Issue 5.The Heretics. Heresies was, Ms. Amos wrote in Art Journal, “the group I had always hoped existed: serious, knowledgeable, take-care-of-business feminists giving time to publish the art and writings of women.”Ms. Emma Amos, Thank You Jesus for Paul Robeson (and for Nicholas Murray's Photograph - 1926), 1995. In 2017 she was featured in two important surveys: “A career retrospective, “Emma Amos: Color Odyssey,” is scheduled to open at the Georgia Museum of Art in Athens, Ga., in 2021, and travel to the Philadelphia Museum of Art and the Munson-Williams-Proctor Arts Institute in Utica, N.Y. She cited well-known White, male artists, such as It was not until the early 1980s, after she began teaching at Mason Gross of Arts at Farrington, Lisa E. "Emma Amos: Art as Legacy." In May 1965, Spiral rented a gallery space at 147 Spiral stopped meeting shortly after 1965, when rising rent prices lost them their gallery and meeting space on the Amos combined printmaking, painting and textile in her As well as bordering her paintings with African fabric, Amos [Amos's] sequence of paintings is anecdotal, but the objective of each is the same: to argue constructively against norms in the field of art as well as society. Where Mr. Freud’s figure stands in a bare studio, Ms. Amos places herself in an environment of vertiginously tilting planes and swirling color patterns, as if to suggest that old orders of power and identity — sexual and racial — were shifting and giving way.Although long recognized as an important figure in contemporary American art, and frequently exhibited, Ms. Amos gained mainstream museum notice only within the past few years.
OFTEN DESCRIBED as the youngest and only female member of Spiral, the short-lived artist collective co-founded more than half a century ago by Romare Bearden, Charles Alston, Hale Woodruff, and Norman Lewis, Emma Amos (1937-2020) bridged that historic period and the current moment. Moreover, bordering her paintings with African fabrics, Amos sews, appliques, embroiders and occasionally quilts with her own weavings, Kente cloth and batiks. Now, as the only woman admitted to Spiral, she learned that gender was also a liability to acceptance within the black art community.In an article published in Art Journal in 1999, she recalled that although she felt honored to be part of Spiral, she thought it “fishy” that the group had not asked older, established women artists to join. “I probably seemed less threatening to their egos,” she said, “as I was not yet of much consequence.”The art world, she concluded, was “a man’s scene, black or white.” And she knew that for her, art and activism would be inseparable.Emma Veoria Amos was born on March 16, 1937, in Atlanta from a lineage that was, by her own account, “African, Cherokee, Irish, Norwegian and God knows what else.” Her parents, India DeLaine Amos and Miles Green Amos, were cousins. Amos’s paintings from the 1960s and ’70s often depicted, in bright Pop colors, scenes of black middle-class domestic life, a subject little explored in contemporary art at the time. Amos is quintessentially postmodern because she questions the validity of canonical traditions and institutions that for so long have been biased against the inclusion of women and artists of color, especially blacks.Among the variety of mixed media that Amos uses in her work, the main subject is often During her time at Central School of Art, Amos studied Amos used her art to explore themes of race and sex, contending that the very act of being black while an artist is political in nature. Emma Amos, Diagonal Diver, 1985. "Interview: Emma Amos." Early in her career she created brightly colored scenes of black middle-class domestic life. Print.Patton, Sharon F. "Emma Amos: Thinking Paint" catalogue notes, Oxford University Press, 1998. Emma Amos, Maybe If I Stand On My Head, 1999. Amos was not expecting the level of In New York, Amos joined the printmaking studios of At the age of 23, Amos had a meeting with Woodruff for a Amos felt that joining Spiral would be useful because she did not know many artists in New York at the time. Her husband, Mr. Levine, died in 2005.The fact that Ms. Amos’s art complicates, rather than narrows, notions of identity, racial and otherwise, makes it pertinent to the present moment, when binary thinking of all kinds is under scrutiny. No More Nice Girls Productions, 2009. She remained a member until the group disbanded in 1966.By that time, she had completed her graduate degree; married Robert Levine, a writer and early computer consultant; and begun a long teaching career — first at the Newark School of Fine and Industrial Art in New Jersey, then at the Skeptical of the overwhelmingly white feminist movement, she held back from involvement in feminist politics until 1984, when the writer Lucy R. Lippard urged her to join the Heresies Collective and contribute to its journal. Her responses are reactive and reflexive; she ably uses her paintings as a means to analyze and assess cultural production, authorship, meaning and consumption. Born 16 March 1937. Emma Amos, Why We Left the Beach, 1987. At the same time, her careerlong belief in art as a form of ethical resistance carries new weight when the promises of the civil rights era seem again under threat.“It’s always been my contention,” she once said, “that for me, a black woman artist, to walk into the studio is a political act.”Emma Amos, Painter Who Challenged Racism and Sexism, Dies at 83The artist Emma Amos with her 2006 work “Head First.” Her paintings often depicted women flying or falling.Ms. Replacing the flag’s field of stars is a photographic image of a Southern sharecropper’s shack. Emma Amos, a pioneering artist best-known for her vivid figurative paintings exploring gender, race, and power through an inventive approach to color and form, has died at age eighty-three.
Emma Amos, Hits, 1983.
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