The Dirty South; Contemporary Art, Material Culture, and the Sonic Impulse uses contemporary Southern hip hop as a portal into the constellation of aesthetic tropes integrating creative expression across musical genres and artistic media to show the legacy and impact of Black expression on American culture. By tracing the roots and aesthetic leanings of hip hop, the exhibition explores the sonic and visual parallels that provide the foundation not only for today’s musical expression, but for contemporary art and music over the past century.
The Dirty South; Contemporary Art, Material Culture, and the Sonic Impulse
RaMell Ross (American, born 1982), Caspera, 2019, Inkjet print, mounted on dibond Virginia Museum of Fine Arts, National Endowment for the Arts Fund for American Art. MC2020.56 Image: © RaMell Ross
Rodney McMillian (American, born 1969), From Asterisks in Dockery, 2012, vinyl, thread, wood, paint, light bulb. Courtesy of the artist and Vielmetter Los Angeles
Fahamu Pecou (American, born 1975), Dobale to the Spirit, 2017, acrylic on canvas. Courtesy Fahamu Pecou, Image © Dr. Fahamu Pecou, Courtesy Studio KAWO/Fahamu Pecou Art
Minnie Evans (American, 1892-1987), Untitled, 1946-1968, pencil, ink, crayon, and oil on paperboard. High Museum of Art, Atlanta, purchased through funds provided by an anonymous donor to Collectors Evening 2011, 2011.4, Image © Estate of the artist
Nari Ward (American, born Jamaica, 1963), Xquisite Liquorsoul, 2009, metal and neon sign, wood with artificial flowers, shoelaces, shoe tips. Virginia Museum of Fine Arts, Aldine S. Hartman Endowment Fund, Eric and Jeanette Lipman Fund, Arthur and Margaret Glasgow Endowment, 2019.283a-b. Courtesy the artist and Lehmann Maupin, New York, Hong Kong, Seoul, and London
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“It is an honor to be part of The Warhol Foundation’s mission to support the visual arts coupled with its commitment to specifically support the voices of women, POC, Native Americans, and LGBTQ. It is simply thrilling to be part of an organization where we get to see these values writ large and implement real change in real life ways in the visual arts community that still so needs to move forward in terms of social justice, equality, and diversity. We put our money where our mouth is. How many institutions actually do that?”
Deborah Kass, Artist