From the Roots I Am2017Sheet: 20 x 14 1/2 " (50.8 x 36.8 cm)Archival pigment print
from the edition of 50Gift of Lowery Stokes Sims in memory of David Driskell2020.4.201570637477Lonnie HolleyPrints© Artist Rights Society (ARS), New Yorkhttp://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster27103United StatesNew YorkWorks on PaperAmerican Folk Art MuseumObject 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.orgLonnie Holley’s art introduces political, autobiographical, and poetic narratives, which are transposed in the mnemonic quality of the material he uses for his assemblages and their titles: Chemical Hair and From the Roots I am. Evocative in this regard, these two works offered to AFAM come from the personal collection of celebrated curator Lowery Stokes Sims, who nourished a consistent interest for the works of African American self-taught artists like Bill Traylor in parallel with her contribution to the larger art conversation, first at the Met and later at MAD.http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster27103http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster27103http://nodes.emuseum.com/BU1BGBAG/apis/emuseum/network/v1/vocabularies/termMaster2710320172017 2020 4 2 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.orgLonnie Holley’s art introduces political, autobiographical, and poetic narratives, which are transposed in the mnemonic quality of the material he uses for his assemblages and their titles: Chemical Hair and From the Roots I am. Evocative in this regard, these two works offered to AFAM come from the personal collection of celebrated curator Lowery Stokes Sims, who nourished a consistent interest for the works of African American self-taught artists like Bill Traylor in parallel with her contribution to the larger art conversation, first at the Met and later at MAD.