Janet Taylor Pickett’s “Hagar’s Dress” is on view at Telfair Museums

telfair museums
Janet Taylor Pickett’s Hagar’s Dress, 2007, is on view at the Contemporary Spotlight: New Acquisitions from the Brandywine Workshop exhibition at the Telfair Museums from February 4 – May 1, 2022.
The exhibition is an opportunity to celebrate Telfair Museums‘ recently acquired lithographs by Black artists.  This acquisition moves the museum forward in its long-term goal of diversifying the collection and highlighting the works of underrepresented artists and narratives.  Other than two works by noted Georgia-born painter Benny Andrews, these compelling works on paper were created by significant female artists – Faith Ringgold, Deborah Willis, Emma Amos, Selma Burke, Sonya Clark, Gwendolyn Knight, Samella Lewis, Janet Taylor Pickett, Howardena Pindell, Alison Saar, Betye Saar, and Lorna Williams.  Created in the late 20th century and 21st century, these works cover a wide range of timely themes, including the legacies of slavery and racism in the United States, spirituality, education, womanhood, and nature.  They also effectively illustrate the visual, social, and political scopes of the powerfully versatile medium of printmaking.
Images: Courtesy of Telfair Museums

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ARTnews: Janet Taylor Pickett’s Moment to be Seen at Jennifer Baahng Gallery

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Janet Taylor Pickett “And She Was Born” included in the Phillips Collection Centennial Exhibition and featured on the Cover of the Exhibition Catalogue

SEEING DIFFERENTLY

The Phillips Collects for a New Century

CENTENNIAL EXHIBITION

FEBRUARY 20, 2021 – SEPTEMBER 12, 2021

 

 

Our gallery artist, Janet Taylor Pickett and her work, And She Was Born, 2017, is included in Seeing Differently, the centennial exhibition at The Phillips Collection, marking the first major celebration of the museum’s permanent collection in over 10 years. Guided by Duncan Phillips’s belief in the universal language of art as a unifying force for social change, the exhibition presents dynamic and engaging juxtapositions that connect artists past and present across national, racial, and gender lines. Also, And She Was Born is featured on the cover of the exhibition Catalogue, The Phillips Collection in association with Giles 2021 and a multitude of interdisciplinary programs.

 

https://www.phillipscollection.org

 

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Janet Taylor Pickett, “And She Was Born”, currently on view and recently acquired by The Phillips Collection in Washington D.C.

   

Janet Taylor Pickett, “And She Was Born”, currently on view at “RIFFS AND RELATIONS: African American Artists and the European Modernist Tradition”, and recently acquired by The Phillips Collection in Washington D.C. The exhibition is curated by Dr. Adrienne L. Childs and Janet Taylor Pickett is represented by Baahng Gallery.

 

RIFFS AND RELATIONS: African American Artists and the European Modernist Tradition

February 29 – May 24, 2020

 

Riffs and Relations: African American Artists and the European Modernist Tradition presents works by African American artists of the 20th and 21st centuries together with examples by the early 20th century European artists with whom they engaged. This exhibition explores the connections and frictions around modernism in the work of artists such as Romare Bearden, Robert Colescott, Renee Cox, Wassily Kandinsky, Norman Lewis, Henri Matisse, Pablo Picasso, Faith Ringgold, Hank Willis Thomas, and Carrie Mae Weems, among others.  European modernist art has been an important, yet complicated influence on black artists for more than a century. The powerful push and pull of this relationship constitutes a distinct tradition for many African American artists who have mined the narratives of art history, whether to find inspiration, mount a critique, or claim their own space. Riffs and Relations examines these cross-cultural conversations and presents the divergent works that reflect these complex dialogues. 

 

Source:

https://www.phillipscollection.org/events/2020-02-29-exhibitions-riffs-and-relations

https://www.phillipscollection.org/multimedia?id=/multimedia/2020-02-29-riffs-audio-tour-stop4

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JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


JANET TAYLOR PICKETT, ZHANG HONGTU, PINK and THE CORPSES


Madison Avenue  New York
Janet Taylor Pickett, Zhang Hongtu, PINK and THE CORPSES
October 5 – October 31, 2023

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We are pleased to announce the group exhibition Janet Taylor Pickett, Zhang Hongtu, PINK and THE CORPSES, which runs from October 5 through October 31, 2023.  The exhibition marks the New York premiere of Janet Taylor Pickett’s works, previously only shown at the Oceanside Museum of Art in California, that probe a personal and collective past to posit a distinctly Black mythology of Self.  

This is also the debut of Zhang Hongtu’s never-before-seen Shan Shui Paintings from his personal collection.  Zhang’s Shan Shui series spans several years and explores the categories of “East” and “West” in a distinctive manner, reflecting his life in two cultures. He reimagines the work of seventeenth-century Chinese artists in the vibrant colors and brushwork of Monet and Vincent van Gogh.

On view includes works by R.C. Baker, Eric Brown, Deborah Buck, Bell and Ganassi, Jaye Moon, and Mr. selected from the online exhibition PINK and THE CORPSES.

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Shijia Chen

Billy Copley

Eileen Foti

Björn Meyer-Ebrecht

Jaye Moon

Pablo Picasso

André Raffray

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Every artist since the early 20th century has been influenced by Pablo Picasso.  The protean painter/ sculptor/ printmaker/ ceramicist helped define what “modern” art once was – and is still becoming.  In 1939, MoMA’s staff was gathering 300 works by the world’s “most famous living artist” (according to the museum’s press release) for Picasso: Forty Years of His Art.  A centerpiece of the exhibit was Guernica, his grisaille mural decrying the destruction of the small Basque town by Nazi bombers, in 1937.

Along with Michelangelo and Rembrandt, the name Picasso (1881-1973) has become a synonym – a cliché, even – for “artist.”  But none of the artists in Picasso, Welcome to America see the Spanish-born titan as an old hat.  Instead, these ten Americans find in the European trailblazer constant inspiration and ongoing challenge.  Zhang Hongtu imagines Chairman Mao exposed by glaring illumination similar to the all-seeing lantern in Guernica.  Jaye Moon also reimagines Picasso’s anti-war masterpiece, in When Bob Dylan Meets Picasso, Guernica – using Lego bricks in Braille rather than paint.

The bodies and masks in another Picasso touchstone, Les Demoiselles d’Avignon (1907), come under scrutiny from Eileen Foti and André Raffray through substitution and homage.  Billy Copley finds masks in unlikely surroundings, while Janet Taylor Pickett moves effigies aside to place her powerful female figure at center stage.  Deborah Buck turns Picasso’s infamously harsh male gaze around, painting surreal figures that might be asking, “Who’s crying now?”  In Weary of Treading the Earth, from 1945, Romare Bearden, working in watercolor and ink rather than his later signature collage, energizes cubist space with a circus-like palette.  R.C. Baker riffs beyond Picasso’s Blue and Rose periods through primary-colored aluminum printing plates.  Björn Meyer-Ebrecht’s dynamic wood and enamel sculpture strips the figure to cubist angles and voids, while Brandon Ballengée searches for animals that, like Picasso’s minotaurs, are no longer with us. Original works by Pablo Picasso will also be on view, commemorating the 50th anniversary of his death.

All of the artists in this exhibition have been influenced by Picasso’s experiments with form and perspective – his breaking of traditional and academic rules.  Some of the work here also comments on his darker side, while other pieces engage with the social and political aspects of Picasso’s art.  Ultimately, these ten contemporary artists in Picasso, Welcome to America appreciate the formal and aesthetic complexity of a constant innovator.  This great artist was effectively barred from ever visiting the United States because he was a member of the French Communist Party.  But the joke was on the Feds – Picasso has been in America all along.

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Deborah Buck Heavy Is The Head, 2023 Acrylic, sumi ink on Archers paper 55 x 156 in. Detail

DEBORAH BUCK

INTO THE WILD: To Crash Is Divine
Sept 28 - Oct 27, 2023
Madison Ave New York Picasso, Welcome to America June 15 – July 31, 2023

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023
GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024
Madison Ave New York Picasso, Welcome to America June 15 – July 31, 2023

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023
Madison Ave New York Picasso, Welcome to America June 15 – July 31, 2023

PICASSO, WELCOME TO AMERICA

June 15 – Sept 27, 2023

JANET TAYLOR PICKETT: LIGHT, COLOR AND DESIRE

NECESSARY MEMORIES | March 15 - April 28 | SUNY Old Westbury NY
JANET TAYLOR PICKETT: Light, Color and Desire

May 27 – September 3, 2023

Oceanside Museum of Art

Light, Color and Desire presents the art of Janet Taylor Pickett, whose pathbreaking work explores Blackness, identity, and history.   A focused solo exhibition of nearly thirty (30) paintings and combines produced between 2003 and 2023, Light, Color and Desire  coronates the artist, as a synecdoche for all women, as  a contemporary goddess who reigns over fertility, fecundity, and embodied experience.  This mythology of Self reaches its apotheosis in Taylor Pickett’s luminous portraiture. Emanating expectancy and resolve, the subjects appear as incarnations of an ongoing desire for social, sexual, and spiritual freedom that is personal and universal. Polemical, unique, politically and socially committed, the art included in Light, Color and Desire demonstrates Taylor Pickett’s arrival at a distinct narrative voice inspired by Johannes Vermeer, Henri Matisse, and Frida Kahlo.

Janet Taylor Pickett was born in Ann Arbor, Michigan in 1948, the third generation in her maternal family to be raised in that city, which was a stop on the Underground Railroad. Her father, Dempsey Taylor Jr., was born in Brownsville, Tennessee and travelled north during the Great Migration, settling with his family in Ypslanti, Michigan. This imbrication of personal and shared Black History is concealed in Taylor Pickett’s work, which pours forth from an arduous path sowed with the sorrow of memories and a sea of desires. In particular, Janet Taylor Pickett’s becoming was influenced by Romare Bearden, whose collaged elements became the bedrock of her own work, situating her as a celebrated collagist.

LIGHT

Janet Taylor Pickett has always been intrigued by light, a preoccupation that she shares with Johannes Vermeer (1632 – 1675). Vermeer implemented camera obscura and applied layers of shadow to achieve the effect of an illuminated subject emerging from the darkness. Taylor Pickett begins with a full composition and then engages color blocking, leaving light to illumine her central subject. Neither plaintive nor condemning, the subjects seem to gaze both inwards and outwards, beholding internal and external topographies with poise and depth. In The Artist Unmasked (2021), the steadfast female gaze belies colossal emotions that the subject restrains. The expression harbors a universal vulnerability; an imperative grace under pressure that a (white) culture expects Black women to retain. This self-possession within constriction also figures in the painting Ladies in Waiting (1981), where the artist is framed by luscious, magenta walls. The light-infused domestic interior pulses with a celestial buoyancy, as though the space hums with ethereal hymns.

COLOR

Light, Color and Desire positions Janet Taylor Pickett as a colorist: an artist keen to the affordances of each hue, and how they inter-animate each other. Taylor Pickett forgoes neutral tones in favor of a kaleidoscopic color scheme, which conjures mood, light and space. Her saturated palette and enlistment of cutouts highlights her dialogue with Henri Matisse (1869 -1954). In The Ritual (2003), an amalgamation of painted and collaged elements, Taylor Pickett recruits cutout dress forms, which augment and amplify Matisse Cutouts. The work curates an altar that colligates a European reference (a painting by Fra Angelico) to African ones: hennaed hands and a fertility figure ringed with a golden aureole. Its display of talismanic forms and Christian iconography renders the work an homage to Black faith and a votive in its own right.  Taylor Pickett’s Indigo Blue further highlights her visual dialogue with Matisse (Prussian) Blue. This deep affinity for Blue is enacted in Memory of Water II (2021), which substantiates the ever-present call and response water has had in the collective history of African Americans. Water symbolizes the flow of memory from the Nile, to the Mississippi River to the Middle Passage across the Atlantic Ocean; it is the genetic rhythm of memory that water holds.

DESIRE

Engulfed in flora and fauna, ripe with bold self-possession, the intensely embodied subjects in Janet Taylor Pickett’s work suggest her spiritual linkage to Frida Kahlo (1907-1954), who deployed self-portraiture to explore sexuality, femininity, and her relationship to the natural world. In Forest Born (2022), the roots and curls of flora render an organic issuance from nature. Both artists share an autobiographical narrative that weaves pain and joy to desire. In their political commitments and their unapologetic examination of suffering as well as beauty, they are thematically and aesthetically connected across time and space. Taylor Pickett and Frida Kahlo turn to their own bodies as a site and source of inspiration. While Frida Kahlo lingers on trauma, Taylor Pickett, attuned to life’s difficulties, tributes the beauty of the world and the joy of life. This resiliency and jubilance is personified in the recent painting series Gaia (2022), the goddess of the earth, whose gaze is defiant and searching. The portraits enact the apotheosis of self-actualization; the artist-as-subject is endowed with full agency, and regards the viewer with a gaze that harbors the command of a mystic. As a conceptual linchpin of the exhibition, Gaia confers that Light, Color and Desire is seeing the life of Janet Taylor Pickett.

Janet Taylor Pickett is utterly authentic in her vision and scope: an expression of a life being led in pursuit of psychical, spiritual and aesthetic liberation. It marks her as a vessel for femininity writ large—a contemporary goddess whose beauty and power supercharges life itself. While Taylor Pickett approaches the present as a benediction, she also presides over the past. History suffuses her art. As sustained visual poems, the paintings and combines in Light, Color and Desire probe a personal and collective past to posit a distinctly Black mythology of Self. Taylor Pickett’s work is a serious intellectual interrogation of beauty, nature and emotions that enables her recognition at the fore of Contemporary Art. Imbued with the mysticism of devotional work and the enigmatic lyricism of folklore, Janet Taylor Pickett paints as she emotes.

Dr. Jennifer Baahng, Guest Curator

Related:

Janet Taylor Pickett

Janet Taylor Pickett

CONJURE
October 13 - November 30, 2025
Sue McNally Jaye Moon Janet Taylor Pickett

PARADE

June 2025
Janet Taylor Pickett Memory of Water II, 2021 Acrylic and collage on canvas 40 x 40 inches

JANET TAYLOR PICKETT

The Selma Burke Invitational African American Art Show
May 30 - June 29, 2025
Janet Taylor Pickett Entering the Gee’s Bend, 2013 Acrylic, gouache, watercolor, graphite, photos on Arches paper 30 x 22 in.

JANET TAYLOR PICKETT

April – May, 2025
TRANSPACIFIC: LOVE DIFFERENCE September 3 – November 2, 2024 HANNAM, SEOUL

TRANSPACIFIC: LOVE DIFFERENCE

Sept 3 - Nov 2, 2024
GANGNAM, SEOUL PERFECT LOVERS August 16 - October 19, 2024

TRANSPACIFIC: PERFECT LOVERS

Sept 5 - Oct 19, 2024
The Muse, 2023 Acrylic on canvas 48x48 in.

PRIDE AND INSOUCIANCE

February - April 2024

Categories: exhibitions

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