{"object":[{"sourceId":{"label":"Source ID","value":"4578"},"copyright":{"label":"Copyright","value":"© 2016 Estate of Ronald Lockett / Artists Rights Society (ARS), New York"},"creditline":{"label":"Credit Line","value":"Gift of Ron and June Shelp"},"endDate":{"label":"End Date","value":"1996"},"sortNumber":{"label":"Sort Number","value":"2012    18    3"},"invno":{"label":"Accession number","value":"2012.18.3"},"medium":{"label":"Medium","value":"Rusted sheet metal, with nails on plywood"},"geographyPlaceregion":{"label":"Place/Region","value":"Bessemer"},"media":{"label":"Media","value":{"mediaURL":"https://collection.folkartmuseum.org/internal/media/dispatcher/4721/full","mediaDepartment":"Object Photographs","mediaType":"Image","mediaId":"4721"}},"title":{"label":"Title","value":"Fever Within"},"geographyCity":{"value":"Bessemer"},"textEntriesWebsitedisplaytext":{"value":"Ronald Lockett spent many hours at the house of his great-grandmother Sarah Dial Lockett, who also raised her nephew, renowned African American artist Thornton Dial. The Dials became an extended family for Lockett, whose parents divorced when he was young, and they encouraged his art-making. Lockett lived in Bessemer all his brief life, which was tragically shortened by an AIDS-related pneumonia. His art is filled with autobiographical references, social implications related to the black experience, and environmental concerns. As reported by author Paul Arnett, he \u201cwas intensely concerned with eschatology, which is the study of the end of things, whether the end of an individual life, the end of the age, or the end of the world.\u201d This notion is brilliantly embedded in the oxidized tin Lockett used for a late series of works. The material, which he salvaged from a decrepit tin barn once owned by the Dials, \u201cwas the DNA of the story his art had always told. . . .The autumnal colors and blotchy decay of the rust/paint suggest continual rebirth.\u201d The figure in the center of Fever Within\u2014made of nailed strips of tin\u2014apparently represents a woman that Lockett knew from his AIDS clinic who was fighting the disease. This is the third piece in a series that depicts a similar subject. Coincidentally, the silhouette recalls the posture and inner world of the naked woman in the famous Renaissance masterpiece The Tempest by Giorgione, and it summons the mysterious atmosphere of that philosophic-poetic painting.Valérie Rousseau, \u201cFever Within,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014. 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"},"geography":{"label":"Geography","value":"Bessemer"},"id":{"label":"Id","value":"155143"},"geographyState":{"value":"Alabama"},"geographyCountry":{"value":"United States"},"onview":{"label":"On View","value":"0"},"people":{"label":"Artist / Maker","value":{"displayOrder":"1","personRole":"Artist","personID":"1015","content":"Ronald Lockett"}},"classifications":{"label":"Classification(s)","value":"Sculpture"},"textEntries":{"label":"Text Entries","value":"Ronald Lockett spent many hours at the house of his great-grandmother Sarah Dial Lockett, who also raised her nephew, renowned African American artist Thornton Dial. The Dials became an extended family for Lockett, whose parents divorced when he was young, and they encouraged his art-making. Lockett lived in Bessemer all his brief life, which was tragically shortened by an AIDS-related pneumonia. His art is filled with autobiographical references, social implications related to the black experience, and environmental concerns. As reported by author Paul Arnett, he \u201cwas intensely concerned with eschatology, which is the study of the end of things, whether the end of an individual life, the end of the age, or the end of the world.\u201d This notion is brilliantly embedded in the oxidized tin Lockett used for a late series of works. The material, which he salvaged from a decrepit tin barn once owned by the Dials, \u201cwas the DNA of the story his art had always told. . . .The autumnal colors and blotchy decay of the rust/paint suggest continual rebirth.\u201d The figure in the center of Fever Within\u2014made of nailed strips of tin\u2014apparently represents a woman that Lockett knew from his AIDS clinic who was fighting the disease. This is the third piece in a series that depicts a similar subject. Coincidentally, the silhouette recalls the posture and inner world of the naked woman in the famous Renaissance masterpiece The Tempest by Giorgione, and it summons the mysterious atmosphere of that philosophic-poetic painting.Valérie Rousseau, \u201cFever Within,\u201d exhibition label for Self-Taught Genius: Treasures from the American Folk Art Museum. Stacy C. Hollander and Valérie Rousseau, curators. New York: American Folk Art Museum, 2014. 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":"1996"},"displayDate":{"label":"Date","value":"1996"},"exhibitions":{"label":"Exhibitions","value":{"exhibitionDisplayDate":"Tuesday, May 13, 2014 - Sunday, August 17, 2014","exhibitionEndISODate":"2014-08-17","exhibitionID":"171","exhibitionISOBeginDate":"2014-05-13","exhibitionBeginDate":"2014","exhibitionTitle":"Self-Taught Genius","exhibitionEndDate":"2014"}},"dimensions":{"label":"Dimensions","value":"53 1/4 x 51 x 5 1/2 \" (135.3 x 129.5 x 14 cm)"}}]}