Exhibition Catalog | Jacob Lawrence

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ELAM In the lower far-left corner of the hallway, Lawrence places one of the most intriguing figures contained within this work, a purple-bespectacled, wizard-like figure. As with all the others in the hallway, this sorcerer carries books under his right arm, but in contrast he also holds between his right thumb and index finger a small orb and levitates several other such orbs in a circle above his hand. He appears to be in the process of exiting the frame on the lower left as if he, like the students, is off to an appointment not yet made or as if his work here is finished. Still, the presence of this magician foregrounds the historic tension between science and sorcery—the questioning of scientific discoveries from that of gravity to global warming. Situated within a corner of this work, with his charms and enchantments on display, this purple figure offers a particular revision of the ceremonies and rituals of the so-called dark arts. He testifies to the continuing presence of magic—that knowledge and events do exist beyond our understanding and that exploration of the seemingly unbelievable and unimaginable also has a place in the university. Significantly, Lawrence completed University when he himself worked as an academic. Lawrence accepted a position as tenured professor in the School of Art at the University of Washington, Seattle, in 1971 and taught there until 1986. This painting serves as testament to what he saw and what he imagined, as well as to what we now hope to make possible in higher education. 38
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Page 1: Promised Land The Art of Jacob Lawr
Page 4 and 5: Contents
Page 6 and 7: Foreword The Cantor Arts Center at
Page 8 and 9: Essays 8
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Page 12 and 13: MITCHELL Lawrence was thirteen year
Page 14 and 15: MITCHELL work reinforces that the b
Page 16 and 17: MITCHELL anatomical atlas De humani
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Page 20 and 21: WOLF the latter descends the steps
Page 22 and 23: WOLF spiritual—challenges of cont
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Page 26 and 27: MEYER In the background of the comp
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Page 30 and 31: CAMPBELL Negro seems suddenly to ha
Page 32 and 33: CAMPBELL in independent Nigeria, an
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Page 36 and 37: ELAM focused on him. They are not t
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Page 42 and 43: NEMEROV picture, a mackerel at the
Page 44 and 45: NEMEROV into one form and then anot
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Page 48 and 49: CARSON suffering with their capacit
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Page 52 and 53: ELAM across from her). Then there a
Page 54 and 55: ELAM L’Ouverture, Frederick Dougl
Page 56 and 57: The Catalogue ELIZABETH KATHLEEN MI
Page 58 and 59: CAT. 1 At Times It Is Hard to Get a
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Page 62 and 63: CAT. 3 Construction 1952 Casein tem
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Page 68 and 69: CAT. 6 Ordeal of Alice 1963 Egg tem
Page 70 and 71: CAT. 7 Fish Market 1963 Gouache, wa
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Page 78 and 79: CAT. 11 “Human Figure” after Ve
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Page 82 and 83: CAT. 13 Builders No. 3 1973 Gouache
Page 84 and 85: CAT. 14 Poster Design . . . Whitney
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CAT. 16 Morning Still Life 1976 Sil
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CATS. 19-40 The Legend of John Brow
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THE LEGEND OF JOHN BROWN CAT. 20 2.
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THE LEGEND OF JOHN BROWN CAT. 28 10
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CAT. 41 Carpenters No. 3 1981 Graph
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CAT. 43 The First Book of Moses, Ca
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CATS. 44-51 Eight Studies for The B
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STUDIES FOR THE BOOK OF GENESIS CAT
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CATS 53-55 The Builder’s Suite 19
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CAT. 54 Ten Builders 138
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CATS. 56-57 New York in Transit I N
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Contributors 142
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Acknowledgments Published in conjun
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Credits 146
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Exhibition Catalog | Jacob Lawrence

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