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Ernie Barnes Retrospective Brings Renewed Attention to African American Artist Who Found Fame After Playing Pro Football
Sep 6, 2019
“The Sugar Shack” (1976) by Ernie Barnes
An inveterate sketcher, Barnes worked hard at mastering his portrayal of the human body and its complex form. He captured his subjects in a neo-mannerist style. His elongated figures, both lithe and muscular, exude energy and movement. This signature approach is exemplified in “The Sugar Shack,” his most celebrated and iconic painting.
Barnes is the rare artist whose most popular work is recognized from television. “The Sugar Shack” (1976) was regularly featured on Norman Lear’s 1970s sitcom “Good Times.”
The memorable painting depicts a fascinating scene, evoking a rural juke joint with its exposed rafters and densely populated dance floor. Unbridled, men and women move and contort their bodies in response to the live music and each other. The rhythm, energy, and heat is palpable. That night looks like a good time.
The inspiration for the painting was a dance at the Durham Armory, a local space where the likes of Chubby Checker, Bo Diddley, and even Duke Ellington performed. Barnes made the painting based on a childhood memory. In 1952, the artist snuck into the Armory. He was 13 years old at the time. Recalling the scene, Barnes has said, “It was the first time my innocence met with the sins of dance.” More than two decades later, he translated what he saw that night onto canvas.
“The Sugar Shack” is showcased in “Ernie Barnes: A Retrospective,” which is on view at the California African American Museum in Los Angeles through this weekend. Curated by Bridget R. Cooks, associate professor of African American studies and art history at the University of California at Irvine, the exhibition offers a rare opportunity see a broad selection of works by Barnes.
The retrospective features art and objects exploring his life and work. More than 50 works made between 1962 and 2007 are on view—paintings of athletes, a drum major, community gatherings, and radiant women. The retrospective follows “The North Carolina Roots of Artist Ernie Barnes,” which was recently on view at the North Carolina Museum of History in Raleigh for nearly a year (June 29, 2018-May 27, 2019). The two exhibitions are the first to survey the work of Barnes since his death, a decade ago in 2009.
ERNIE BARNES, Detail of “Stored Dreams,” 1962-94 90 (acrylic on canvas). | Collection of Judy and Larry Howard, © Ernie Barnes Family Trust, Photo by Victoria L. Valentine
ERNIE BARNES, “Three Red Lineman,” (acrylic on canvas). | Ernie Barnes Family Trust, Photo by Victoria L. Valentine
ERNIE BARNES, Detail of “Fast Break,” 1987 (acrylic on canvas). | Collection of The Los Angeles Lakers Inc., © Ernie Barnes Family Trust, Photo by Victoria L. Valentine
ERNIE BARNES, “Miss America,” 1970 (oil on canvas, 49 in. x 37 inches). | Collection of California African American Museum, © Ernie Barnes Family Trust
Installation view of “Ernie Barnes: A Retrospective,” California African American Museum, 2019. Shown, From left, “Room Full A’Sistahs” (1994), “Study for Walk in Faith” (2000), and “Screen Door” 2007 (unfinished, in background). | Photo by Victoria L. Valentine
From left, Ernie Barnes, Self portrait, 1968. | © Ernie Barnes Family Trust; and Ernie Barnes, Sports Artist of the 1984 Olympic Games – March 6, 1984 at LA Coliseum. | Photo by Chan Bush, © Ernie Barnes Family Trust
From left (2), ERNIE BARNES, “Hoop Dreams,” 1978 (acrylic on canvas). | Collection of Paul and Brenda Hudson; and ERNIE BARNES, “Window Wishing,” 1993 (acrylic on canvas). | Ernie Barnes Family Trust, Photos by Victoria L. Valentine
ERNIE BARNES, “Anniversary,” 1980 (acrylic on canvas). | Collection of Melissa Manchester, Photo by Victoria L. Valentine
ERNIE BARNES, “Double Dutch,” 1989 (acrylic on canvas). | Private Collection, Photo by Victoria L. Valentine
Installation view of “Ernie Barnes: A Retrospective,” California African American Museum, 2019. Shown, From left, “Screen Door” (2007), an unfinished work in progress, “Late Night DJ” (1980), and “Double Dutch” (1989). | Photo by Victoria L. Valentine
ERNIE BARNES, “Late Night DJ,” (acrylic on canvas). | Collection of Ted Lange, Photo by Victoria L. Valentine
ERNIE BARNES, Detail of Friendly Friendship Baptist Church (acrylic on canvas). | The Hardy Nickerson Family Collection, © Ernie Barnes Family Trust, Photo by Victoria L. Valentine
Curated by Bridget R. Cooks with Vida L Brown, visual arts curator and program manager at CAAM, “Ernie Barnes: A Retrospective” is on view at the California African American Museum, Los Angeles, May 8-Sept. 8, 2019
TOP IMAGE: ERNIE BARNES, “The Sugar Shack,” 1976 (acrylic on canvas, 36 in. x 48 inches). | Collection of Jim and Jeannine Epstein, © Ernie Barnes Family Trust
ERNIE BARNES, “Pool Hall,” circa 1970 (oil on canvas, 24 in. x 36 inches). | Collection of California African American Museum, © Ernie Barnes Family Trust
ERNIE BARNES, “Study for Spoken Word,” 2006 (acrylic on canvas). | Photo by Victoria L. Valentine
Installation view of “Ernie Barnes: A Retrospective,” California African American Museum, 2019. Shown, From left, “Dead Heat” 2004, “Head Shot” (1999), “Title IX” (1999). | Photo by Victoria L. Valentine
ERNIE BARNES, “The Rhythmic Gymnast,” 1984 (acrylic on canvas, 24 in. x 36 inches). | © Ernie Barnes Family Trust
From left (2), ERNIE BARNES, Detail of “In This Corner,” 1999 (acrylic on canvas). | Ernie Barnes Family Trust, © Ernie Barnes Family Trust; and ERNIE BARNES, “The Competitive Spirit,” 2005 (acrylic on canvas). | Ernie Barnes Family Trust, Photos by Victoria L. Valentine
ERNIE BARNES, “Study for Walk in Faith,” 2000 (acrylic on paper). | Photo by Victoria L. Valentine
ERNIE BARNES, Detail of “Room Full A’Sistahs,” 1994 (acrylic on canvas). | The Hardy Nickerson Family Collection, © Ernie Barnes Family Trust, Photo by Victoria L. Valentine
Installation view of “Ernie Barnes: A Retrospective,” California African American Museum, 2019. Shown, At left, the wood chair Barnes used in his studio for more than four decades. | Photo by Victoria L. Valentine
@Surreal @Colicat @Lootha VanDraws @Stormbreaker @ThaBoyBam
and found alot of cool stuff
