The Art of Carroll Cloar

A few weeks ago, I made my first visit to the Memphis Brooks Museum of Art. I was less than thrilled with what I saw of the permanent collection and immediately thought there was a reason that I had never visited this museum. Since I had paid the admission fee (a very reasonable $7), I decided that I needed to at least check out the featured exhibit of the summer. I'm very glad that I did!

"The Crossroads of Memory: Carroll Cloar and the American South" will be on exhibit in Memphis through September 12, 2013. Cloar (1913-1993) was a native Arkansan who grew up in the rural farmlands of the state. Much of his work depicts the images he encountered while traveling throughout the state and working the land. Cloar studied English at Rhodes College in Memphis before heading to New York City to pursue a career as an artist. In his final years, Cloar returned to Memphis.

I'm not an art critic by any stretch of the imagination, but I know what I like. Cloar's paintings are filled with color and amazing technique. I found it interesting that his style morphed throughout his life, embracing the various art movements as they made their mark on the American landscape. Not only are Cloar's works beautiful, they also speak of the struggles faced in the American South.

One of the first techniques that caught my eye and amazed me was Cloar's ability to create ghost-like figures (which he will also use to portray reflections in water) in the midst of the scene. I don't recall the title of the painting that astounded me as I entered the gallery, but I can certainly describe it. The scene is of a train station in Eureka Springs, Arkansas that Cloar had encountered while traveling. In addition to the waiting passengers, ghosts of those who had travelled in earlier trips are also present. I loved the idea that our presence leaves a lasting mark on our environment and those we encounter.

The technique described above can also be seen in one of my favorite paintings in the exhibit: Charlie Mae Practicing for the Baptizing. Charlie Mae was a African-American girl that Cloar befriended in his childhood and she became a recurring subject in many of his pieces. In addition to the beautiful purples and greens along the river's bank, I loved the faint reflection of the scene in the murky waters of the river.

Charlie Mae Practicing for the Baptizing, Carroll Cloar

To fully appreciate the significance of Charlie Mae's presence in Cloar's work, it is important to know that Cloar was a white man. Growing up in the country, friends were a luxury; the color of their skin was not of primary concern to children. Throughout Cloar's career, he provided commentary on race relations in the American South, featuring both whites and blacks in his images; rarely did Cloar include people of both races in a single painting though.

The other painting that made a lasting impression on me was Halloween. In the foreground, a child is seen wearing a mask and carrying a jack-o-lantern through the autumn grass. Her joy and innocence is a direct contrast to the adult men wearing white hooded robes in the painting's upper right who are leaving the home to reek havoc on the black community. The contrast between youth and adulthood in the piece is stark and speaks volumes.

Halloween, Carroll Cloar

Whether you are a fan of museums or not, if you are in the metro Memphis area, do yourself a favor and check out this fascinating exhibit before it leaves. Wear a pair of comfortable shoes, leave your driver's license at the front desk to get the audio tour of the exhibit, and allow your mind to be swept away into the world of Carroll Cloar. I'm looking forward to returning to the exhibit to learn more about this fascinating man and his work.

The Memphis Brooks Museum of Art is located in Overton Park. Visit their website at www.brooksmuseum.org for hours and additional information.

P.S.   I plan to enjoy the rest of this week with my family as we celebrate our nation's independence. Livin' Life will return to its regular schedule on Monday, July 8.