Latest news with #BallinglenArtFoundation
Irish Examiner
27-07-2025
- Entertainment
- Irish Examiner
Sam Gilliam: IMMA exhibition underlines impact of Irish visits on output of US artist
Sam Gilliam was an American abstract artist who revolutionised the display of work in gallery spaces. Draping unstretched canvases from the ceilings, and arranging industrial fabric on the floor, he blurred the line between painting and sculpture, and helped shape the development of installation art in the 1960s and '70s. Gilliam broke ground also by becoming the first African American artist to represent the United States at the Venice Biennale in 1972. By the time of his passing, aged 88, in June 2022, he had enjoyed any number of public commissions and major museum shows across the US. Although Gilliam is not as well-known on this side of the Atlantic, he visited Ireland in the early 1990s, and was greatly moved by the experience. His stay is commemorated in Sewing Fields, the new exhibition of his work curated by Mary Cremin and Seán Kissane at the Irish Museum of Modern Art in Kilmainham, Dublin. 'When we first started talking about this exhibition,' says Cremin, 'I met Gilliam's widow, Annie Gawlak. She came to IMMA and told us about how Gilliam had completed a three-week artist's residency at the Ballinglen Art Foundation in County Mayo in 1993. 'Gilliam normally worked on large canvases with petroleum paints, but he wasn't allowed to bring those paints on the plane, so he dyed and painted fabric and sent it on ahead to Ballinaglen. And when he got there, he worked with a local seamstress to collage pieces of the fabric together, so they're kind of stacked on top of each other. You'll see one of those pieces in the exhibition, it's part of a series of four called Cottages. I think the experience was quite transformative for him.' Gilliam was one of the many international artists who have spent time in Ballinaglen with the support of the arts foundation established in the early 1990s by Margo Dolan and the late Peter Maxwell, who owned a prestigious art gallery in Philadelphia. The foundation runs workshops, residencies and fellowships, along with education and outreach programmes and a museum of art. 'It's this amazing place in the middle of the village,' says Cork-born curator Cremin. 'People like Howardena Pindell, who we've shown at IMMA, and Jo Baer, who was very influenced by the archaeology in the area, have all done residencies there. It's very interesting that Ireland has had a real impact on these artists, and a real resonance with them in terms of art making.' Down Patricks-head, by Sam Gilliam. When Cremin began work on the Sewing Fields exhibition, she discovered that Gilliam had once shown in Dublin. 'In the early 1970s, he had a solo exhibition with a gallerist named Oliver Dowling, who passed away just last year. Dowling was a maverick, and quite an influential person within the arts in Ireland. He helped set up the ROSC exhibitions. But it was news both to Annie and to us that Gilliam had ever exhibited in Ireland. We don't think he came over for the opening, but everyone involved is dead now, so it's not possible to say for sure.' Gilliam was born in Tupelo, Mississippi in 1933. 'Growing up where he did,' says Cremin, 'where there's a massive cotton industry, he was probably seeing a lot of quilting and that type of making. We have an exhibition of quilts from Gee's Bend in Mississippi on at IMMA at the moment, and we know that Gilliam had several Gee's Bend quilts in his own art collection. There's a correlation between this idea of stitching and layering, telling narratives through the fabrics, that I think is referenced in his work as well.' In Gilliam's youth, his family migrated north. He studied art at the University of Louisville in Kentucky and then settled in Washington DC. 'He was part of the colour field movement, with people like Kenneth Noland. They made minimal abstract paintings. But later on, he made works that were much more three-dimensional, or sculptural, and he started really playing around with the paint, scraping, stitching and layering. There was really a lot of improvisation. 'He was very interested in jazz as well. Improvisation is very important in jazz, of course, but it's also very important to the kind of way he worked. There were no limitations in terms of how he worked with paint or with the canvas. He was very liberated.' Gilliam came of age during the Civil Rights Movement in America. 'That was, very obviously, hugely important to everyone,' says Cremin. 'And for Gilliam, being a black artist coming up at that time was a big deal, because it was predominantly white males in the art world. He wasn't making work that was overtly political, he was making art for art's sake. But that said, he was very involved in the establishment of the Studio Museum in Harlem, and he was part of a very important exhibition called X in America. 'And also, I guess he does engage politically, in that a lot of his paintings are called after significant black figures, like Martin Luther King. There's one piece in the exhibition here called Count On Us, which is this beautiful three-coloured canvas that's referencing when Obama was voted in as president. It was a very aspirational and very exciting time. So, he referenced politics in a different way.' Mary Cremin, curator. Sewing Fields was organised in collaboration with the Sam Gilliam Foundation, which is run by the late artist's family. 'Gilliam was very supportive of young black artists, and his foundation has continued that work,' says Cremin. 'They also collaborate on exhibitions such as this, ensuring that Gilliam's work is shown as he would have liked. Some of the work in Sewing Fields has never been shown before, and some of the technicians who'd been with Gilliam since the 1980s came over to help with the installation. 'It's only two years since Gilliam passed, but I guess it's important for his work to continue to grow, and for people to have an increased awareness around him. In terms of contemporary Ireland, this is not just the first time he's been shown here since the 1970s, it's his first museum show here as well. Many of these works have never been exhibited before, and many people are travelling over from America to see the show. It's really exciting for us.' Gilliam's time in Mayo may have been brief, but the landscape had a big influence on his work, says Cremin. 'Even towards the end of his life, he was making these really large paintings, with thick impasto, he called Downpatrick Head and Irish, County Mayo. As Annie says, he always referenced back to his time in Ireland.' Sam Gilliam, Sewing Fields runs at the Irish Museum of Modern Art until January 25, 2026. Further information:
The Guardian
20-06-2025
- Entertainment
- The Guardian
‘If there's a rule, he tries to break it': the explosively colourful textiles of Sam Gilliam
Sam Gilliam's artistic life was bookended by success against the odds. In 1972, he became the first Black artist to represent the US at the world's most prestigious art festival, the Venice Biennale. He had overcome poverty and prejudice in the south to study art at one of the first desegregated universities, and, after settling in Washington, was hailed as a radical innovator within the group of abstract painters dubbed the Color School. Pushing his medium in new sculptural directions, he broke convention by taking his canvases off their wooden stretchers. His best-known colour-drenched works have an improvisatory quality, never installed the same way twice, whether they're draped on the wall or hung tent-like from the ceiling. When the art world turned away from abstraction in the following decades, however, he was all but forgotten. He was approaching 80 in 2012 when the young art star Rashid Johnson championed his work, curating an exhibition that led to a fresh slate of big international shows and museum recognition. Yet as Gilliam said in an interview two years before his death in 2022, in art, 'Sometimes you win, sometimes you lose. But I've never lost entirely. We just keep on keeping on.' Sewing Fields, a new exhibition featuring unseen work from Gilliam's residency at the Ballinglen Art Foundation on the west coast of Ireland in 1993, reveals how he never stopped making and innovating. 'He was so prolific,' says the show's co-curator, Mary Cremin. 'There's still a huge amount of his work that's never been shown.' One of the biggest surprises is that he worked in Ireland at all. The isolated rural location with its sea cliffs and rolling hills must have been a major change for an artist who spent his life in cosmopolitan Washington's creative community. He wasn't afraid of mixing things up, though. Prohibited from flying across the Atlantic with petrol-based paints, he was compelled to paint, print and dye materials in his Washington studio in advance, and pursue new processes in Ireland. It resulted in a fresh approach with cut-up collaged fragments of paintings including screen-printed cloth and paper and material thick with paint. 'Needs must is the mother of invention,' says the curator. It was the experience of being captivated by laundry billowing on a line that first led Gilliam to set the canvas free from wooden stretchers to create his characteristic draped works. His approach to painting was expansive, underlining art's connection to lowly cloth while nodding to histories of Black female labour. In Ireland, he worked with a seamstress to stitch his layered compositions of collaged painted fabrics with distinct zigzagging lines of thread. 'He supposedly had six sewing machines in his Ballinglen studio,' says Cremin. She points out that Ireland's light and unpredictable weather fed into Gilliam's explosive use of colour, too. 'The sky changes, the seasons change in a single day,' says Cremin. 'In these works, the tone changes all the time.' One reason given for Gilliam's art-world wilderness years is that, during the rise of identity politics in the 1980s, his work didn't foreground Black experience. Today, it's his commitment to constant experimentation within his medium that the curator sees as crucial to his legacy for younger artists. Says Cremin: 'If there's a rule, he tries to break it.' Folded Cottage II, 1993This kickstarted the experimental body of work Gilliam produced on Ireland's west coast and, as the title suggests, it took formal inspiration from its coastal dwellings. There're all kinds of painterly techniques on the fragments he collaged, including stained and splashed paint, as well as his signature method of raking lines in pigment. Doonfeeny Lower, 1994Gilliam pushed painting into sculptural territory with works that spoke to the human body and the world beyond the gallery. With its loops of fabric across its top edge, this collaged painting looks almost wearable – or like curtains. The stitched lines of thread that hold the composition together crisscross like pencil marks. Sign up to Inside Saturday The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend. after newsletter promotion Count on Us, 2008This dyed nylon trio is typical of Gilliam's key move as an artist: draped paintings that freed the fabric support from its traditional wooden stretcher. The buoyant palette channels the jubilation felt when Obama was elected in 2008. As the co-curator Mary Cremin points out, it's hard not to wonder what the Washington-based artist would have made of the current president. Silhouette/Template, 1994This is one of many later works that would be inspired by Gilliam's time in Ireland. Rippling across the wall like a kite or rolling hills, it's testament to the improvisatory nature of his work, in terms of the painting itself, and how it might change each time it's hung. 'It's unpredictable,' says Cremin. Pages and Echoes #8, 1998From primary hued paint spatters to deep moody mauves, this work pops with contrasting textures and tones. The handmade printed paper among the painted fabric, shows the influence of his sometime collaborator, the revered printmaker William Weege. Sewing Fields is at the Irish Museum of Modern Art, Dublin, to 25 January.
