Hayward Oubre: Structural Integrity

Oubre, Hayward (and) Katelyn Crawford (and) Amalia Amaki (and) Carter Cue (and) Floyd Coleman (and) Rebecca Giordano (and) Shawnya Harris (and) Marin Sullivan (and) Diana Tuite (and) Hina Zaidi (and) Paul Gary (and) Mervin Green (and) Noah Jemisin (and) Brenda Thompson

ISBN 10: 1913875636 / ISBN 13: 9781913875633

Published by Birmingham Museum of Art, Birmingham, AL, 2024

About this Item

Matte color-illustrated boards with the title printed in yellow font down a red spine. The front cover has the title debossed in white lettering. The free and pasted end pages are color illustrated. Pages: (8), 9-184. Profusely illustrated with many full-color images. "Best known for his wire sculptures, Hayward L. Oubre, Jr. (1916-2006), was an important Black American artist and educator, who has until now received little attention from scholars and museums. He created sculptures, paintings, and prints that tested the bounds of each of these mediums. These works share a previously untold history of American modernism rooted in the South. Academically-trained, Oubre worked with an everyday material - wire coat hangers - that led some early critics to associate his sculpture with folk art, despite wire rising to prominence as a material for modernist sculptors in this period. While making his art he also trained a subsequent generation of artists through his teaching, first at Alabama State College (now Alabama State University), from 1949 to 1965, and then at Winston-Salem State University, from 1965 to 1981, both Historically Black Colleges and Universities. Within Oubre's story is a history of Alabama art shaping American art that has never been written." Contents are as follows: Reflections by Oubre's family, friends, and collectors -- Uncrossed wires : miscegenation from the inside out -- A rich background : Hayward Oubre and the Iowa idea(L) -- Trees of learning : Hayward Oubre, Hale Woodruff, Selma Burke, and art education in Southern HBCUS -- Hayward Oubre : the painter -- Outside the lines -- Reflections by Oubre's former students. Structural Integrity / Katelyn D. Crawford -- Reflections By Oubre's family,k friends and collectors -- Perspective on Hayward Oubre / Mervin Anthony Green -- Meetings with a remarkable man / Carter B. Cue -- Discovering Hayward Oubre / Brenda and Larry Thompson -- Uncrossed Wires: Miscegenation from the Inside Out / Amalia K. Amaki -- Plates 1-13 -- A Rich Back ground Hayward Oubre and the Iowa Idea(L) / Diana Tuite -- Trees of Learning: Hayward Oubre, Hale Wodruff, Selma Burke, and Art education in Southern Hbcus / Rebecca L. Giordano -- Plates 14-30-- Hayward Oubre: The Painter / Shawnya L. Harris -- Outside the Lines / Marin R. Sullivan -- Plates 31-52 -- Reflections by Oubre's Former students -- A great Mentor makes Great Artists / Noah Jemisin -- The Legacy of H.L. Oubre / Floyd W. Coleman, Sir -- Mr. Oubre as My Teacher / Paul A. Gary -- Chronology / Hina M. Zaidi and Katelyn D. Crawford.

Seller Inventory # 202696

Bibliographic Details

• Title: Hayward Oubre: Structural Integrity
• Publisher: Birmingham Museum of Art, Birmingham, AL
• Publication Date: 2024
• Language: English
• ISBN 10: 1913875636
• ISBN 13: 9781913875633
• Binding: Hardcover
• Condition: VG+
• Seller catalogs:
  • American Artists

About this title

Synopsis

Best known for his wire sculptures, Hayward L. Oubre, Jr. (1916–2006), was an important Black American artist and educator, who has until now received little attention from scholars and museums. He created sculptures, paintings, and prints that tested the bounds of each of these mediums. These works share a previously untold history of American modernism rooted in the South. Academically-trained, Oubre worked with an everyday material―wire coat hangers―that led some early critics to associate his sculpture with folk art, despite wire rising to prominence as a material for modernist sculptors in this period. While making his art he also trained a subsequent generation of artists through his teaching, first at Alabama State College (now Alabama State University), from 1949 to 1965, and then at Winston-Salem State University, from 1965 to 1981, both Historically Black Colleges and Universities. Within Oubre’s story is a history of Alabama art shaping American art that has never been written. This new volume, and its accompanying exhibition, will begin to tell this story, laying the foundation for future projects on the work of Black artists in Alabama and the South.

About the Author

Katelyn D. Crawford is the William Cary Hulsey Curator of American Art at the Birmingham Museum of Art, AL; Amalia K. Amaki is an artist, art historian, educator, film critic and curator; Rebecca L. Giordano is an art historian and curator who specializes in race, gender, and transnational exchange in the Americas in the 20th century; Shawnya L. Harris is the deputy director of Curatorial and Academic Affairs and the Larry D. and Brenda A. Thompson Curator of African American and African Diasporic Art at Georgia Museum of Art, GA; Marin R. Sullivan is a Chicago-based art historian, curator, educator, and consultant; Diana Tuite is the visiting senior curator of Modern and Contemporary Art at the Stanley Museum of Art, University of Iowa; Hina M. Zaidi is the curatorial assistant at the Birmingham Museum of Art, AL.