
8059:
8055:
8051:
8050:
8044:
8043:"Sam Gilliam"
8036:
8034:
8032:
8025:, p. 120
8024:
8019:
8012:
8007:
8001:, p. 119
8000:
7995:
7993:
7985:
7980:
7964:
7960:
7954:
7947:
7946:Obrist (2020)
7942:
7934:
7922:
7918:
7914:
7910:
7904:
7902:
7885:
7881:
7877:
7876:
7870:
7862:
7856:, p. 118
7855:
7850:
7848:
7846:
7839:, p. 184
7838:
7833:
7831:
7829:
7827:
7810:
7806:
7802:
7798:
7794:
7790:
7786:
7782:
7781:
7776:
7772:
7766:
7764:
7757:, p. 107
7756:
7751:
7749:
7741:
7740:Obrist (2020)
7736:
7721:
7717:
7713:
7709:
7705:
7701:
7697:
7696:
7690:
7685:
7684:Glueck, Grace
7679:
7663:
7659:
7658:
7653:
7647:
7640:
7639:Kloner (1978)
7635:
7628:
7623:
7621:
7613:
7612:Davies (1978)
7608:
7606:
7599:, p. 106
7598:
7593:
7591:
7589:
7587:
7585:
7578:, p. 204
7577:
7572:
7566:, p. 113
7565:
7560:
7554:, p. 102
7553:
7548:
7540:
7529:
7525:
7521:
7517:
7513:
7509:
7505:
7504:
7498:
7490:
7483:
7478:
7462:
7458:
7457:
7452:
7446:
7438:
7427:
7423:
7419:
7415:
7411:
7407:
7403:
7399:
7395:
7394:
7388:
7380:
7378:
7369:
7358:
7354:
7350:
7349:
7343:
7336:
7334:
7325:
7314:
7310:
7306:
7302:
7298:
7294:
7290:
7286:
7282:
7281:
7275:
7267:
7265:
7263:
7255:
7250:
7244:, p. 104
7243:
7238:
7236:
7234:
7232:
7223:
7219:
7215:
7211:
7210:
7206:. Portfolio.
7204:
7196:
7194:
7192:
7184:
7179:
7177:
7169:
7168:Kloner (1978)
7164:
7162:
7160:
7158:
7151:, p. 204
7150:
7149:Ferris (2013)
7145:
7138:
7133:
7126:
7125:Porter (2017)
7121:
7114:
7109:
7102:
7101:Porter (2017)
7097:
7090:
7085:
7077:
7066:
7062:
7058:
7054:
7050:
7046:
7042:
7041:
7035:
7027:
7025:
7018:, p. 114
7017:
7012:
6996:
6990:
6985:
6981:
6975:
6968:
6967:Porter (2017)
6963:
6961:
6944:
6940:
6939:PBS Wisconsin
6936:
6932:
6925:
6918:
6913:
6907:, p. 118
6906:
6905:Martin (2020)
6901:
6895:, p. 117
6894:
6893:Martin (2020)
6889:
6887:
6870:
6866:
6862:
6858:
6857:
6856:Hyperallergic
6852:
6845:
6829:
6825:
6821:
6817:
6813:
6809:
6805:
6801:
6800:
6795:
6791:
6785:
6769:
6765:
6761:
6757:
6753:
6749:
6748:
6742:
6734:
6727:
6722:
6714:
6703:
6699:
6695:
6691:
6687:
6683:
6679:
6678:
6672:
6664:
6657:
6652:
6645:
6640:
6633:
6632:Kloner (1978)
6628:
6621:
6616:
6609:
6608:Porter (2017)
6604:
6585:
6581:
6577:
6570:
6564:
6556:
6545:
6541:
6537:
6533:
6529:
6525:
6521:
6520:
6514:
6507:
6500:
6495:
6479:
6475:
6471:
6470:
6465:
6458:
6451:
6446:
6444:
6436:
6431:
6429:
6427:
6425:
6418:, p. 116
6417:
6416:Martin (2020)
6412:
6410:
6408:
6401:, p. 143
6400:
6395:
6393:
6391:
6375:
6371:
6365:
6349:
6345:
6341:
6337:
6333:
6329:
6325:
6321:
6320:
6315:
6311:
6310:Glueck, Grace
6305:
6303:
6295:
6290:
6288:
6286:
6278:
6277:Jacobs (1985)
6273:
6266:
6261:
6254:
6249:
6234:
6230:
6226:
6222:
6218:
6214:
6210:
6209:
6203:
6198:
6192:
6185:
6180:
6178:
6170:
6165:
6158:
6153:
6151:
6143:
6138:
6136:
6134:
6132:
6124:
6119:
6112:
6107:
6105:
6097:
6092:
6085:
6080:
6073:
6068:
6061:
6056:
6040:
6036:
6035:
6030:
6026:
6020:
6005:
6004:
5998:
5990:
5988:
5979:
5975:
5971:
5970:
5964:
5956:
5954:
5946:
5941:
5934:
5929:
5923:, p. 160
5922:
5917:
5910:
5905:
5898:
5886:
5882:
5881:
5876:
5869:
5862:
5857:
5841:
5837:
5833:
5829:
5825:
5821:
5817:
5813:
5812:
5807:
5800:
5793:
5788:
5781:
5776:
5774:
5766:
5761:
5755:, p. 139
5754:
5749:
5742:
5737:
5735:
5718:
5714:
5710:
5706:
5702:
5698:
5694:
5690:
5689:
5683:
5675:
5668:
5663:
5661:
5659:
5657:
5655:
5653:
5651:
5634:
5630:
5626:
5622:
5618:
5617:
5611:
5603:
5596:
5591:
5575:
5571:
5567:
5566:
5560:
5552:
5536:
5532:
5528:
5524:
5520:
5519:
5513:
5505:
5497:
5493:
5489:
5485:
5484:
5478:
5470:
5468:
5460:
5455:
5448:
5443:
5436:
5431:
5429:
5427:
5410:
5406:
5402:
5398:
5394:
5390:
5389:
5384:
5377:
5375:
5373:
5371:
5369:
5361:
5356:
5340:
5336:
5332:
5328:
5321:
5314:
5309:
5307:
5299:
5298:Porter (2017)
5294:
5292:
5284:
5279:
5277:
5275:
5273:
5265:
5260:
5258:
5256:
5248:
5243:
5236:
5231:
5223:
5212:
5208:
5204:
5200:
5196:
5192:
5188:
5187:
5181:
5173:
5171:
5163:
5158:
5156:
5148:
5143:
5136:
5131:
5124:
5123:Porter (2017)
5119:
5117:
5115:
5113:
5106:, p. 183
5105:
5100:
5098:
5096:
5094:
5092:
5090:
5088:
5086:
5078:
5077:Kloner (1978)
5073:
5071:
5069:
5061:
5056:
5054:
5052:
5044:
5039:
5032:
5027:
5020:
5019:Obrist (2020)
5015:
5008:
5003:
4996:
4991:
4983:
4979:
4975:
4971:
4970:
4964:
4956:
4948:
4944:
4940:
4936:
4932:
4928:
4924:
4920:
4919:
4913:
4905:
4898:
4893:
4885:
4881:
4877:
4876:
4875:Washingtonian
4868:
4861:
4856:
4849:
4844:
4842:
4840:
4838:
4836:
4834:
4832:
4830:
4822:
4817:
4815:
4807:
4806:Obrist (2020)
4802:
4786:
4782:
4778:
4774:
4770:
4766:
4762:
4758:
4757:
4751:
4743:
4727:
4723:
4719:
4715:
4711:
4707:
4703:
4699:
4698:
4693:
4686:
4684:
4682:
4680:
4678:
4676:
4674:
4672:
4670:
4668:
4666:
4664:
4662:
4660:
4658:
4656:
4639:
4635:
4631:
4627:
4623:
4619:
4615:
4611:
4610:
4605:
4598:
4591:
4586:
4570:
4566:
4562:
4558:
4554:
4550:
4546:
4542:
4541:
4535:
4527:
4511:
4507:
4503:
4499:
4495:
4491:
4487:
4483:
4482:
4476:
4468:
4466:
4464:
4462:
4460:
4458:
4456:
4454:
4452:
4443:
4439:
4438:
4432:
4424:
4422:
4420:
4412:
4407:
4401:
4399:
4397:
4395:
4378:
4374:
4370:
4366:
4362:
4358:
4354:
4350:
4349:
4344:
4340:
4339:Russell, John
4334:
4326:
4322:
4318:
4314:
4310:
4306:
4302:
4298:
4294:
4290:
4289:
4283:
4275:
4268:
4263:
4261:
4253:
4248:
4246:
4244:
4236:
4231:
4229:
4221:
4216:
4209:
4204:
4202:
4194:
4189:
4182:
4177:
4171:, p. 159
4170:
4165:
4163:
4161:
4159:
4142:
4138:
4134:
4132:
4127:
4123:
4117:
4115:
4113:
4105:
4100:
4098:
4096:
4094:
4086:
4085:Kloner (1978)
4081:
4079:
4077:
4070:, p. 182
4069:
4064:
4062:
4060:
4058:
4056:
4039:
4035:
4034:East City Art
4031:
4025:
4018:
4013:
4011:
4009:
4001:
3996:
3989:
3984:
3982:
3965:
3961:
3957:
3953:
3949:
3945:
3941:
3937:
3936:
3930:
3925:
3919:
3903:
3899:
3895:
3891:
3884:
3868:
3864:
3863:
3857:
3849:
3847:
3845:
3843:
3841:
3834:, p. 158
3833:
3828:
3826:
3824:
3822:
3820:
3818:
3816:
3808:
3803:
3801:
3799:
3791:
3790:Obrist (2020)
3786:
3778:
3774:
3770:
3766:
3762:
3761:
3755:
3750:
3744:
3742:
3740:
3738:
3730:
3725:
3719:, p. 157
3718:
3713:
3706:
3701:
3699:
3697:
3681:
3677:
3676:
3671:
3665:
3663:
3661:
3654:, p. 202
3653:
3652:Ferris (2013)
3648:
3632:
3628:
3624:
3620:
3619:
3618:Hyperallergic
3614:
3607:
3605:
3603:
3601:
3593:
3592:Obrist (2020)
3588:
3581:
3576:
3574:
3572:
3555:
3551:
3550:
3545:
3539:
3523:
3519:
3518:
3513:
3506:
3504:
3502:
3500:
3498:
3496:
3479:
3475:
3474:
3469:
3462:
3460:
3443:
3439:
3435:
3434:
3429:
3428:"Sam Gilliam"
3423:
3421:
3419:
3417:
3400:
3396:
3395:
3390:
3383:
3381:
3379:
3377:
3375:
3358:
3354:
3350:
3346:
3342:
3338:
3334:
3330:
3325:
3317:
3315:
3313:
3311:
3309:
3307:
3305:
3303:
3301:
3299:
3297:
3295:
3293:
3291:
3274:
3270:
3269:
3264:
3257:
3255:
3238:
3234:
3230:
3226:
3225:
3224:Hyperallergic
3220:
3213:
3197:
3193:
3189:
3185:
3181:
3177:
3173:
3169:
3168:
3162:
3157:
3151:
3135:
3131:
3127:
3123:
3119:
3115:
3111:
3107:
3106:
3100:
3092:
3090:
3073:
3069:
3068:
3062:
3054:
3038:
3034:
3030:
3026:
3022:
3018:
3014:
3010:
3009:
3003:
2995:
2993:
2991:
2989:
2987:
2985:
2983:
2978:
2965:
2961:
2956:
2946:
2939:
2935:
2932:(1973-1975);
2931:
2928:(1972-1973);
2927:
2923:
2919:
2915:
2909:
2907:
2905:
2903:
2895:
2891:
2887:
2881:
2879:
2877:
2875:
2873:
2871:
2860:
2858:
2856:
2854:
2852:
2850:
2845:
2832:
2829:
2824:
2822:
2818:
2803:
2799:
2796:
2793:
2789:
2786:
2783:
2779:
2776:
2774:
2770:
2767:
2765:
2761:
2758:
2755:
2751:
2748:
2745:
2741:
2738:
2735:
2731:
2728:
2727:
2724:
2714:
2712:
2709:in 2023; and
2708:
2704:
2700:
2696:
2682:
2678:
2675:
2672:
2669:
2667:
2663:
2659:
2656:
2654:, Los Angeles
2653:
2649:
2646:
2643:
2639:
2636:
2634:
2630:
2626:
2623:
2620:
2617:(1982–1983),
2616:
2613:
2611:
2607:
2603:
2600:
2598:
2594:
2590:
2587:
2586:
2579:
2577:
2573:
2568:
2566:
2562:
2558:
2554:
2550:
2546:
2542:
2538:
2534:
2530:
2526:
2522:
2518:
2514:
2510:
2506:
2505:
2494:
2492:
2488:
2484:
2480:
2476:
2472:
2467:
2459:
2457:
2453:
2449:
2444:
2442:
2438:
2434:
2431:
2426:
2422:
2418:
2413:
2409:
2405:
2404:
2398:
2396:
2392:
2388:
2384:
2380:
2376:
2371:
2369:
2365:
2361:
2357:
2349:
2344:
2335:
2333:
2332:renal failure
2328:
2326:
2322:
2318:
2317:
2312:
2308:
2301:Personal life
2298:
2296:
2295:ball bearings
2292:
2288:
2284:
2277:
2273:
2269:
2265:
2261:
2258:
2254:
2248:
2246:
2243:
2239:
2235:
2231:
2227:
2223:
2219:
2215:
2211:
2207:
2203:
2199:
2195:
2191:
2187:
2179:
2175:
2171:
2167:
2164:
2162:
2158:
2153:
2151:
2150:
2145:
2141:
2137:
2132:
2123:
2120:
2116:
2110:
2108:
2104:
2099:
2097:
2091:
2089:
2085:
2081:
2073:
2063:
2061:
2057:
2052:
2050:
2046:
2042:
2038:
2034:
2029:
2027:
2023:
2022:The Real Blue
2020:in 1996, and
2019:
2015:
2011:
2007:
2001:
1999:
1995:
1991:
1990:
1983:
1981:
1980:Thelma Golden
1976:
1965:
1963:
1962:
1957:
1952:
1949:
1945:
1944:Red and Black
1940:
1939:Red and Black
1935:
1933:
1929:
1925:
1921:
1917:
1913:
1909:
1905:
1898:
1894:
1890:
1883:
1873:
1865:
1861:
1859:
1855:
1851:
1847:
1843:
1836:
1832:
1828:
1824:
1820:
1818:
1814:
1810:
1809:screenprinter
1806:
1801:
1797:
1792:
1790:
1785:
1781:
1776:
1773:
1769:
1764:
1760:
1756:
1752:
1745:
1741:
1737:
1731:
1728:
1724:
1719:
1715:
1711:
1706:
1703:
1699:
1695:
1691:
1687:
1683:
1679:
1675:
1671:
1666:
1664:
1659:
1655:
1646:
1642:
1635:
1631:
1628:
1623:
1618:
1614:
1610:
1605:
1600:
1596:
1592:
1587:
1585:
1581:
1577:
1572:
1568:
1564:
1559:
1555:
1551:
1547:
1539:
1535:
1530:
1524:, and collage
1523:
1519:
1514:
1512:
1511:Keith Sonnier
1508:
1504:
1503:Richard Estes
1501:, Ron Davis,
1500:
1496:
1492:
1488:
1484:
1480:
1476:
1472:
1468:
1464:
1460:
1455:
1453:
1450:applied with
1449:
1445:
1441:
1437:
1431:
1429:
1425:
1421:
1417:
1413:
1409:
1405:
1400:
1396:
1393:
1389:
1388:polypropylene
1385:
1381:
1377:
1373:
1368:
1363:
1360:
1355:
1351:
1343:
1328:
1321:
1319:
1313:
1310:
1306:
1302:
1298:
1294:
1290:
1286:
1282:
1274:
1270:
1266:
1262:
1258:
1256:
1252:
1248:
1243:
1241:
1237:
1233:
1229:
1225:
1221:
1217:
1213:
1209:
1204:
1202:
1197:
1193:
1189:
1185:
1181:
1177:
1173:
1169:
1164:
1162:
1161:
1155:
1151:
1147:
1143:
1139:
1135:
1130:
1126:
1117:
1113:
1109:
1105:
1101:
1099:
1095:
1092:
1088:
1084:
1078:
1070:
1064:
1062:
1058:
1054:
1049:
1048:
1042:
1038:
1033:
1031:
1026:
1025:Sock-It-to-Me
1022:
1021:Sock-It-to-Me
1018:
1017:Byron Gallery
1014:
1009:
1005:
1001:
997:
993:
989:
982:
978:
974:
970:
962:
959:
952:
948:
946:
942:
938:
934:
931:
927:
922:
918:
915:
910:
905:
900:
898:
893:
889:
884:
883:
878:
871:
867:
863:
859:
857:
852:
848:
844:
840:
835:
828:
822:
820:
816:
812:
808:
804:
803:
797:
794:
793:
788:
787:
782:
778:
774:
773:
772:Washingtonian
766:
764:
759:
757:
753:
749:
741:
737:
733:
729:
727:
723:
719:
715:
711:
707:
703:
699:
695:
691:
681:
679:
675:
670:
668:
664:
659:
654:
653:Vivien Raynor
650:
646:
642:
637:
632:
630:
626:
622:
618:
614:
610:
606:
602:
595:
591:
587:
583:
581:
580:Dupont Circle
576:
571:
567:
563:
559:
555:
552:under artist
551:
547:
532:
530:
529:
524:
520:
516:
512:
507:
505:
501:
497:
493:
489:
485:
481:
477:
473:
469:
465:
461:
457:
453:
448:
446:
442:
438:
434:
430:
426:
422:
418:
413:
408:
406:
402:
398:
394:
390:
386:
382:
378:
373:
371:
366:
362:
358:
348:
346:
342:
337:
333:
328:
326:
322:
318:
314:
310:
305:
302:
298:
294:
290:
285:
281:
279:
273:
271:
267:
263:
259:
255:
251:
250:arts educator
247:
243:
239:
238:
229:
202:
194:
190:
187:3, including
186:
182:
160:
142:
137:
136:
134:
130:
127:
124:
120:
116:
111:
106:
103:
97:
93:
89:
86:
83:
79:
74:
65:June 25, 2022
64:
60:
55:
42:
38:
34:
29:
22:
19:
11485:
11449:
11446:Stovall, Lou
11416:Pace Gallery
11411:
11377:
11353:
11340:February 24,
11338:. Retrieved
11307:
11269:
11265:
11231:
11205:Pace Gallery
11200:
11176:
11151:Pace Gallery
11146:
11117:Pace Gallery
11112:
11091:
11060:
11029:
11002:
10972:
10962:– via
10958:February 21,
10956:. Retrieved
10928:
10922:
10885:
10855:
10831:
10804:
10756:
10750:
10709:
10678:
10647:
10612:
10588:
10569:
10542:
10530:. Retrieved
10517:
10508:
10496:. Retrieved
10483:
10474:
10462:. Retrieved
10447:
10438:
10426:. Retrieved
10413:
10404:
10392:. Retrieved
10381:
10372:
10360:. Retrieved
10347:
10338:
10326:. Retrieved
10318:
10315:"Red Petals"
10309:
10297:. Retrieved
10284:
10275:
10265:February 14,
10263:. Retrieved
10254:Pace Gallery
10252:
10243:
10233:February 14,
10231:. Retrieved
10220:
10211:
10199:. Retrieved
10190:Pace Gallery
10188:
10179:
10167:. Retrieved
10158:Pace Gallery
10156:
10147:
10135:. Retrieved
10124:
10115:
10103:. Retrieved
10092:
10083:
10071:. Retrieved
10057:
10045:
10033:. Retrieved
10022:
10013:
10001:. Retrieved
9988:
9979:
9967:. Retrieved
9956:
9947:
9937:February 13,
9935:. Retrieved
9916:
9904:
9877:. Retrieved
9858:
9848:
9836:. Retrieved
9801:
9791:
9781:February 20,
9779:. Retrieved
9768:
9759:
9749:February 20,
9747:. Retrieved
9734:
9725:
9713:. Retrieved
9709:
9687:February 13,
9685:. Retrieved
9667:
9655:
9643:. Retrieved
9634:
9625:
9613:
9603:December 26,
9601:. Retrieved
9597:
9588:
9576:. Retrieved
9571:
9562:
9550:. Retrieved
9546:www.arts.gov
9545:
9536:
9526:November 15,
9524:. Retrieved
9511:
9502:
9490:
9478:. Retrieved
9474:
9465:
9455:November 10,
9453:. Retrieved
9440:
9431:
9419:. Retrieved
9415:
9402:
9377:February 19,
9375:. Retrieved
9357:
9347:February 24,
9345:. Retrieved
9339:
9327:
9317:February 19,
9315:. Retrieved
9298:
9288:
9276:. Retrieved
9268:
9259:
9247:. Retrieved
9234:
9211:February 19,
9209:. Retrieved
9198:
9188:
9176:. Retrieved
9141:
9131:
9121:February 19,
9119:. Retrieved
9084:
9055:. Retrieved
9046:
9037:
9027:February 22,
9025:. Retrieved
9021:the original
9016:
9007:
8997:February 19,
8995:. Retrieved
8960:
8950:
8940:February 19,
8938:. Retrieved
8927:
8917:
8907:February 12,
8905:. Retrieved
8900:the original
8868:
8855:
8845:February 19,
8843:. Retrieved
8834:The Guardian
8832:
8807:. Retrieved
8788:
8778:
8768:February 19,
8766:. Retrieved
8751:
8738:
8728:February 24,
8726:. Retrieved
8720:
8695:February 12,
8693:. Retrieved
8686:the original
8677:
8664:
8654:February 11,
8652:. Retrieved
8633:
8623:– via
8619:February 11,
8617:. Retrieved
8579:
8567:
8557:February 24,
8555:. Retrieved
8549:
8537:
8527:February 21,
8525:. Retrieved
8514:
8487:
8475:
8463:
8451:
8446:, p. 67
8444:Brown (2017)
8439:
8427:
8422:, p. 18
8415:
8388:
8378:February 18,
8376:. Retrieved
8365:
8354:
8344:
8342:
8337:February 18,
8335:. Retrieved
8318:
8299:
8291:Google Books
8289:– via
8285:February 19,
8283:. Retrieved
8281:. p. G1
8272:
8262:
8227:
8221:
8209:
8197:. Retrieved
8166:
8141:February 19,
8139:. Retrieved
8133:
8121:
8111:February 19,
8109:. Retrieved
8098:
8086:
8074:
8064:February 21,
8062:. Retrieved
8053:
8047:
8018:
8013:, p. 10
8006:
7979:
7969:February 11,
7967:. Retrieved
7962:
7953:
7948:, p. 42
7941:
7931:– via
7925:. Retrieved
7917:Smarthistory
7890:December 17,
7888:. Retrieved
7879:
7873:
7861:
7815:February 18,
7813:. Retrieved
7778:
7742:, p. 50
7735:
7725:February 12,
7723:. Retrieved
7693:
7678:
7668:February 12,
7666:. Retrieved
7655:
7646:
7641:, p. 19
7634:
7629:, p. 12
7571:
7559:
7547:
7537:– via
7531:. Retrieved
7501:
7489:
7477:
7465:. Retrieved
7454:
7445:
7435:– via
7429:. Retrieved
7391:
7366:– via
7360:. Retrieved
7346:
7322:– via
7316:. Retrieved
7278:
7249:
7220:– via
7207:
7185:, p. 15
7170:, p. 18
7144:
7132:
7127:, p. 22
7120:
7115:, p. 66
7113:Brown (2017)
7108:
7096:
7084:
7074:– via
7070:February 10,
7068:. Retrieved
7038:
7011:
7001:February 13,
6999:. Retrieved
6980:Gilliam, Sam
6979:
6974:
6969:, p. 23
6949:February 12,
6947:. Retrieved
6934:
6924:
6919:, p. 92
6912:
6900:
6873:. Retrieved
6869:the original
6854:
6844:
6832:. Retrieved
6797:
6784:
6774:February 11,
6772:. Retrieved
6745:
6733:
6721:
6711:– via
6707:February 10,
6705:. Retrieved
6675:
6663:
6658:, p. 87
6651:
6646:, p. 83
6639:
6634:, p. 17
6627:
6622:, p. 93
6615:
6610:, p. 30
6603:
6591:. Retrieved
6563:
6553:– via
6547:. Retrieved
6517:
6506:
6501:, p. 46
6494:
6484:February 23,
6482:. Retrieved
6473:
6467:
6457:
6452:, p. 89
6437:, p. 94
6377:. Retrieved
6373:
6364:
6352:. Retrieved
6317:
6279:, p. 22
6272:
6267:, p. 81
6260:
6255:, p. 70
6248:
6236:. Retrieved
6206:
6191:
6164:
6159:, p. 79
6144:, p. 10
6118:
6091:
6079:
6074:, p. 44
6072:Moten (2020)
6067:
6062:, p. 81
6055:
6043:. Retrieved
6032:
6019:
6007:. Retrieved
6001:
5973:
5967:
5947:, p. 53
5940:
5935:, p. 52
5928:
5916:
5911:, p. 47
5904:
5896:
5889:. Retrieved
5878:
5868:
5863:, p. 84
5856:
5844:. Retrieved
5809:
5799:
5787:
5782:, p. 44
5767:, p. 11
5760:
5748:
5743:, p. 45
5723:February 12,
5721:. Retrieved
5686:
5674:
5669:, p. 25
5639:February 19,
5637:. Retrieved
5620:
5614:
5610:"Washington"
5602:
5597:, p. 24
5590:
5578:. Retrieved
5569:
5563:
5551:
5541:February 18,
5539:. Retrieved
5522:
5516:
5512:"Washington"
5504:
5494:– via
5481:
5461:, p. 56
5454:
5449:, p. 56
5442:
5437:, p. 36
5415:February 11,
5413:. Retrieved
5386:
5362:, p. 35
5355:
5345:February 21,
5343:. Retrieved
5330:
5320:
5315:, p. 34
5300:, p. 25
5285:, p. 33
5266:, p. 31
5242:
5237:, p. 21
5230:
5220:– via
5216:February 13,
5214:. Retrieved
5184:
5164:, p. 22
5149:, p. 27
5142:
5130:
5125:, p. 24
5079:, p. 16
5062:, p. 26
5038:
5033:, p. 20
5026:
5014:
5009:, p. 58
5002:
4990:
4980:– via
4967:
4955:
4945:– via
4916:
4904:
4899:, p. 18
4892:
4873:
4867:
4855:
4850:, p. 17
4823:, p. 64
4821:Brown (2017)
4808:, p. 40
4801:
4791:February 13,
4789:. Retrieved
4754:
4742:
4732:February 11,
4730:. Retrieved
4695:
4644:February 13,
4642:. Retrieved
4607:
4597:
4592:, p. 14
4585:
4575:February 13,
4573:. Retrieved
4538:
4526:
4516:February 18,
4514:. Retrieved
4479:
4435:
4405:
4381:. Retrieved
4346:
4333:
4323:– via
4286:
4274:
4254:, p. 11
4237:, p. 63
4235:Brown (2017)
4215:
4210:, p. 15
4188:
4176:
4145:. Retrieved
4129:
4122:Gilliam, Sam
4121:
4106:, p. 10
4087:, p. 15
4044:September 2,
4042:. Retrieved
4033:
4024:
3995:
3970:February 12,
3968:. Retrieved
3933:
3918:
3906:. Retrieved
3893:
3883:
3871:. Retrieved
3860:
3809:, p. 12
3785:
3758:
3724:
3712:
3707:, p. 62
3705:Brown (2017)
3683:. Retrieved
3673:
3647:
3635:. Retrieved
3616:
3594:, p. 37
3587:
3560:December 17,
3558:. Retrieved
3547:
3538:
3528:December 17,
3526:. Retrieved
3515:
3484:December 17,
3482:. Retrieved
3473:The Guardian
3471:
3446:. Retrieved
3431:
3403:. Retrieved
3392:
3361:. Retrieved
3328:
3279:December 17,
3277:. Retrieved
3266:
3243:December 17,
3241:. Retrieved
3222:
3212:
3202:December 17,
3200:. Retrieved
3165:
3150:
3140:February 10,
3138:. Retrieved
3103:
3078:December 17,
3076:. Retrieved
3065:
3053:
3043:December 17,
3041:. Retrieved
3006:
2963:
2959:
2955:
2945:
2940:(1975-1981).
2937:
2936:(1975); and
2933:
2929:
2925:
2921:
2917:
2913:
2893:
2889:
2885:
2825:
2816:
2813:
2797:
2787:
2777:
2768:
2759:
2749:
2739:
2729:
2710:
2702:
2694:
2692:
2676:
2670:
2657:
2647:
2637:
2624:
2614:
2601:
2588:
2571:
2569:
2565:Pace Gallery
2560:
2552:
2544:
2536:
2502:
2500:
2468:
2465:
2447:
2445:
2432:
2430:glass mosaic
2424:
2416:
2401:
2399:
2394:
2379:York College
2375:Solar Canopy
2374:
2372:
2355:
2353:
2348:Solar Canopy
2347:
2346:Close-up of
2329:
2314:
2304:
2280:
2267:
2253:Pace Gallery
2249:
2237:
2233:
2229:
2221:
2217:
2213:
2209:
2205:
2189:
2182:
2173:
2165:
2161:The Guardian
2160:
2156:
2154:
2147:
2133:
2129:
2118:
2111:
2100:
2095:
2092:
2087:
2083:
2077:
2071:
2059:
2053:
2032:
2030:
2021:
2009:
2002:
1993:
1987:
1984:
1971:
1959:
1955:
1953:
1947:
1943:
1938:
1936:
1931:
1927:
1923:
1919:
1915:
1911:
1907:
1903:
1901:
1892:
1881:
1870:
1857:
1853:
1849:
1845:
1841:
1839:
1830:
1826:
1817:Grace Glueck
1812:
1799:
1793:
1788:
1779:
1777:
1771:
1750:
1748:
1743:
1739:
1735:
1726:
1722:
1714:Three Panels
1713:
1707:
1701:
1697:
1694:Three Panels
1693:
1689:
1686:Three Panels
1685:
1681:
1678:Paul Robeson
1673:
1669:
1667:
1662:
1653:
1651:
1644:
1633:
1626:
1621:
1616:
1612:
1608:
1603:
1595:Dark as I Am
1594:
1588:
1579:
1575:
1570:
1566:
1562:
1557:
1553:
1545:
1543:
1533:
1522:Dark as I Am
1521:
1517:
1494:
1490:
1486:
1482:
1462:
1458:
1456:
1443:
1439:
1435:
1432:
1423:
1419:
1415:
1411:
1407:
1401:
1397:
1391:
1376:Softly Still
1375:
1371:
1366:
1364:
1353:
1349:
1347:
1341:
1326:
1317:
1315:
1309:civil unrest
1296:
1292:
1288:
1284:
1280:
1277:
1268:
1264:
1250:
1246:
1244:
1240:Allan Kaprow
1232:land artists
1215:
1205:
1200:
1195:
1191:
1187:
1183:
1179:
1171:
1167:
1165:
1158:
1153:
1149:
1145:
1141:
1137:
1128:
1124:
1121:
1111:
1107:
1083:Walter Hopps
1080:
1068:
1060:
1056:
1052:
1045:
1040:
1036:
1034:
1024:
1020:
1012:
1007:
1003:
999:
995:
991:
987:
985:
976:
972:
950:
945:Rockne Krebs
920:
908:
903:
901:
896:
891:
880:
876:
874:
865:
836:
832:
826:
810:
800:
798:
790:
784:
776:
770:
767:
760:
755:
744:
735:
698:Morris Louis
687:
671:
667:John Russell
633:
629:Hans Hofmann
604:
598:
593:
562:James Porter
554:Robert Gates
546:Adams Morgan
543:
526:
515:Hans Hofmann
508:
483:
470:, including
449:
409:
393:Ulfert Wilke
385:Eugene Leake
374:
354:
329:
316:
312:
306:
300:
289:architecture
277:
274:
200:
199:
163:Annie Gawlak
114:
109:
104:
100:Notable work
67:(2022-06-25)
18:
11541:2022 deaths
11536:1933 births
11494:(2005–2006)
11378:Sam Gilliam
11143:Moten, Fred
10924:Art Journal
10394:November 6,
10362:November 6,
10281:"Shoot Six"
10201:November 6,
10169:November 6,
10137:November 6,
10105:November 6,
10073:November 6,
10035:November 6,
10003:November 6,
9969:November 6,
9879:November 6,
9838:November 6,
9662:, p. 9
9660:Sims (2023)
9578:January 22,
9552:January 22,
9508:"Chair Key"
9480:January 22,
9421:January 22,
8214:Rose (1996)
7614:, p. 1
7533:February 9,
7467:February 7,
7431:February 9,
7362:February 9,
7318:February 8,
7183:Sims (2023)
6834:February 8,
6726:NCFA (1972)
6593:February 8,
6354:February 7,
6238:February 7,
6113:, p. 9
6084:Rose (1996)
6045:February 6,
6034:Artnet News
6009:February 6,
5891:February 5,
5846:February 5,
5765:Sims (2023)
5580:February 6,
4383:February 4,
4147:February 5,
4019:, p. 9
4002:, p. 7
3990:, p. 8
3908:February 4,
3873:February 4,
3637:February 3,
3582:, p. 7
3517:Artnet News
3448:February 4,
3405:February 3,
3394:Artnet News
2817:Lady Day II
2666:Switzerland
2529:Mel Edwards
2497:Exhibitions
2325:L. Franklin
2208:. His work
2066:2000s–2020s
1876:1980s-1990s
1782:paintings,
1617:Jail Jungle
1613:Jail Jungle
1571:Autumn Surf
1554:Autumn Surf
1534:Autumn Surf
1518:Autumn Surf
1499:Diane Arbus
1491:Light Depth
1475:Smithsonian
1271:series, at
1098:Lou Stovall
1091:progressive
996:Green Slice
958:Smithsonian
909:Green Slice
892:Green Slice
877:Green Slice
819:Mel Edwards
617:color field
523:Mark Rothko
500:segregation
447:3rd class.
309:printmaking
266:color field
201:Sam Gilliam
189:L. Franklin
25:Sam Gilliam
11530:Categories
11472:1248597976
11438:1230158624
11314:Condé Nast
11254:1059129151
11223:1230158624
11169:1230158624
11135:1230158624
11052:1059129151
11021:1104920240
10874:1020307668
10823:1104920240
10701:1059129151
10670:1059129151
9820:sf88092387
9160:sf88092387
9103:sn78004456
8979:sf88092387
8887:sn78004456
8758:Condé Nast
8614:1938725431
8598:sn79002172
8246:sn98062552
8189:1121298647
8056:(5): 226.
7797:sn78004456
7712:sn78004456
7520:sn79002331
7410:sn79002172
7357:sn84020102
7297:sn79002172
7218:sn84020102
7049:sn84031523
6816:sn78004456
6686:sn84031523
6536:sn86058069
6464:"New York"
6336:sn78004456
6225:sn78004456
6025:Davis, Ben
5828:sf88092387
5705:sn78004456
5559:"New York"
5492:sn83045462
5405:2002248215
5195:sn84031523
4978:sn83045462
4927:sn84031523
4773:sn78004456
4714:sn98062552
4626:sn98062552
4557:sn79002172
4498:sn79002172
4365:sn78004456
4305:sn79002172
3952:sn79002172
3894:LEO Weekly
3345:sn78004456
3184:sn79002172
3122:sn79002172
3025:sn79002172
2821:Christie's
2810:Art market
2794:, New York
2740:Red Petals
2621:, New York
2563:(2021) at
2561:Epistrophy
2555:(1976) at
2545:Extensions
2523:; and the
2507:(1971) in
2014:Terminal B
1954:Gilliam's
1755:public art
1599:draft card
1591:assemblage
1584:UW–Madison
1485:paintings
1236:happenings
1176:Ed McGowin
1094:think tank
1000:Red Petals
992:Red Petals
933:fiberglass
897:Red Petals
866:Red Petals
813:(1966) at
694:Gene Davis
636:Manor Park
476:David Park
445:specialist
437:Yves Klein
405:Emil Nolde
365:cartoonist
46:1933-11-30
11400:986538185
11322:0028-792X
11290:571762615
11282:1045-0920
11276:: 18–23.
10991:845459239
10937:0004-3249
10908:838415403
10793:201765406
10777:1080-6512
10763:: 59–68.
10532:August 7,
9869:881810209
9812:0004-3273
9307:933617977
9269:Hirshhorn
9152:0004-3273
9095:0362-4331
8971:0004-3273
8879:0362-4331
8590:0190-8286
8238:2574-3937
8181:0004-3214
7789:0362-4331
7704:0362-4331
7512:0191-1406
7426:146250193
7402:0190-8286
7313:146399016
7289:0190-8286
7065:148334675
6865:881810209
6808:0362-4331
6764:301312316
6756:0960-6556
6702:148373848
6528:1059-1818
6476:(6): 82.
6328:0362-4331
6217:0362-4331
5976:(1): 57.
5820:0004-3273
5697:0362-4331
5629:0004-3532
5623:(4): 65.
5572:(1): 62.
5531:0004-3532
5525:(7): 63.
5397:2157-2151
5211:143081330
4943:142721415
4884:0043-0897
4765:0362-4331
4706:2574-3937
4618:2574-3937
4549:0190-8286
4490:0190-8286
4357:0362-4331
4321:307594651
4297:0190-8286
3944:0190-8286
3769:0028-7822
3627:881810209
3337:0362-4331
3268:ArtReview
3233:881810209
3176:0190-8286
3114:0190-8286
3017:0190-8286
2974:Citations
2950:purchase.
2730:Shoot Six
2553:Resonance
2493:in 1971.
2406:under an
2395:Chair Key
2370:in 1979.
2311:columnist
2245:Art Basel
2218:Seahorses
1833:, at the
1772:Seahorses
1751:Seahorses
1487:Genghis I
1414:from his
1380:sawhorses
1293:Red April
1071:paintings
941:Ron Davis
937:Plexiglas
930:chamfered
858:in 1967.
756:Shoot Six
736:Shoot Six
690:hard-edge
663:formalist
397:Paul Klee
336:art world
280:paintings
110:Seahorses
11366:10145768
11334:Archived
11189:85016033
11083:12727416
10953:38436076
10785:26776416
10736:58594996
10639:58594996
10601:52922826
10526:Archived
10492:Archived
10458:Archived
10422:Archived
10420:. 1973.
10388:Archived
10356:Archived
10328:July 19,
10319:Phillips
10293:Archived
10291:. 1965.
10259:Archived
10227:Archived
10195:Archived
10163:Archived
10131:Archived
10099:Archived
10064:Archived
10029:Archived
9997:Archived
9963:Archived
9931:Archived
9927:56425907
9873:Archived
9832:Archived
9775:Archived
9743:Archived
9715:July 22,
9681:Archived
9645:July 11,
9639:Archived
9520:Archived
9449:Archived
9371:Archived
9311:Archived
9278:June 27,
9243:Archived
9205:Archived
9200:Observer
9178:June 29,
9172:Archived
9115:Archived
9057:July 17,
9051:Archived
8991:Archived
8934:Archived
8839:Archived
8809:July 17,
8803:Archived
8799:56425907
8762:Archived
8648:Archived
8625:ProQuest
8610:ProQuest
8521:Archived
8372:Archived
8254:39653406
8199:June 29,
8193:Archived
8105:Archived
8058:Archived
8049:Artforum
7927:June 11,
7921:Archived
7884:Archived
7875:Artforum
7809:Archived
7662:Archived
7539:NewsBank
7461:Archived
7437:ProQuest
7422:ProQuest
7368:NewsBank
7324:ProQuest
7309:ProQuest
7222:NewsBank
7076:ProQuest
7061:ProQuest
6943:Archived
6828:Archived
6768:Archived
6713:ProQuest
6698:ProQuest
6584:Archived
6582:. 1971.
6576:New York
6555:ProQuest
6549:July 13,
6544:13416782
6478:Archived
6469:Artforum
6379:March 9,
6348:Archived
6039:Archived
5978:Archived
5969:Artforum
5885:Archived
5840:Archived
5717:Archived
5633:Archived
5616:Artforum
5574:Archived
5565:Artforum
5535:Archived
5518:Artforum
5496:NewsBank
5409:Archived
5339:Archived
5222:ProQuest
5207:ProQuest
4982:NewsBank
4947:ProQuest
4939:ProQuest
4785:Archived
4726:Archived
4722:39653406
4638:Archived
4634:39653406
4569:Archived
4510:Archived
4442:Archived
4377:Archived
4325:Proquest
4317:ProQuest
4141:Archived
4038:Archived
3964:Archived
3902:Archived
3867:Archived
3862:Artforum
3777:45309770
3685:June 29,
3631:Archived
3554:Archived
3522:Archived
3478:Archived
3442:Archived
3399:Archived
3363:June 29,
3357:Archived
3273:Archived
3237:Archived
3196:Archived
3134:Archived
3072:Archived
3037:Archived
2964:Chevrons
2896:(1973-).
2800:(2016),
2790:(1981),
2780:(1977),
2771:(1973),
2762:(1971),
2742:(1967),
2732:(1965),
2679:(2022),
2660:(2018),
2650:(2013),
2627:(1996),
2610:New York
2604:(1971),
2591:(1967),
2391:Arkansas
2287:pandemic
2242:art fair
2202:Giardini
2010:Dihedral
1934:series.
1893:Chevrons
1734:Outdoor
1725:and the
1654:Composed
1637:—
1627:Composed
1622:Composed
1507:Jim Nutt
1448:flocking
1323:—
1196:Artforum
1053:Artforum
1047:Artforum
954:—
919:for the
643:, where
511:Columbia
421:Yokohama
325:collaged
246:sculptor
184:Children
122:Movement
94:Painting
11515:, from
11330:1760231
11104:5106592
10844:5106592
10498:May 28,
10464:May 28,
10428:May 28,
10378:"Rondo"
10299:May 28,
9828:2392716
9803:ARTnews
9416:gsa.gov
9249:May 28,
9168:2392716
9143:ARTnews
9111:1645522
8987:2392716
8962:ARTnews
8895:1645522
8606:2269358
8325:YouTube
8173:ARTnews
7933:YouTube
7805:1645522
7720:1645522
7528:4798911
7418:2269358
7305:2269358
7057:2269359
6989:YouTube
6824:1645522
6694:2269359
6344:1645522
6233:1645522
5836:2392716
5811:ARTnews
5713:1645522
5203:2269359
4935:2269359
4781:1645522
4565:2269358
4506:2269358
4373:1645522
4313:2269358
3960:2269358
3353:1645522
3192:2269358
3130:2269358
3033:2269358
2752:(1969)
2750:April 4
2535:titled
2511:; the
2509:Houston
2456:Newseum
2439:on the
2423:station
2383:annulus
2368:Atlanta
2321:Melissa
2268:X for X
2257:casters
2196:writer
2176:at the
2037:woodcut
1928:Chasers
1912:Chasers
1908:Chasers
1882:Chasers
1763:Neptune
1718:Dalmane
1658:collage
1576:Niagara
1548:at the
1540:in 1973
1536:at the
1477:at the
1289:April 4
1234:to the
1160:ARTnews
926:reliefs
914:beveled
912:custom
752:chevron
748:pennant
722:palette
678:lithium
627:artist
321:impasto
270:process
242:painter
193:Melissa
175:
167:
157:
149:
145:
132:Spouses
11470:
11460:
11436:
11426:
11398:
11388:
11364:
11328:
11320:
11288:
11280:
11252:
11242:
11221:
11211:
11187:
11167:
11157:
11133:
11123:
11102:
11081:
11071:
11050:
11040:
11019:
11009:
10989:
10979:
10951:
10945:777075
10943:
10935:
10906:
10896:
10872:
10862:
10842:
10821:
10811:
10791:
10783:
10775:
10734:
10724:
10699:
10689:
10668:
10658:
10637:
10627:
10599:
10576:
10518:NMAAHC
10444:"Rail"
9925:
9867:
9826:
9818:
9810:
9305:
9166:
9158:
9150:
9109:
9101:
9093:
8985:
8977:
8969:
8893:
8885:
8877:
8797:
8612:
8604:
8596:
8588:
8327:video)
8252:
8244:
8236:
8187:
8179:
7803:
7795:
7787:
7718:
7710:
7702:
7526:
7518:
7510:
7424:
7416:
7408:
7400:
7355:
7311:
7303:
7295:
7287:
7216:
7063:
7055:
7047:
6991:video)
6875:May 9,
6863:
6822:
6814:
6806:
6762:
6754:
6700:
6692:
6684:
6542:
6534:
6526:
6342:
6334:
6326:
6231:
6223:
6215:
5834:
5826:
5818:
5711:
5703:
5695:
5627:
5529:
5490:
5403:
5395:
5209:
5201:
5193:
4976:
4941:
4933:
4925:
4882:
4779:
4771:
4763:
4720:
4712:
4704:
4632:
4624:
4616:
4563:
4555:
4547:
4504:
4496:
4488:
4409:,
4371:
4363:
4355:
4319:
4311:
4303:
4295:
3958:
3950:
3942:
3775:
3767:
3625:
3351:
3343:
3335:
3231:
3190:
3182:
3174:
3128:
3120:
3112:
3031:
3023:
3015:
2699:London
2559:; and
2350:(1986)
2088:Slatts
2072:Slatts
1920:Chaser
1784:raking
1742:&
1736:Drapes
1690:Drapes
1647:(2013)
1567:Drapes
1509:, and
1493:, and
1463:Drapes
1412:Drapes
1392:Drapes
1367:Drapes
1350:Drapes
1329:(1985)
1291:, and
1142:Drapes
1061:matter
700:, and
570:in art
521:, and
391:, and
248:, and
237:-ee-əm
117:(2017)
112:(1975)
107:(1968)
75:, U.S.
56:, U.S.
10964:JSTOR
10941:JSTOR
10789:S2CID
10781:JSTOR
10067:(PDF)
10054:(PDF)
9635:WMATA
9412:(PDF)
9235:DCist
8689:(PDF)
8674:(PDF)
7882:(3).
6587:(PDF)
6572:(PDF)
5880:Artsy
5331:DCist
4437:W Art
2840:Notes
2828:Paris
2760:Rondo
2291:tondo
2272:tondo
2238:Drape
2234:Slice
2230:Drape
2214:Drape
2119:Drape
2084:Slats
2060:Drape
2041:Seoul
2033:Drape
2006:HBCUs
1850:Azure
1813:Drape
1740:White
1698:Drape
1663:Slice
1563:space
1558:Drape
1495:Dakar
1483:Drape
1444:Slice
1436:Drape
1424:Drape
1420:Cowls
1416:Cowls
1384:tarps
1354:Drape
1342:Drape
1335:1970s
1285:April
1281:Slice
1265:April
1247:Slice
1216:Drape
1201:Drape
1184:Drape
1172:Swing
1168:Drape
1157:told
1154:Drape
1150:Drape
1146:Slice
1138:Slice
1134:drape
1129:Slice
1125:Drape
1112:Drape
1108:Swing
1069:Drape
1057:Slice
1037:Slice
1013:Slice
1008:Slice
1004:Slice
988:Slice
977:Slice
921:Slice
904:Slice
882:washi
827:Slice
714:Magna
540:1960s
496:NAACP
441:Tokyo
323:over
313:Slice
301:Drape
278:Drape
169:(
165:
151:(
147:
11468:OCLC
11458:ISBN
11434:OCLC
11424:ISBN
11396:OCLC
11386:ISBN
11362:OCLC
11342:2024
11326:OCLC
11318:ISSN
11286:OCLC
11278:ISSN
11250:OCLC
11240:ISBN
11219:OCLC
11209:ISBN
11185:OCLC
11165:OCLC
11155:ISBN
11131:OCLC
11121:ISBN
11100:OCLC
11079:OCLC
11069:ISBN
11048:OCLC
11038:ISBN
11017:OCLC
11007:ISBN
10987:OCLC
10977:ISBN
10960:2024
10949:OCLC
10933:ISSN
10904:OCLC
10894:ISBN
10870:OCLC
10860:ISBN
10840:OCLC
10819:OCLC
10809:ISBN
10773:ISSN
10732:OCLC
10722:ISBN
10697:OCLC
10687:ISBN
10666:OCLC
10656:ISBN
10635:OCLC
10625:ISBN
10597:OCLC
10574:ISBN
10534:2023
10500:2022
10466:2022
10430:2022
10396:2022
10364:2022
10348:SAAM
10330:2022
10301:2022
10267:2024
10235:2024
10203:2022
10171:2022
10139:2022
10107:2022
10075:2022
10037:2022
10005:2022
9989:MoMA
9971:2022
9939:2024
9923:OCLC
9881:2022
9865:OCLC
9840:2022
9824:OCLC
9816:LCCN
9808:ISSN
9783:2024
9751:2024
9717:2018
9689:2024
9647:2022
9605:2017
9580:2024
9554:2024
9528:2022
9482:2024
9457:2022
9423:2024
9379:2024
9349:2024
9319:2024
9303:OCLC
9280:2022
9251:2022
9239:WAMU
9213:2024
9180:2022
9164:OCLC
9156:LCCN
9148:ISSN
9123:2024
9107:OCLC
9099:LCCN
9091:ISSN
9059:2022
9029:2017
8999:2024
8983:OCLC
8975:LCCN
8967:ISSN
8942:2024
8929:WAMU
8909:2024
8891:OCLC
8883:LCCN
8875:ISSN
8847:2024
8811:2022
8795:OCLC
8770:2024
8730:2024
8697:2024
8656:2024
8621:2024
8602:OCLC
8594:LCCN
8586:ISSN
8559:2024
8529:2024
8380:2024
8339:2024
8287:2024
8250:OCLC
8242:LCCN
8234:ISSN
8201:2022
8185:OCLC
8177:ISSN
8143:2024
8113:2024
8066:2024
7971:2024
7929:2022
7892:2023
7817:2024
7801:OCLC
7793:LCCN
7785:ISSN
7727:2024
7716:OCLC
7708:LCCN
7700:ISSN
7670:2024
7535:2024
7524:OCLC
7516:LCCN
7508:ISSN
7469:2024
7433:2024
7414:OCLC
7406:LCCN
7398:ISSN
7364:2024
7353:LCCN
7320:2024
7301:OCLC
7293:LCCN
7285:ISSN
7214:LCCN
7072:2024
7053:OCLC
7045:LCCN
7003:2024
6951:2024
6877:2020
6861:OCLC
6836:2024
6820:OCLC
6812:LCCN
6804:ISSN
6776:2024
6760:OCLC
6752:ISSN
6709:2024
6690:OCLC
6682:LCCN
6595:2024
6551:2024
6540:OCLC
6532:LCCN
6524:ISSN
6486:2024
6381:2021
6356:2024
6340:OCLC
6332:LCCN
6324:ISSN
6240:2024
6229:OCLC
6221:LCCN
6213:ISSN
6047:2024
6011:2024
5893:2024
5848:2024
5832:OCLC
5824:LCCN
5816:ISSN
5725:2024
5709:OCLC
5701:LCCN
5693:ISSN
5641:2024
5625:ISSN
5582:2024
5543:2024
5527:ISSN
5488:LCCN
5417:2024
5401:LCCN
5393:ISSN
5347:2024
5335:WAMU
5218:2024
5199:OCLC
5191:LCCN
4974:LCCN
4931:OCLC
4923:LCCN
4880:ISSN
4793:2024
4777:OCLC
4769:LCCN
4761:ISSN
4734:2024
4718:OCLC
4710:LCCN
4702:ISSN
4646:2024
4630:OCLC
4622:LCCN
4614:ISSN
4577:2024
4561:OCLC
4553:LCCN
4545:ISSN
4518:2024
4502:OCLC
4494:LCCN
4486:ISSN
4385:2024
4369:OCLC
4361:LCCN
4353:ISSN
4309:OCLC
4301:LCCN
4293:ISSN
4149:2024
4046:2021
3972:2024
3956:OCLC
3948:LCCN
3940:ISSN
3910:2024
3875:2024
3773:OCLC
3765:ISSN
3687:2022
3639:2024
3623:OCLC
3562:2023
3530:2023
3486:2023
3450:2024
3407:2024
3365:2022
3349:OCLC
3341:LCCN
3333:ISSN
3281:2023
3245:2023
3229:OCLC
3204:2023
3188:OCLC
3180:LCCN
3172:ISSN
3142:2024
3126:OCLC
3118:LCCN
3110:ISSN
3080:2023
3045:2023
3029:OCLC
3021:LCCN
3013:ISSN
2962:and
2778:Rail
2531:and
2521:2017
2519:and
2517:1972
2232:and
1926:and
1916:into
1854:Rail
1852:and
1827:Rail
1780:Ahab
1727:Post
1723:Star
1578:and
1440:Ahab
1428:cowl
1374:and
1340:New
1226:and
1089:, a
973:Cape
935:and
815:UCLA
452:M.A.
381:B.A.
258:dean
235:GHIL
191:and
62:Died
40:Born
10765:doi
10414:AIC
10285:NGA
9735:NGA
9441:GSA
8345:did
2515:in
2483:NEA
2389:in
2366:in
2313:at
2016:at
1956:"D"
1948:"D"
1238:of
1063:."
427:'s
11532::
11490:,
11466:.
11432:.
11418:/
11394:.
11332:.
11324:.
11316:.
11312:.
11306:.
11284:.
11270:13
11268:.
11248:.
11217:.
11163:.
11129:.
11077:.
11046:.
11015:.
10985:.
10947:.
10939:.
10929:50
10927:.
10921:.
10902:.
10868:.
10817:.
10787:.
10779:.
10771:.
10757:40
10755:.
10749:.
10730:.
10716:/
10695:.
10664:.
10633:.
10623:.
10619:/
10568:.
10524:.
10520:.
10516:.
10486:.
10482:.
10456:.
10452:.
10446:.
10416:.
10412:.
10380:.
10354:.
10350:.
10346:.
10321:.
10317:.
10287:.
10283:.
10257:.
10251:.
10225:.
10219:.
10193:.
10187:.
10161:.
10155:.
10129:.
10123:.
10097:.
10091:.
10062:.
10056:.
10021:.
9995:.
9991:.
9987:.
9961:.
9955:.
9929:.
9921:.
9915:.
9889:^
9871:.
9863:.
9857:.
9830:.
9822:.
9814:.
9806:.
9800:.
9773:.
9767:.
9733:.
9708:.
9697:^
9637:.
9633:.
9596:.
9570:.
9544:.
9514:.
9510:.
9473:.
9447:.
9443:.
9439:.
9414:.
9387:^
9338:.
9309:.
9301:.
9297:.
9271:.
9267:.
9241:.
9237:.
9233:.
9221:^
9203:.
9197:.
9170:.
9162:.
9154:.
9146:.
9140:.
9113:.
9105:.
9097:.
9089:.
9083:.
9067:^
9049:.
9045:.
9015:.
8989:.
8981:.
8973:.
8965:.
8959:.
8932:.
8926:.
8889:.
8881:.
8873:.
8867:.
8837:.
8831:.
8819:^
8801:.
8793:.
8787:.
8760:.
8756:.
8753:GQ
8750:.
8719:.
8705:^
8676:.
8646:.
8608:.
8600:.
8592:.
8578:.
8548:.
8519:.
8513:.
8499:^
8400:^
8364:.
8341:.
8312:;
8308:;
8277:.
8271:.
8248:.
8240:.
8232:.
8191:.
8183:.
8175:.
8171:.
8165:.
8151:^
8132:.
8103:.
8097:.
8054:44
8052:.
8046:.
8030:^
7991:^
7961:.
7919:.
7915:.
7900:^
7880:62
7878:.
7872:.
7844:^
7825:^
7807:.
7799:.
7791:.
7783:.
7777:.
7762:^
7747:^
7714:.
7706:.
7692:.
7660:.
7654:.
7619:^
7604:^
7583:^
7522:.
7514:.
7500:.
7459:.
7453:.
7420:.
7412:.
7404:.
7390:.
7376:^
7345:.
7332:^
7307:.
7299:.
7291:.
7277:.
7261:^
7230:^
7190:^
7175:^
7156:^
7059:.
7051:.
7037:.
7023:^
6959:^
6937:.
6933:.
6885:^
6859:.
6853:.
6826:.
6818:.
6810:.
6796:.
6766:.
6758:.
6750:.
6744:.
6696:.
6688:.
6674:.
6578::
6538:.
6530:.
6516:.
6474:10
6472:.
6466:.
6442:^
6423:^
6406:^
6389:^
6372:.
6346:.
6338:.
6330:.
6316:.
6301:^
6284:^
6227:.
6219:.
6205:.
6176:^
6149:^
6130:^
6103:^
6037:.
6031:.
6000:.
5986:^
5972:.
5966:.
5952:^
5895:.
5883:.
5877:.
5838:.
5830:.
5822:.
5808:.
5772:^
5733:^
5715:.
5707:.
5699:.
5691:.
5685:.
5649:^
5631:.
5619:.
5613:.
5568:.
5562:.
5533:.
5521:.
5515:.
5480:.
5466:^
5425:^
5407:.
5399:.
5391:.
5385:.
5367:^
5337:.
5333:.
5329:.
5305:^
5290:^
5271:^
5254:^
5205:.
5197:.
5183:.
5169:^
5154:^
5111:^
5084:^
5067:^
5050:^
4966:.
4937:.
4929:.
4915:.
4828:^
4813:^
4783:.
4775:.
4767:.
4759:.
4753:.
4724:.
4716:.
4708:.
4700:.
4694:.
4654:^
4636:.
4628:.
4620:.
4612:.
4606:.
4567:.
4559:.
4551:.
4543:.
4537:.
4508:.
4500:.
4492:.
4484:.
4478:.
4450:^
4434:.
4418:^
4393:^
4375:.
4367:.
4359:.
4345:.
4315:.
4307:.
4299:.
4285:.
4259:^
4242:^
4227:^
4200:^
4157:^
4139:.
4128:.
4111:^
4092:^
4075:^
4054:^
4032:.
4007:^
3980:^
3962:.
3954:.
3946:.
3938:.
3932:.
3900:.
3896:.
3892:.
3865:.
3859:.
3839:^
3814:^
3797:^
3771:.
3757:.
3736:^
3695:^
3678:.
3672:.
3659:^
3629:.
3621:.
3615:.
3599:^
3570:^
3552:.
3546:.
3520:.
3514:.
3494:^
3476:.
3470:.
3458:^
3440:.
3436:.
3430:.
3415:^
3397:.
3391:.
3373:^
3355:.
3347:.
3339:.
3331:.
3327:.
3289:^
3271:.
3265:.
3253:^
3235:.
3227:.
3221:.
3194:.
3186:.
3178:.
3170:.
3164:.
3132:.
3124:.
3116:.
3108:.
3102:.
3088:^
3070:.
3064:.
3035:.
3027:.
3019:.
3011:.
3005:.
2981:^
2901:^
2869:^
2848:^
2664:,
2631:,
2608:,
2595:,
2567:.
2551:;
2543:;
2443:.
1791:.
1770:.
1738:,
1520:,
1505:,
1489:,
1287:,
994:,
947::
728:.
696:,
680:.
582:.
517:,
506:.
474:,
387:,
244:,
225:əm
171:m.
153:m.
11474:.
11440:.
11402:.
11368:.
11344:.
11292:.
11256:.
11225:.
11191:.
11171:.
11137:.
11106:.
11085:.
11054:.
11023:.
10993:.
10966:.
10910:.
10876:.
10846:.
10825:.
10767::
10738:.
10703:.
10672:.
10641:.
10603:.
10582:.
10550:.
10536:.
10502:.
10468:.
10432:.
10398:.
10366:.
10332:.
10303:.
10269:.
10237:.
10205:.
10173:.
10141:.
10109:.
10077:.
10039:.
10007:.
9973:.
9941:.
9883:.
9842:.
9785:.
9753:.
9719:.
9691:.
9649:.
9607:.
9582:.
9556:.
9530:.
9484:.
9459:.
9425:.
9381:.
9351:.
9321:.
9282:.
9253:.
9215:.
9182:.
9125:.
9061:.
9031:.
9001:.
8944:.
8911:.
8849:.
8813:.
8772:.
8732:.
8699:.
8658:.
8627:.
8561:.
8531:.
8382:.
8323:(
8293:.
8256:.
8203:.
8145:.
8115:.
8068:.
7973:.
7935:.
7894:.
7819:.
7729:.
7672:.
7541:.
7471:.
7439:.
7370:.
7326:.
7224:.
7078:.
7005:.
6987:(
6953:.
6879:.
6838:.
6778:.
6715:.
6597:.
6557:.
6488:.
6383:.
6358:.
6242:.
6049:.
6013:.
5974:9
5850:.
5727:.
5643:.
5621:7
5584:.
5570:7
5545:.
5523:6
5498:.
5419:.
5349:.
5224:.
4984:.
4949:.
4886:.
4795:.
4736:.
4648:.
4579:.
4520:.
4387:.
4327:.
4151:.
4048:.
3974:.
3912:.
3877:.
3779:.
3689:.
3641:.
3564:.
3532:.
3488:.
3452:.
3409:.
3367:.
3283:.
3247:.
3206:.
3144:.
3082:.
3047:.
2425:,
1118:.
228:/
222:i
219:l
216:ɪ
213:ɡ
210:ˈ
207:/
203:(
48:)
44:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.