Sam Gilliam - Knowledge

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

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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

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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

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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.

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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

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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

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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'

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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,

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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.

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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,

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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

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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."

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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

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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:

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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

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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

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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

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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.

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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

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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

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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

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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

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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

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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

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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.

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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

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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

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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

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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

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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

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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

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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."

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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

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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

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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

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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.

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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

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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

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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

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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

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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

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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.

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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

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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.

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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."

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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

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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

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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:

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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.

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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.

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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Binstock, Jonathan P. (2018). "Selections From an Ongoing Conversation Between Sam Gilliam and Jonathan P. Binstock". In Binstock, Jonathan P.; Helfenstein, Josef (eds.).

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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

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believed the curator had made only cursory attempts to contact established black curators and scholars of African-American art to help shape the exhibition.

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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

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attached a pair of sunglasses to the light fixture in the small gallery. Reviewing the installation after it premiered, critic Paul Richard wrote in

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in painting in 1955 as a member of the second admitted class of black undergraduate students. While in school he studied under professors including

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exemplify this series, with flecks of bright color and outlines of sharp geometric shapes partly visible under a thick impasto of black paint. His

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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

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In preparing for the exhibition, Gilliam revisited his fluid experimentations from the previous weeks and discovered a study he later titled

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In December 1963 Gilliam was hospitalized in Louisville, in connection with anxiety he felt about his artistic career; he was diagnosed with

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has described as "typically dark and muddy in tone." He was inspired in large part during this period by several artists associated with the

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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

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After early critical success, including becoming the first African American artist to represent the United States in an exhibition at the

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paintings begun in the mid-1960s, often displayed with custom beveled stretcher bars that make the paintings protrude from the wall; his

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from the 1970s, and Gilliam said that he wanted the piece "to billow like that early work." His first solo museum exhibition in Europe,

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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.).

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was forced to run a correction after claiming that Gilliam had once bartered his paintings in exchange for laundry detergent, and

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and color field styles, with precise geometric fields of color similar to those of Washington Color School painters like Downing,

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Helfenstein, Josef (2018). "From Object to Process: The Drapes in Context". In Binstock, Jonathan P.; Helfenstein, Josef (eds.).

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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.

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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,

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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

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both comprised crumpled, unstretched stained canvases with sewn patchwork elements, arranged on top of wooden

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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

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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

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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

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viewer, the bevel support was visible under the canvas, making the works appear like painted sculptural

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Binstock, Jonathan P.; Helfenstein, Josef, eds. (2018). "Annotated Chronology and Exhibition History".

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to deliver a lecture and teach a week-long workshop. He reported feeling great stress after installing

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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

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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.

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were widely acclaimed when he began exhibiting them and brought a new wave of institutional support.

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from critic Emily Wasserman who wrote positively about the dimensional qualities of the color in his

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on the specific condition that he begin planning the retrospective. In reviewing the exhibition for

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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

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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."

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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

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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

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installations of the period to "provisional shelter." Forgey, reviewing the exhibition in

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series; the dates that serve as the names of each painting in this series correspond with

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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

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painting, was hung outside the entrance of the venue, similar to his early commission

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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

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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

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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

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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

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Gilliam was originally scheduled to present a full-career retrospective at the

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invited him to present his first solo museum exhibition in the fall of 1967 at

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In 1964, Gilliam began developing a series of paintings that experimented with

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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

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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

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in 2016, and exhibiting for a second time at the Venice Biennale in 2017.

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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

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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".

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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."

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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

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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,

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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

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as "precarious textile architecture," and compared Gilliam's

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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

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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."

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him during this time as "sort of catatonic on the couch."

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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.

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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

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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

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National Museum of African American History and Culture

1127:

paintings. Following a similar painting process to his

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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

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forms, national and international success, printmaking

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paintings can also be understood in the frameworks of

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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

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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:. 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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: 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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 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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 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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: 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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 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