The Woodmere Museum in Philadelphia, which documents and exhibits the work of the artists of the city and of its region,
has mounted a presentation of the six-decade oeuvre of the African-American artist, teacher and social activist, Barbara Bullock, born 1938.
On view until January 29, 2024.
Barbara Bullock: Fearless Vision – Woodmere Art Museum
The artist Barbara Bullock standing in front of her painting of stilt dancers at the opening in 2020 of an exhibition at the Woodmere Museum: Africa in the Arts of Philadelphia
The artist was born in Philadelphia, trained in the arts in Philadelphia; taught the arts in this city and elsewhere; and lives here still.
The artist’s parents moved to Philadelphia during the Great Migration (1910-1970) of African-American families from the rural deep South – where her grandparents remained and whom she visited – to cities in the north, west, and north-west of the US, looking for work.
Looking for a life and for work, away from the deep poverty and the relentless, cruel history and consequences of hundreds of years of slavery and segregation.
Trayvon Martin, Most Precious Blood , 2014, acrylic, matte medium and watercolour paper
Barbara Bullock, American born 1938. Woodmere Museum of Art from whose website this photo
Trayvon Martin was 17 years old when he was fatally shot by a neighbour watch volunteer in 2012 in a gated community in Florida. Martin was walking home. His killer was tried and acquitted on the grounds of self-defense.
Barbara Bullock began to draw as child.
From childhood onwards she retained the understanding that the world is more than what you can see with your eyes and touch with your hands. That she could be other than the caricature designed by the prejudices of others.
She understood that we can invoke a world through whose values, teachings and supports, we can achieve our fullest humanity if we learn how to transform ourselves.
Dark Gods, 1982, acrylic on canvas. From the series Jasmine Gardens
Barbara Bullock, American born 1938. Collection of the artist
A world which we activate spiritually; and which will inspirit our lives.
She understood that, if we are open to this spiritual initiation, we can live in a world more life-enhancing than the one normatively presented to us as ‘the real world’:
a life-enhancing world in which the power of prejudice of all kinds to distort, diminish, divert or destroy life becomes insignificant,
if we accept the spiritual insights and adopt the spiritual values and practices of our wisdom traditions,
evolved over thousands of years of the history of our species; and still extant.
From the 1960s on, in one tumultuous decade after another, of war abroad and socio-political revolution and renewal at home, Barbara Bullock has pursued the path of this initiation through work, research, collegiality, community engagement, teaching, and travel.
Niger River Journey, 1999. Barbara Bullock from her own collection
She has had a long career of teaching art to children and adults in schools, museums, community organizations, senior centers; and in art programs: the Ile-Ife Black Humanitarian Center, Philadelphia (1971-1975) and Prints for Progress (1980-1993), Philadelphia.
Step by step, the artist has used her skill and experimentation in the creative arts and also her lived experience to construct her path.
Transformation II, 2019, acrylic paint and matte medium on watercolour paper
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
These are her techniques:
researching the spirit world transmitted to her (to us all) in its long-lived form: myths which are spoken and written and danced and sung in many ritualized and secular forms;
and which are the living legacy of the experience and wisdom of our ancestors;
the artist uses her body wisdom;
she travelled to civilizations with spiritual traditions akin to those which have sustained her people;
she deepened her understanding of symbols in the religious and spiritual traditions of the wisdom traditions she studied;
she is open to the spirits as they inhabit her dreams and intuitions;
she evolved her understanding of the spiritual attributes of colour; and of the materials of her art;
she has been alert to the unpolluted wisdom of the hundreds of children she has taught;
Child Dreams of Snakes in the Grass, c. 2005, gouache on heavy watercolour paper
Barbara Bullock, American born 1938. The Woodmere Museum of Art
Part of an exercise in a project with children in which snakes stand in for the secrets which children have and keep to themselves. Often because their lives are harsh.
she is open to the intelligence of animals;
Panther, 2014. From the series Bitches Brew
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art from whose website this image
Barbara Bullock’s creative work is a record of her journey which this exhibition illuminates.
It shows the overwhelming beauty of the artist’s vision of the world; and the complexity of both vision and world;
It shows the artist reaching out and stepping beyond the frame; and being held close, nevertheless, by the world’s traction;
detail of Bitches Brew, 2014, below
detail of Black Madonna, 2004, below
The exhibition points up the artist’s sense of the world’s mysterious and inconsistent tendency towards a tenuous, dancing equilibrium;
maintaining a to-and-fro between the sheer energy of movement in her work and the stillness which rises in us and in some of her figures;
detail of Remembrance, 1985, below
keeping us light on our feet: a reminder that we are a part of a whole of which we are not master or mistress.
On the right, Lizard Spirit, 1997, as below
On the left, Child in the Land of the Spirits, 1997 , as below
The exhibition’s works are often full of joy; and also sometimes filled with apprehension and fear and sadness and loss.
Sometimes they evoke both.
Straight Water Blues, 2014-2022; acrylic paint and matte medium on watercolour paper; from the series Straight Water Blues
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
Cobalt blue, the artist said, takes her to Yemaya, the Yoruba goddess of the oceans, among other attributes.
It has also been noted that the artist pays homage throughout this series to those Africans who drowned in the Atlantic Ocean to avoid enslavement.
There is work here which shows vulnerability sometimes; and sure-footedness sometimes.
detail of Remembrance, 1985, below
Here also is the artist during rituals of supplication; and of gratitude:
Altar for Yemaja, c.2005, mixed media on wood
Barbara Bullock, American born 1938. Artist loan to the Woodmere Museum
Yemaja is the orisha who came to earth to prepare the way for human beings.
She is the mother of all people and is associated with the Ogun River, the primary source of Yoruba life.
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Barbara Bullock’s work began in figuration. She drew and painted in the 1970s and 1980s.
Thereafter she also took up collage and mixed media.
At this point, full-bodied representation gives way
to glimpses, silhouettes, patterning and suggestions of feet, hands, heads, figures, flora, and certain fauna in the welter of the world.
The artist incorporates symbols: snakes, lizards, birds, cowrie shells, gourds.
Bird, 1990s, gouache on paper
Barbara Bullock, American born 1938. Private collection loan to the Woodmere Museum of Art
She addressed her subjects repeatedly and the resulting ‘series’ in which these subjects are grouped stand as signposts along her path.
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This creative work is exemplary, luminous, and doubly instructive.
It is instructive for its substance.
It is also instructive in its use of the creative process to work out how to live a principled life following one’s own instinct, for one’s own health and flourishing. And for that of the community.
That is the hero’s journey.
The coherent presentation of Barbara Bullock’s work and philosophy and the example of autonomy in her life and work cannot be more timely or more valuable
in this time of disequilibrium: ecological and economic, religious (in the West) and political.
In this time of the cynical encouragement of toxic socio-political prejudices for mercenary, political and electoral ends.
In this time when the ‘intelligence’ of machines is being advanced by their ingestion of accumulated human factual knowledge without the foundation of human morality which, up to now, has worked to moderate somewhat our penchant to multiply our prejudices.
The presentation of Barbara Bullock’s work and philosophy and her example of courageous autonomy cannot be more timely or more valuable.
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Here in chronological order is some of the work on show at the Woodmere Museum or Art.
Figurative Forms, c. 1978, fabric, beads and shells
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
Barbara Bullock painted hundreds of figurative drawings and paintings in which she sought to explore eroticism (Jasmine Gardens).
She began this work in the mid-1970s and continued it through the 1980s.
This was the time – before the advent of AIDS – of sexual experimentation and liberation for both men and women in North America.
The artist was criticized for this work by some of her peers who did not think that women should address intimate subjects. This work was often also excluded from exhibitions.
These are examples of life-diminishing prejudices which had no effect on the artist’s decision to create this work.
Jasmine Gardens, 1980, pen and ink and watercolour on paper
Barbara Bullock, American born 1938. Artist loan to the Woodmere Museum of Art
Jasmine Gardens, 1980, pen and ink on watercolour on watercolour paper
Barbara Bullock, American born 1938. Artist loan to the Woodmere Museum of Art
Jasmine Gardens, pen and ink and watercolour on papyrus, 1980
Barbara Bullock, American born 1938. Artist loan to the Woodmere Museum of Art
The Whirling Dance, 1985, gouache and gold leaf on watercolour paper. From the series Chasing After Spirits
Barbara Bullock, American born 1938. Private collection loan to the Woodmere Museum of Art
Remembrance, 1985, acrylic on canvas
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art in 2020
A figure representing women as containers of knowledge.
Spirit Rain, 1988, gouache on watercolour paper. From the series Initiation
Barbara Bullock, American born 1938. On loan by the African American Museum, Philadelphia to the Woodmere Museum of Art
Dance is shown here as a primary technique to reach a transcendent state.
Costume Dancer and Two Bell Ringers, 1989, gouache on paper.
Barbara Bullock, American born 1938. Private collection on loan to Woodmere Museum of Art in 2020
This image from the website of the Pennsylvania Academy of Fine Arts, Philadelphia
Animal Healer, 1990, from the Healer Series, gouache on shaped paper
Barbara Bullock, American born 1938. Pennsylvania Academy of the Fine Arts on loan to Woodmere Museum of Art
Healing Altar, 1994, gouache on paper; from the series Healer
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
Healer, 1994, gouache and matte medium on watercolour paper. From the series Healer
Barbara Bullock, American born 1938. Promised gift to Woodmere Museum of Art
The smaller female form within the male form denotes the balance of attributes necessary for healers to effect healing.
The Healer series dealt with the AIDS epidemic.
In the Healer series, the altars, houses, animals and figures activate shamanic energy.
Waterbearers, 1996, watercolour on paper. From the series Journey
Barbara Bullock, American born 1938. Private collection loan to Woodmere Museum of Art
The artist memorialized an encounter in Mali with two young, spirited girls. They were carrying water.
Lizard Spirit, 1997; gouache collage on heavy watercolour paper. From the series Child in the Land of the Spirits
Barbara Bullock, American born 1938. Woodmere Museum of Art, Philadelphia
Child in the Land of the Spirits, 1997, from the series Child in the Land of the Spirits
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
Mirror, c. 2000; mixed media
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
Black Madonna, 2004, gouache on paper on board
Barbara Bullock, American born 1938. Private collection loan to Woodmere Museum of Art
Altar, 2007, wooden chair, wooden box, acrylic paint, paper, and found objects
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
An altar made after a journey through Mexico where the artist saw private, public and church altars.
Used Furniture, 2007, acrylic paint and matte medium on watercolour paper. From the series Katrina
Barbara Bullock, American born 1938. Woodmere Museum of Art, Philadelphia
The artist began this series while watching real-time reports of the effects of Hurricane Katrina on New Orleans.
What became clear was how poor communities had been made vulnerable by decades of systemic discrimination in public services.
Magic Theater 2: New Orleans Magic, 2007; acrylic paint on matte medium on watercolour paper, found objects, and mixed media. From the series Katrina
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
The artist began this series – in unaccustomed, sharp-edged, 3-dimensions – while watching real-time reports of the effects of Hurricane Katrina on New Orleans.
What became clear was how poor communities had been made vulnerable by systemic discrimination in public services.
Untitled (Ethiopia), 1998, watercolour and ink on paper
Barbara Bullock, American born 1938. Artist loan to the Woodmere Museum of Art
In the valley of the Omo River.
Lalibella, 2001, Flashe paint on watercolour paper, acrylic and gold leaf. From the Journey Series
Barbara Bullock, American born 1938. Pennsylvania Academy of the Fine Arts, Philadelphia from whose website this image
An interpretation of both the rock hewn Orthodox Christian churches of Lalibela in highland Ethiopia; and of the Lalibela cross. The bird represents the Holy Spirit.
Chasing After Spirits I, 2011, acrylic paint and matte medium on watercolour paper
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
Study for El Dancers (Installation at SEPTA 46th Street El Station) 2008, gouache on watercolour paper
Barbara Bullock, American born 1938. Private collection loan to Woodmere Museum of Art, Philadelphia
The artist’s work for a Philadelphia subway station was executed in enamel-painted aluminum. The figures represent specific genres of dance in the Black community and several well-known dancers.
On the left Bitches Brew as below.
Bitches Brew, 2014, acrylic paint and matte medium on watercolour paper
Barbara Bullock, American born 1938. Woodmere Museum of Art, Philadelphia
Transformation II, 2019, acrylic paint and matte medium on watercolour paper
Barbara Bullock, American born 1938. Artist loan to Woodmere Museum of Art
Young Girl, 2021, ink on paper
Barbara Bullock, American born 1938. Private collection loan to the Woodmere Museum of Art
The artist made portraits as a response to the grief and isolation of the Covid pandemic.
Untitled (Portrait #6), 2022, acrylic paint and matte medium on watercolour paper
Barbara Bullock, American born 1938. Artist loan to the Woodmere Museum of Art
The artist made portraits as a response to the grief and isolation of the Covid pandemic.
George Floyd (Portrait #7), 2022, acrylic paint and matte medium on watercolour paper
Barbara Bullock, American born 1938. Artist loan to Woodmere Art Museum
George Floyd, an African American, was murdered on May 25, 2020 on a street in Minneapolis, MN by a policeman during the course of an attempted arrest.
His death was followed by widespread protests in the US and abroad against the police treatment especially of minorities.
Otherworldly 1 (portrait 13), 2022, acrylic paint and matte medium on watercolour paper
Barbara Bullock, American born 1938. Artist loan to the Woodmere Museum of Art.
The artist made portraits as a response to the grief and isolation of the Covid pandemic.