The Bride to Be

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  • Provenance

    The Artist

  • Catalogue Essay

    SEDRICK HUCKABY
    Born 1975, Fort Worth, TX
    Lives and works in Forth Worth, TX

    1999 MFA, Yale University, New Haven, CT
    1997 BFA, Boston University

    Selected honors: Mitchell Foundation Painters and Sculptors Grant (2014), Texas State Visual Artist (2018), Beth Lea Clardy Memorial Award (2004)
    Selected museum exhibitions and performances: Amon Carter Museum of American Art, Fort Worth, Texas, Greenville County Museum, Greenville, South Carolina, Danforth Museum of Art, Framingham, Massachusetts, San Angelo Museum of Fine Arts, San Angelo, Texas, Masur Museum of Art, Monroe, Louisiana
    Selected public collections: Art Institute of Chicago, Illinois; San Francisco Museum of Modern Art, California; Whitney Museum of American Art, New York; Museum of Fine Arts. Boston. Massachusetts; Minneapolis Institute of Art, Minnesota; Nasher Museum, Duke University

    Friends, family and neighbors serve as the subjects of Sedrick Huckaby’s art. Drawing people he knows, the Fort Worth-based artist monumentalizes the ordinary person. “My work has always been about African-American culture, family, and heritage,” Huckaby explained in the 2011 National Endowment for the Arts “Up-and-Comers in the Arts” issue in conversation with his wife and fellow artist Letitia Huckaby. “Some of the early works were paintings of different family members, sort of large-scale portraits that aggrandized ordinary people and things related to our family.”

    Huckaby, whose approach to portraiture connects him to artists as diverse as Lucien Freud, Alice Neel, Henry Taylor and Kerry James Marshall, considers the creative act of painting and drawing as a form of thinking. “I believe my paintings are done in a language more closely in tune with my soul than the language of my tongue. For me, the act of painting is not just a means to a product; it is also a meditative process of communication,” Huckaby was quoted by art critic John Yau, who aptly titled his 2017 Hyperallergic article “Everybody Should Want to Belong to Sedrick Huckaby’s Tribe”.

    In his recent solo debut in New York at Steven Harvey Fine Art Projects in 2017, Huckaby presented lithographs from his The 99% Project series from 2012-2013. Consisting of paintings and drawings, the series aimed at making visible the invisible by representing the voice of a community not traditionally imaged in portraiture. Huckaby has become known for his use of impasto paint to create murals evocative of traditional quilts, as well as working with images of quilts as background components of his portraits. In a similar vein, he considered The 99% Project to be like a quilt, so that these individual voices were heard as one unified community. Many of the sheets also feature transcribed sentences and phrases of the things his subjects said during the sitting. “Huckaby’s art is the result of his desire to give his subjects a face and a voice,” John Yau has observed, and it is this that infuses these portraits with a remarkable immediacy and presence.

  • Artist Bio

    Sedrick Huckaby

    American • 1975

    Friends, family and neighbors serve as the subjects of Sedrick Huckaby’s art. Drawing people he knows, the Fort Worth-based artist monumentalizes the ordinary person. Huckaby, whose approach to portraiture connects him to artists as diverse as Lucien Freud, Alice Neel, Henry Taylor and Kerry James Marshall, considers the creative act of painting and drawing as a form of thinking.

    In his recent solo debut in New York at Steven Harvey Fine Art Projects in 2017, Huckaby presented lithographs from his The 99% Project series from 2012-2013. Consisting of paintings and drawings, the series aimed at making visible the invisible by representing the voice of a community not traditionally imaged in portraiture. Huckaby has become known for his use of impasto paint to create murals evocative of traditional quilts, as well as working with images of quilts as background components of his portraits. In a similar vein, he considered The 99% Project to be like a quilt, so that these individual voices were heard as one unified community. Many of the sheets also feature transcribed sentences and phrases of the things his subjects said during the sitting. “Huckaby’s art is the result of his desire to give his subjects a face and a voice,” John Yau has observed, and it is this that infuses these portraits with a remarkable immediacy and presence.

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35

The Bride to Be

signed "Sedrick Huckaby" lower right of the right sheet
mixed media on paper
each 11 1/2 x 9 in. (29.2 x 22.9 cm.)
overall 11 1/2 x 18 1/2 in. (29.2 x 47 cm.)

Executed in 2015.

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AMERICAN AFRICAN AMERICAN

New York Selling Exhibition 10 January - 8 February 2019