{"object":[{"sourceId":{"label":"Source ID","value":"2278"},"creditline":{"label":"Credit Line","value":"Gift of T. Marshall Hahn Jr."},"endDate":{"label":"End Date","value":"1979"},"sortNumber":{"label":"Sort Number","value":"1995    22    2"},"invno":{"label":"Accession number","value":"1995.22.2"},"geographyCountry":{"value":"United States"},"medium":{"label":"Medium","value":"Paint on found wood"},"onview":{"label":"On View","value":"0"},"geographyPlaceregion":{"label":"Place/Region","value":"Miami"},"media":{"label":"Media","value":{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/2601/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"2601"}},"title":{"label":"Title","value":"Assemblage of Crowd Scenes"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"960","content":"Purvis Young"}},"geographyCity":{"value":"Miami"},"classifications":{"label":"Classification(s)","value":"Paintings"},"textEntries":{"label":"Text Entries","value":["PAINTING","A stint in prison as a young man opened up Purvis Young to the world of art. While serving time for armed robbery, he discovered his creative talent and studied the art mural tradition, particularly urban murals from the 1960s and 1970s, such as Chicago\u2019s Wall of Respect. He also admired canonized masters\u2014El Greco, Rembrandt, and van Gogh, among others. Young distilled all these influences into his paintings, books, and assemblages. His first project in his neighborhood of Overtown\u2014a desolate section of urban Miami\u2014was an impromptu mural he painted on his block in the late 1960s; sadly, it no longer exists. He has since received several public art commissions, including one in the House of Blues restaurant in Orlando, Florida.Knowing that his first attempt at artmaking was an outdoor mural, it is not surprising that he continued to work on a large scale. Extremely prolific, Young filled his vast home studio in a warehouse building with stacks of works, all covered with his trademark subjects\u2014writhing crowds of people, arms upraised; powerful horses; tall, commanding pregnant women; armies of trucks and clusters of buildings.Assemblage of Crowd Scenes is a large piece that recalls Robert Rauschenberg\u2019s Combine paintings. Many small elements make a whole, tied together by similarly colored, rough-hewn frames. Not presenting an overall narrative, the various images are turned at different angles, though the entire piece is weighted by the large green rectangular painting at the base, which anchors the otherwise quiet palette. The activity within the painting, however, stands in stark contrast to the muted colors. Seething figures gather with upraised arms, hips cocked, in a stance that is simultaneously celebratory and urgent. This contradiction creates an energy in each \u201csnapshot\u201d and unifies the whole. A few scenes include trucks and vehicles, and in one composition the all-seeing eye, a familiar Young motif, is apparent. According to the artist, this eye, when painted blue, represents oppression by the white man. Assemblage of Crowd Scenes presents a tremendous visual cacophony that underscores the often fast, loud, and cluttered life of its maker\u2019s urban environs. Naturally, Young\u2019s figures are drawn as mere gestures of form\u2014the artist had little time to document the fast-moving action that unfolded daily in the city around him.Brooke Davis Anderson, \"Assemblage of Crowd Scenes,\" in Stacy C. Hollander, American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 401.","Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org"]},"beginDate":{"label":"Begin Date","value":"1975"},"textEntriesWebsitedisplaytext":{"value":["PAINTING","A stint in prison as a young man opened up Purvis Young to the world of art. While serving time for armed robbery, he discovered his creative talent and studied the art mural tradition, particularly urban murals from the 1960s and 1970s, such as Chicago\u2019s Wall of Respect. He also admired canonized masters\u2014El Greco, Rembrandt, and van Gogh, among others. Young distilled all these influences into his paintings, books, and assemblages. His first project in his neighborhood of Overtown\u2014a desolate section of urban Miami\u2014was an impromptu mural he painted on his block in the late 1960s; sadly, it no longer exists. He has since received several public art commissions, including one in the House of Blues restaurant in Orlando, Florida.Knowing that his first attempt at artmaking was an outdoor mural, it is not surprising that he continued to work on a large scale. Extremely prolific, Young filled his vast home studio in a warehouse building with stacks of works, all covered with his trademark subjects\u2014writhing crowds of people, arms upraised; powerful horses; tall, commanding pregnant women; armies of trucks and clusters of buildings.Assemblage of Crowd Scenes is a large piece that recalls Robert Rauschenberg\u2019s Combine paintings. Many small elements make a whole, tied together by similarly colored, rough-hewn frames. Not presenting an overall narrative, the various images are turned at different angles, though the entire piece is weighted by the large green rectangular painting at the base, which anchors the otherwise quiet palette. The activity within the painting, however, stands in stark contrast to the muted colors. Seething figures gather with upraised arms, hips cocked, in a stance that is simultaneously celebratory and urgent. This contradiction creates an energy in each \u201csnapshot\u201d and unifies the whole. A few scenes include trucks and vehicles, and in one composition the all-seeing eye, a familiar Young motif, is apparent. According to the artist, this eye, when painted blue, represents oppression by the white man. Assemblage of Crowd Scenes presents a tremendous visual cacophony that underscores the often fast, loud, and cluttered life of its maker\u2019s urban environs. Naturally, Young\u2019s figures are drawn as mere gestures of form\u2014the artist had little time to document the fast-moving action that unfolded daily in the city around him.Brooke Davis Anderson, \"Assemblage of Crowd Scenes,\" in Stacy C. Hollander, American Anthem: Masterworks from the American Folk Art Museum (New York: Harry N. Abrams in association with American Folk Art Museum, 2001), 401.","Object information is a work in progress and may be updated with new research. Records are reviewed and revised, and the American Folk Art Museum welcomes additional information.　To help improve this record, please email photoservices@folkartmuseum.org"]},"collections":{"label":"Collections","value":["Three Dimensional Works","eMuseum - Collection Highlights","Paintings"]},"geography":{"label":"Geography","value":"Miami"},"displayDate":{"label":"Date","value":"Late 1970s"},"exhibitions":{"label":"Exhibitions","value":[{"exhibitionDisplayDate":"Tuesday, January 16, 1996 - Sunday, February 25, 1996","exhibitionEndISODate":"1996-02-25","exhibitionID":"78","exhibitionISOBeginDate":"1996-01-16","exhibitionBeginDate":"1996","exhibitionTitle":"Expressions of Trust","exhibitionEndDate":"1996"},{"exhibitionDisplayDate":"Tuesday, November 16, 2004 - Sunday, August 23, 2009","exhibitionEndISODate":"2009-08-23","exhibitionID":"132","exhibitionISOBeginDate":"2004-11-16","exhibitionBeginDate":"2004","exhibitionTitle":"Folk Art Revealed","exhibitionEndDate":"2009"}]},"id":{"label":"Id","value":"153755"},"geographyState":{"value":"Florida"},"dimensions":{"label":"Dimensions","value":"98 1/2 × 58 × 2 1/2\""}}]}