Exhibition Catalog | Jacob Lawrence

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Acknowledgments Published in conjunction with Promised Land: Jacob Lawrence at the Cantor, a Gift from the Kayden Family, this catalogue, like the exhibition it accompanies, is a tribute both to the artistic achievements of American artist Jacob Lawrence and to the exceptional generosity of Dr. Herbert J. Kayden and his family, who have gifted the Cantor Arts Center an unparalled collection of fifty-six works by Lawrence and one by his wife, Gwendolyn Knight Lawrence. We are especially grateful to Dr. Kayden’s daughter, Joelle Kayden (Stanford mba ’81), for recognizing the role Stanford University could play in honoring her parents’ legacy as avid collectors and generous benefactors of the arts. We offer our deepest thanks to Joelle for her visionary leadership and her deep commitment to the arts at Stanford. It was an enormous privilege to meet Dr. Kayden and then have the chance to work with him on envisioning this project. Although he passed away in August 2014, his passion for the arts and his friendships with artists are a continuing source of inspiration. I am profoundly grateful for his generosity and his belief in Stanford’s capacity to care for the art that he and his wife, Dr. Gabrielle H. Reem, collected and cherished. I also thank their grandchildren, Eleanor and Philip Killian, for their support. Joshua Mack has been a trusted and generous friend and advisor to the Kayden family, and I likewise extend my thanks to him for his many thoughtful and valuable contributions. The entire Stanford community has enthusiastically embraced the museum’s efforts to celebrate the Kayden family’s gift. All of us at the Cantor Arts Center are extremely grateful for the generous support of the many individuals and departments that have helped shape the exhibition and catalogue. Great thanks are due to the following individuals for their vital contributions: Roberta Denning, Roberta Katz, Richard Saller, Joy Simmons, Lauren Schoenthaler, Moo Anderson, Putter Anderson Pence, Jill and John Freidenrich, Michele Elam, Harry J. Elam Jr., Alexander Nemerov, Richard Meyer, James T. Campbell, Nancy J. Troy, Katherine Holt, and Mona Duggan. At the museum, foremost recognition goes to Dr. Elizabeth Kathleen Mitchell, Burton and Deedee McMurtry Curator of Prints, Drawings, and Photographs, for her expertise and passion, which have informed all aspects of this project. Dr. Mitchell has been diligently assisted by Florencia Bazzano, who ably attended to every detail of the exhibition and the catalogue. Special acknowledgment is also due to George Philip LeBourdais, a doctoral candidate in Stanford’s Department of Art and Art History, whose preliminary research and interview with Dr. Kayden, along with the wonderful video produced by Rory Fraser, provided valuable early insights into the extraordinary nature of the Kayden family’s gift. This project required the participation of all members of the museum’s staff, and I am grateful for each person’s essential contributions. Alison Gass, Associate Director for Exhibitions, Collections, and Curatorial Affairs, has been an invaluable partner in shepherding this remarkable undertaking to completion, and she deserves special acknowledgment for her efforts. Warm thanks are also due to Allison Akbay, Peg Brady, Jenny Carty, Katie Clifford, Paz de la Calzada, Lee Fatheree, Tammy 144
Fortin, Brian Isobe, Sara Kabot, Dolores Kincaid, Anna Koster, Issa Lampe, Sara Larsen, Kim Mansfield, Kathleen Quinn, Susan K. Roberts-Manganelli, Colleen Stockmann, and Kathleen Stueck. I also acknowledge the efforts of Lucy Belloli and George Bisacca, who expertly conserved Lawrence’s Ordeal of Alice (1963) and At Times It Is Hard to Get a Table in a Pool Room (1943). Promised Land provided a wonderful opportunity for a bright group of Stanford undergraduate students enrolled in “Anatomy of An Exhibition: Focus on Jacob Lawrence” (arthist 278) to learn more about the artist’s legacy. We are grateful for these students’ hard work in preparing key aspects of the exhibition. As they learned about museum practices at the Cantor we had the privilege of sharing their enthusiasm for Lawrence’s art. They are Mary Kate Anselmini, Juliet Charnas, Emma Collins, Ari Echt-Wilson, Katherine Evers, Caroline Hernandez, Brianne Huntsman, Maya Israni, Gabriella Moreno, Michelle Pan, Ivanna Pearlstein, and Isabella Robbins. The presentation of Promised Land and the production of this catalogue are made possible through the generous support of the Halperin Exhibitions Fund; Lyn Hohbach and the Hohbach Family Fund; and the Terra Foundation for American Art through a grant designated by Stanford President Emeritus Gerhard Casper. Particular thanks go to Heidi Lange and Ralph Sessions at DC Moore Gallery, New York; Barbara Earl Thomas, Vice-President, Secretary/Treasurer, and Walter O. Evans, Board President, of The Jacob and Gwendolyn Knight Lawrence Foundation; and Nancy Lieberman at Howard Greenberg Gallery, New York. The writings on Lawrence’s work featured in these pages far exceed our initial vision for the catalogue, and I thank our essayists for their original and meaningful contributions: James T. Campbell, Clayborne Carson, Michele Elam, Harry J. Elam Jr., Richard Meyer, Elizabeth Kathleen Mitchell, Alexander Nemerov, and Bryan Wolf. On behalf of the project team I also acknowledge Barbara Glauber and Kellie Konapelsky of Heavy Meta for their careful and creative efforts to imagine and shape the design of this beautiful publication, and our copy editors, Amanda Glesmann and Kara Pickman, for their attentive work on the texts. We are especially grateful to each member of the Director’s Advisory Board of the Cantor, and in particular to Board Chair Susan Diekman, for their unwavering support of the museum and its mission. Their dedication inspires all of us to aim higher in our efforts. Together we thank Dr. Kayden and Joelle Kayden for allowing us this opportunity to study, celebrate, and pay tribute to the singular life and art of Jacob Lawrence. CONNIE WOLF JOHN AND JILL FREIDENRICH DIRECTOR IRIS & B. GERALD CANTOR CENTER FOR VISUAL ARTS 145
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Promised Land The Art of Jacob Lawr
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Contents
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Foreword The Cantor Arts Center at
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Essays 8
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MITCHELL Lawrence was thirteen year
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MITCHELL work reinforces that the b
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MITCHELL anatomical atlas De humani
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WOLF the latter descends the steps
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WOLF spiritual—challenges of cont
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MEYER In the background of the comp
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CAMPBELL Negro seems suddenly to ha
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CAMPBELL in independent Nigeria, an
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ELAM focused on him. They are not t
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ELAM In the lower far-left corner o
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NEMEROV picture, a mackerel at the
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NEMEROV into one form and then anot
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CARSON suffering with their capacit
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ELAM across from her). Then there a
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ELAM L’Ouverture, Frederick Dougl
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The Catalogue ELIZABETH KATHLEEN MI
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CAT. 1 At Times It Is Hard to Get a
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CAT. 3 Construction 1952 Casein tem
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CAT. 6 Ordeal of Alice 1963 Egg tem
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CAT. 7 Fish Market 1963 Gouache, wa
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CAT. 11 “Human Figure” after Ve
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CAT. 13 Builders No. 3 1973 Gouache
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CAT. 14 Poster Design . . . Whitney
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CAT. 16 Morning Still Life 1976 Sil
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Page 94 and 95: CATS. 19-40 The Legend of John Brow
Page 96 and 97: THE LEGEND OF JOHN BROWN CAT. 20 2.
Page 104 and 105: THE LEGEND OF JOHN BROWN CAT. 28 10
Page 118 and 119: CAT. 41 Carpenters No. 3 1981 Graph
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Page 122 and 123: CAT. 43 The First Book of Moses, Ca
Page 124 and 125: CATS. 44-51 Eight Studies for The B
Page 126 and 127: STUDIES FOR THE BOOK OF GENESIS CAT
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Page 136 and 137: CATS 53-55 The Builder’s Suite 19
Page 138 and 139: CAT. 54 Ten Builders 138
Page 140 and 141: CATS. 56-57 New York in Transit I N
Page 142 and 143: Contributors 142
Page 146 and 147: Credits 146
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Exhibition Catalog | Jacob Lawrence

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