Dorothy Hood, Florence in the Morning, ca. 1976, Oil on canvas, Roger Houston Ogden Collection
Martin J. Drell MD
Dr. Jerry and Carolyn Fortino
Benjamin Lowry and Shelly Gallender
Jessie and Beau Haynes
Holly-Anne, Joshua and Isaac Palmer
Shirley R. Masinter
Roger Ogden and Ken Barnes
Terese and William Winslow
Amanda and Teddy Winstead
Artists in The Whole Drum Will Sound include:
Ruth Atkinson Holmes
Beginning in the early 20th century, opportunities for women in the visual arts expanded with every new movement. From Impressionism and the Arts and Craft movement through Regionalism and American Scene Painting, women increasingly influenced the dialogue across the nation. With the societal shifts in the United States after World War II, more women took on the role of working artists. Perhaps no art movement before or since has provided more freedom of expression and democracy of form than the postwar move toward abstraction.
The Whole Drum Will Sound – drawn primarily from the Ogden Museum of Southern Art’s permanent collection – celebrates strong female voices in abstract art in the American South. In French author Amin Maalouf’s book, In the Name of Identity, he writes, “A person’s identity is not an assemblage of separate affiliations, nor a kind of loose patchwork; it is like a pattern drawn on a tightly stretched parchment. Touch just one part of it, just one allegiance, and the whole person will react, the whole drum will sound.” This exhibition does not seek to define a feminine aesthetic. The artists included cannot be categorized solely upon their gender or regional affiliation. The facts that they are female or Southern or that they create through abstraction are just elements of the patterns upon the drums that they sound. Rather, this exhibition seeks to find resonance among these artists, and to trace a trajectory of abstraction in the South through the rise of female voices in the visual arts.
Moving from the early Abstract Expressionist paintings of Dusti Bongé and Marie Hull to the contemporary works of Bonnie Maygarden and and Shawne Major, this exhibition includes work that ranges from the early minimalist compositions of Ida Kohlmeyer to the fresh abstract spaces of Ashley Teamer; from the stained surfaces of Dorothy Hood and Anastasia Pelias to the biomorphic abstractions of MaPo Kinnord and Shawn Hall. Together, these works show a range of studio practices by female artists working in the South within the language of abstraction, and highlights the breadth of the Ogden Museum of Southern Art’s Permanent Collection.
Curator of the Collection
Photos by Ryan Hodgson-Rigsbee