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Picture

Beyond the Physical World: Abstraction
from the ​Mott-Warsh Collection

September 13, 2024 - January 25, 2025

Abstraction has been the art style of choice for many American artists since the end of the Second World War and a favorite of Mott-Warsh Collection co-founder, Maryanne Mott. Eschewing representational imagery from the physical world, abstractionists make elements such as form, line, shape, color, and texture the subject matter of their compositions. Focusing on process and materials, these artists create an innovative language that allows them to communicate emotions, ideas, and experiences.
 
This exhibit featured a portion of the engaging abstract paintings, sculptures, and works on paper that can be found in the Mott-Warsh Collection. Artists represented in this show include Ranti Bam, McArthur Binion, Lula Mae Blocton, Richard Hunt, Hugo McCloud, Allie McGhee, Mary Lovelace O’Neal, Howardena Pindell, Mildred Thompson, William T. Williams, Hale Woodruff, and more.
 
MW Black Box Gallery
Leaning into Abstraction

This compilation of images and excerpts taken from interviews with artists represented in the Mott-Warsh Collection shed light on their motivation to pursue abstraction as a means of creative expression. 

Installation Photos of Exhibit

Photography by Tim Thayer.

Select Artworks

Click on an image to enlarge.
Cheryl Warwick, “Plenty and Envy”, 1998, Acrylic and graphite on paper, 20 in. x 28 in. © Courtesy of Dolan/Maxwell
Hale Woodruff, “Untitled”, 1950, Oil on canvas, 21 in. x 43 in. © Elnora, Inc. / E.T. Williams
Hale Woodruff, “The Oracle”, 1971, Oil on canvas, 50 in. x 40 in. © Elnora, Inc. / E.T. Williams
Martin Puryear, “Three Holes”, 2002, Etching-ink on paper, 29 in. x 34 in. © Courtesy of Paulson Bott Press
Robert Blackburn, “Organic Thing”, 1970, Intaglio-ink on paper, 13 1/2 in. x 13 1/2 in. © The Estate of Robert Blackburn. Used with permission.
Howardena Pindell, “Untitled #6”, 2003, Mixed media collage on paper, 7 7/8 in. x 7 7/8 in. x 1/2 in. © Howardena Pindell. Courtesy of Mott-Warsh Collection, Flint, MI.
Howardena Pindell, “Untitled #11”, 2003, Mixed media collage on paper, 8 1/2 in. x 8 1/2 in. x 1/2 in. © Howardena Pindell. Courtesy of Mott-Warsh Collection, Flint, MI.
William Majors, “Study VIII for Paintings – The Blues”, 1976, Graphite and colored pencil on paper, 18 3/4 in. x 24 in. © Susan Stedman, William Majors Estate
William Majors, “Study VIII for Paintings – The Blues”, 1976, Graphite and colored pencil on paper, 19 in. x 24 in. © Susan Stedman, William Majors Estate
Howardena Pindell, “Japan Series: Miajima”, 1982, Mixed media on canvas, 72 in. x 50 in. © Howardena Pindell. Courtesy of Mott-Warsh Collection, Flint, MI.
Charles Searles, “Observer”, Date unknown, Acrylic on wood, 48 in. x 48 in. x 8 in. © Searles Spicer Estate
Melvin Edwards, “Sekuru Again”, 1999, Steel, 15 in. x 13 in. x 10 3/4 in. © Melvin Edwards
Allie McGhee, “Book of Turns”, 2005, Acrylic and enamel on canvas, 36 in. x 24 in. © Courtesy of Allie McGhee
Allie McGhee, “Blue Ring Orange”, 2005, Acrylic and enamel on wood, 48 in. x 48 in. © Courtesy of Allie McGhee
Sangoyemi Ogunsanya. “Kumbalamba”, 1996, Mixed media collage on paper, 19 in. x 24 in. © Sangoyemi Ogunsanya
Sam Gilliam, “Muse II”, 1982, Acrylic on canvas, 73 in. x 29 in. © Sam Gilliam
Chakaia Booker, “Random Traits”, 2001, Rubber and metal on wood, 42 in. x 34 in. x 47 in. © Chakaia Booker
William T. Williams, “Sweet Pat”, 1971, Acrylic on canvas, 84 in. x 84 in. © William T. Williams
Mary Lovelace O’Neal, “Little Brown Girl with Your Hair in a Curl/Daddy", 1973, Charcoal and pastel on paper, 18 in. x 24 in. © Maryl Lovelace O’Neal
Mary Lovelace O’Neal, “...And a Twinkle in your Eye/Daddy", 1973, Charcoal and pastel on paper, 18 in. x 24 in. © Maryl Lovelace O’Neal
Nefertiti Goodman, “Zavalou: A Silver Lining”, 1996, Watercolor on paper, 38 in. x 22 in. © Nefertiti Goodman
John T. Scott, “Untitled”, Date unknown, Acrylic on metal, 36 in. x 79 in. x 14 in. © Courtesy of Arthur Roger Gallery
Martin Payton, “Augusta”, 1987, Acrylic on metal, 24 1/2 in. x 18 in. x 19 in. © Martin Payton
Richard Hunt, “Wave and Branch”, 2000, Bronze, 38 3/4 in. x 40 in. x 34 in. © Richard Hunt
Mary Lovelace O’Neal, “Racism is Like Rain, Either it is Raining or It Is Gathering Somewhere", 1993, Acrylic and pigment on canvas, 81 in. x 138 in. © Maryl Lovelace O’Neal
Mildred Thompson, “The Five Mysteries (The First Mystery)”, 1990, Etching-ink on paper, 30 in x 22 1/2 in. © Mildred Thompson
Mildred Thompson, “The Five Mysteries (The Second Mystery)”, 1990, Etching-ink on paper, 22 1/2 in. x 30 in. © Mildred Thompson
Mildred Thompson, “The Five Mysteries (The Third Mystery)”, 1990, Etching-ink on paper, 22 1/2 in. x 30 in. © Mildred Thompson
Mildred Thompson, “The Five Mysteries (The Fourth Mystery)”, 1990, Etching-ink on paper22 1/2 in. x 30 in. © Mildred Thompson
Mildred Thompson, “The Five Mysteries (The Fifth Mystery)”, 1990, Etching-ink on paper, 30 in x 22 1/2 in. © Mildred Thompson
Sam Gilliam, “For Xavier”, 1990, Serigraph-ink on paper, 28 3/4” x 37 5/8 in. © Sam Gilliam
Mildred Thompson, “String Theory II”, 1999, Oil on canvas, 72 in. x 50 in. © Mildred Thompson
Jack Whitten, “Southern Exposure”, 1986, Acrylic on canvas, 40 in. x 50 in. © Jack Whitten Estate
Al Loving, “Untitled (Septahedron)”, c. 1970, Screenprint-ink on paper, 19 1/2 in. x 22 1/4 in. © Courtesy Mara Kearney Loving
John Hughes, “Untitled”, 1997, Paper, steel, copper, 49 in. x 25 in. x 28 in. © John Hughes
McArthur Binion, “DNA: Sepia: XV”, 2016, Oil and paper on board72 in. x 96 in. © McArthur Binion
Carole Harris, “Things Ain't What They Used To Be”, 2018, Cotton, linen, muslin, acrylic paint, and thread, 53 in. x 41 in. © Carole Harris
Al Loving, “Stretch”, 1990, Mixed media collage on paper, 40 in. x 26 in. © Courtesy the Estate of Al Loving and Garth Greenan Gallery, New York
Lula Mae Blocton, “Orange Clear”, 1991, Oil on canvas, 36 in. x 54 in. © Lula Mae Blocton
Photography by Tim Thayer.

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