Liberating Humanity From Within

Ernie Barnes

Exhibition video with spoken word poetry by J. Ivy & Playlist by DJ Niena Drake

Artist Ernie Barnes (1938-2009) created some of the twentieth century’s most iconic images of African American life.  Known for his unique “neo-mannerist” approach of presenting figures through elongated forms, he captured his observations of life growing up in segregated Durham, North Carolina, playing professional football in the NFL (1960-1964), and living in Los Angeles.  Popularly admired, but not yet widely known within the mainstream art world, Barnes is revered by a diverse group of collectors and admirers across the country.

 

In pop culture, the art of Ernie Barnes appears in television, movies and music album covers, especially his famous dance hall scene, The Sugar Shack.   Barnes is the first American professional athlete to become a noted painter.  He was commissioned to paint artwork for corporations, musicians, celebrities and professional sports teams.

 

His work is currently held in the collections of the African American Museum in Philadelphia, California African American Museum and the Pro Football Hall of Fame, as well as the American Sport Art Museum and Archives in Daphne, Alabama. In 2019, a retrospective of his work was exhibited at the California African American Museum, and in 2018-19 an unprecedented exhibition at the North Carolina Museum of History.

The Sugar Shack
“The experience that placed this image in my mind occurred when I was around 13 or 14. I snuck into a Rhythm and Blues concert (at the Durham Armory in North Carolina) and saw people moving on the dance floor with raw passion. My little Christian mind was shocked. What I observed was the no inhibition, no self-consciousness or rigidity, just fluid movement while the music punctuated every bump and grind. I stood among the dancing with my mouth dropped and nobody noticed me. It was an incredible experience. In later years, when I became a man, music and dancing were an integral part of my identity. As a professional athlete, I was able to move about the country and explore every dive I could find and there was always a Sugar Shack. When it came time to apply my talents to structuring the cultural properties of Black people, dance was one of them. Naturally my mind went back to that first experience. The Sugar Shack is a composite of every club where people gather to dance.”
Bank Shot, Corner Pocket
“The pool hall was a place that I couldn’t go when I was a kid. It wasn’t a Christian thing to do. And being raised in a very religious home had somebody told my mother that I was in a pool hall it was all over for me. But I was intrigued when I went past and heard the laughter; saw people shooting pool.”
The Graduate 
The Graduate is reflective of my growing up in North Carolina. There were times when I would see students who were receiving their diploma from Hillside wear their cap and gown from home all the way to school and then back again. This was one of the first visions of education and action I had as a young boy. So the painting is reflective of one of pride…He’s proud of what he has accomplished. He feels invigorated by the fact that he’s gotten his degree. He’s going somewhere to do something.”
Sticks and Stones
“This expresses the thanks of a mother, grandmother, that two young people have been able to flower and to graduate. She’s thanking herself, she’s thanking God, she’s thanking the world for this gift.”
Sam & Sidney
“There isn’t much difference between Willard Street where I grew up (in Durham, North Carolina) and Fairfax.”
Good Times
“To begin with I went to see Norman Lear about an exhibition I was having in Atlanta, Georgia at the High Memorial Museum. I wanted him to be one of the backers for my show.  During my conversation with him he learned that I had always had an interest in art since childhood. That I had developed it to the point where I was having a show at a museum was intriguing to him. He was working on a project at the time which he called ‘The Black Family.’ He said you know I have an idea. We have a 16-18 year-old kid in the show that we don’t know what to do with. Maybe we can make him a box boy at the supermarket. Have some off jobs after school, but now after talking with you and learning of your interest in art, I feel that we can make him an aspiring artist. And you can create the paintings that will be used on the show. That way I can contribute to the exhibition in Atlanta. I said fine. So that’s the way it began.”
The Runway 
“I love how light hits the folds in fabrics to create shadows and movement.  In fashion, there’s much going on, including the attitude and confidence.” 
One-On-None
“In backyards of dirt, where the nails have been picked up and the ground has hardened after short summer rains, a group of young men play with a tattered basketball and a peach basket goal.  I saw this many times in North Carolina.”
Parting Ways 
I’m always intrigued by the mannerisms and energy of women. I placed this trio in front of a bookstore, with the sidewalk reflecting the light rain. They’re off to a fresh new start, each going their separate ways, to touch base again later.” 

Ernie Barnes

The Sugar Shack II, 1976

Acrylic on canvas

36 in x 48 in

Ernie Barnes

Shakedown, 2002

Acrylic on canvas

48 in x 24 in

Ernie Barnes

Blue Dress Dancer, 2020

Bronze

12 in x 5.25 x 6 inches

Edition of 25

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Ernie Barnes

Bank Shot, Corner Pocket, 1982

Acrylic on canvas

36 in x 48 in

Ernie Barnes

Honeymoon Sweet, 1975

Acrylic on canvas

18 in x 36 in

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Ernie Barnes

Screen Door, 2007

Acrylic on canvas

78 in x 38 in

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Ernie Barnes

Body Voice, 2007

Acrylic on canvas

36 in x 24 in

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Ernie Barnes

The Runway, 2007

Acrylic on canvas

40 in x 30 in inches

Ernie Barnes

The Graduate, 1972

Acrylic on canvas

14 in x 18 in

Ernie Barnes

Portrait of Mrs. Wiggles, 1975

Acrylic on canvas

30 in x 15 in

Ernie Barnes

Jake, 1972

Acrylic on canvas

24 in x 36 in

Ernie Barnes

Habitat, 2007

Acrylic on canvas

24 x 48 inches

Ernie Barnes

Parting Ways, 2007

Acrylic on canvas

40 in x 30 in

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Ernie Barnes

Sam & Sidney, 1988

Acrylic on canvas

24 in x 20 in

Ernie Barnes

Angel in Training, 2007

Acrylic on canvas

48 in x 36 in

Ernie Barnes

Back in The Day, 2007

Acrylic on canvas

20 in x 30 in

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Ernie Barnes

A Walk in Faith, 2000

Acrylic on canvas

48 in x 60 in

Ernie Barnes

Sticks and Stones, 2007

Acrylic on canvas

48 in x 36 in

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Ernie Barnes

A Dream Deferred, 1996

Acrylic on canvas

48 in x 60 in

Ernie Barnes

Icons of Humanity, 2007

Acrylic on canvas

48 in x 36 in

Ernie Barnes

The View, 2007

Acrylic on canvas

28 in x 22 in

Ernie Barnes

N Da House, 1996

Acrylic on canvas

48 in x 60 in

Ernie Barnes

A Moral Imperative, 2007

Acrylic on canvas

36 in x 48 in

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Ernie Barnes

An Inner Strength, 2007

Acrylic on canvas

36 in x 48 in

Ernie Barnes

Lift Every Voice, 2008

Acrylic on canvas

40 in x 30 in

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Ernie Barnes

Somewhere Else, 2007

Acrylic on canvas

22 x 28 inches

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Ernie Barnes

In the Moment, 2007

Acrylic on canvas

30 in x 24 in

Ernie Barnes

The Bench, 1959

Acrylic on canvas

20 in x 36 in

Ernie Barnes

The Competitive Spirit, 2005

Acrylic on canvas

48 in x 36 in

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Ernie Barnes

Lay Up, 1970

Acrylic on canvas

36 in x 18 in

UTA Artist Space is pleased to present Liberating Humanity From Withinfeaturing works from the Estate of Artist Ernie Barnes. The exhibition was curated by Ernie Barnes himself prior to his death in 2009 and was never formally presented as an exhibition until now. The works in this exhibition have prescient meaning, addressing many of the issues we are facing today.

Barnes is best known for creating some of the twentieth century’s most iconic images of African American life, which include The Sugar Shack (1976), The Graduate (1972) and Portrait of Mrs. Wiggles (1975). His unique approach to depicting the human form was informed by his years as a professional athlete, representing an intimate and generous view of life through his lens.

“Ernie’s work played a meaningful part of my childhood and was the visual backdrop for many of us growing up in the ‘70s and ‘80s. It has been incredible to experience these paintings in person,” said Arthur Lewis, Partner & Creative Director of UTA Fine Arts and Artist Space. “We are thrilled to partner with his estate to share his timeless work with the rest of the world.”

Liberating Humanity From Within combines never-before-seen paintings directly from the estate, as well as works collected by personal friends, the Pro Football Hall of Fame, and private collections. The majority of the paintings were created in the last decade of his life and look directly and unflinchingly at issues such as racism, climate change and female empowerment. But what makes these works timeless is their ability to transcend the smallness of what preoccupies us in this moment and take us right to the bigger questions at hand: who we are as people, who we are as a society and how we move with grace and humanity into our collective future.

In addition to the original 23 paintings Barnes selected, the exhibition also includes The Sugar Shack (1976), The Graduate (1972), and Portrait of Mrs. Wiggles (1975), all of which appeared in the ‘70s sitcom Good Times. Many may remember The Sugar Shack (1976) as the cover artwork for Marvin Gaye’s 1976 album, I Want You.

“The inspiration behind The Sugar Shack was the experience of having gone to dances in the South, which at the time when I was growing up were segregated. But I didn’t choose to make statements about that in this work. I just wanted to concentrate on the energy of the dancers,” Barnes noted about The Sugar Shack (1976) before his passing. “When it came time to apply my talents to structuring the cultural properties of Black people, dance was one of them. Naturally my mind went back to that first experience. The Sugar Shack is a composite of every club where people gather to dance.”

Throughout the show, there are images of private, tender moments from everyday life such as In the Moment (2007), showcasing a couple embracing, and also large powerful canvases that address uncomfortable racial injustices like A Dream Deferred (1996). There is a thunderous male rapper surrounded by media titled In Da House (1996) and also a musician alone in a room in Somewhere Else (2007). A Moral Imperative (2007) reveals the consequences of our global interconnectedness and Habitat (2007) shows how we must work in unity to build harmony.

“People ask me what Ernie Barnes would say about the current state of affairs,” says Luz Rodriguez, Barnes’ longtime assistant and the current manager of his estate. “He actually answers that question with Liberating Humanity From Within. So now, it’s important and necessary to share this positive and thought-provoking exhibition. He would want his work to help heal, teach and bring joy as we shift collectively into this new era.”

Emmy Award-winning producer and DJ, Niéna Drake, has curated a dedicated soundtrack for the exhibition and visitors will also experience an exclusive piece of spoken word poetry by the legendary J. Ivy, whose been featured on tracks with Kanye West and Jay-Z. UTA Artist Space is partnering with PlayLab, who will build a multi-sensory experience that will transport visitors to the places of Ernie Barnes’ inspiration and imagination. This includes a vintage TV playing episodes of Good Times that feature several of the works in the exhibition, as well as a photographic setting that allows guests to superimpose themselves into an image of The Sugar Shack (1976). Merchandise will also be available and includes a limited run of collectible sculptures produced by Gentle Giant Studios, and more.

Visiting the Artist Space is by appointment only, with a four-guest maximum at any time. All visitors will have to acknowledge via the online appointment system both the health and safety guidelines and their health status before they visit. All visitors will have to wear mask at all times in the artist space. Masks and hand sanitizer will be available on site for guest usage. All guests will have a 30-minute window for viewing the gallery. Guests will not be permitted to the gallery before or after their viewing time. If they arrive earlier, they will be asked to wait in their car until their appointment time. Guests must practice social distancing. There is ample signage throughout the space including arrows on the floor that tell guests which way foot traffic is flowing. Restrooms will be closed to guests and the Artist Space will be deep cleaned on a regular schedule following the close of business each day.

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