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Wilhelmina Godfrey: I am what I am

Institution
Burchfield Penney Art Center
Grant Cycle
Spring 2023
Amount
$60,000
Type of Grant
Exhibition Support
Website
burchfieldpenney.org/wilhelmina-godfrey-i-am-what-i-am ↗
Wilhelmina Godfrey, City Playground, 1949-50. Wax emulsion and oil on board, 44 x 38 inches.
Unknown Langston Hughes Center for the Visual and Performing Arts Center Photographer, Untitled (Wilhelmina Godfrey and Student), ca. 1971. Digital scan of original photograph, 6 ½ x 8 inches; Image courtesy of Clarence Scott.
Wilhelmina Godfrey, Voodoo Doll, 1976. Wool, beads, polyester stuffed, pins, 21 x 7 inches.
Wilhelmina Godfrey, One Armed Bandits, 1951. Tempura on paper, 26 inches x 21 inches.
Wilhelmina Godfrey, Red Hot and Blue, 1971. Serigraph on paper (29 of 32), 24 x 21 inches.
WilhelminaGodfrey with her work Composition I.
Wilhelmina Godfrey, Night and Day, n.d.. Mixed media fiber, 21 x 16 ½ inches (framed).

Wilhelmina Godfrey was an artist of exceptional skill and vision, working in media that included painting, printmaking, and textiles. Over the course of her more than fifty-year career, her work continuously evolved. Her lifelong contributions as an artist, writer, and educator earned the admiration and respect of many, cementing her legacy within the local arts and African American communities.

Wilhelmina Godfrey: I am what I am is a retrospective look at the artist’s massive portfolio, particularly her extraordinary use of color and theme, as well as the evolution of her work from representative figuration to abstraction. Like many of her contemporaries, Godfrey’s development over her career pushed the bounds of form, color, harmony, and abstraction. This experimentation, paired with her incorporation of African motifs, her experiences, and her observations as a Black woman artist living on the East Side of Buffalo, add important nuance to the canon and the ways in which Black artists have fused their lived realities with their own artistic interests.

1966

Warhol’s film Chelsea Girls is a commercial success, offering an unedited glimpse into the daily lives of several Factory Superstars. Later it is considered an influential forerunner of reality TV.

The Andy Warhol Foundation for the Visual Arts
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