Installation view of “Terry Adkins: Resounding,” featuring “Last Trumpet” (1995).
On View presents images from noteworthy exhibitions
SHOWCASING A BROAD SURVEY of Terry Adkins (1953-2014), the Pulitzer Arts Foundation in St. Louis, Mo., reopened today after five months of closure due to COVID-19. Adkins expressed himself through sculpture, sound, performance, video, and printmaking, developing a singular practice rooted in history, music, and language. He described many of his works as “abstract portraiture,” installations and performances that paid homage to African American cultural figures such as John Coltrane and W.E.B. Du Bois.
“Terry Adkins: Resounding” features more than 40 works dating from the 1970s to 2014. Some of his most ambitious and imaginative works are on view, several shown for the first time since they originally debuted; Others are drawn directly from the artist’s personal collection, including a selection of instruments and books.
Reservations are currently required to visit the museum for what amounts to an exclusive opportunity as only one group of 10 or less is admitted into the museum at a time. Reservations for August are already booked. September slots are opening soon. CT
“Terry Adkins: Resounding” is on view at the Pulitzer Arts Foundation in St. Louis, Mo. The exhibition opened March 13, 2020. Originally scheduled to close Aug. 2, has been extended to Feb. 7, 2021.
FIND MORE about the exhibition and see exhibition guide
Installation view of “Terry Adkins: Resounding,” Entrance Gallery, Pulitzer Arts Foundation, St. Louis, Mo. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien © Pulitzer Arts Foundation and Alise O’Brien Photography
TERRY ADKINS, “Infinity,” 1972-2014 (Cherokee trunk and John Coltrane “Infinity” albums, 20 x 26 ½ x 13 ½ inches / 50.8 x 67.3 x 34.3 cm). | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
Installation view of “Terry Adkins: Resounding,” Lower East Gallery, Pulitzer Arts Foundation, St. Louis, Mo. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
Installation view of “Terry Adkins: Resounding,” Lower East Gallery, Pulitzer Arts Foundation, St. Louis, Mo. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
Installation view of “Terry Adkins: Resounding,” Lower East Gallery, Pulitzer Arts Foundation, St. Louis, Mo. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
TERRY ADKINS, “Bona Fide,” 2000 (stencil board, 86 x 86 inches / 218.4 x 218.4 cm). | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
Installation view of “Terry Adkins: Resounding” (2020-21), Lower West Gallery, Pulitzer Arts Foundation, St. Louis, Mo. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
TERRY ADKINS, “Divine Mute,” 1998 (aluminum, brass, nickel, wood, 77 x 77 x 21 ½ inches / 195.6 x 195.6 x 54.6). | The George Economou Collection. © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
Installation view of “Terry Adkins: Resounding,” Main Gallery, Pulitzer Arts Foundation, St. Louis, Mo. Shown, left, “Muffled Drums,” 2003. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
TERRY ADKINS, “Mute,” 2007-11 (single-channel digital video, silent, 22:07 min). | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
Installation view of “Terry Adkins: Resounding,” Cube Gallery, Pulitzer Arts Foundation, St. Louis, Mo. Shown, “After Bonnaterre (#13, 14, 15),” 2013. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
Installation view of “Terry Adkins: Resounding,” Cube Gallery, Pulitzer Arts Foundation, St. Louis, Mo. Shown, right, “Methane Sea,” 2013. | © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
TOP IMAGE: Installation view of “Terry Adkins: Resounding,” (2020-21) Main Gallery, Pulitzer Arts Foundation, St. Louis, Mo. Shown, “Last Trumpet,” 1995. | © 2020 The Estate of Terry Adkins Artist Rights Society (ARS), New York. Photo by Alise O’Brien, © Pulitzer Arts Foundation and Alise O’Brien Photography
BOOKSHELF
The Pulitzer Arts Foundation published an exhibition guide to accompany the show. In addition, an exhibition catalog, “Terry Adkins: Resounding,” is forthcoming in summer 2020 from the museum and more widely in the fall. The first career-spanning volume of Adkins, “Terry Adkins: Recital” documents his retrospective organized by the Tang Teaching Museum and Gallery at Skidmore College. Also consider “Terry Adkins: The Smooth, the Cut, and the Assembled” and “Terry Adkins: Infinity Is Always Less Than One.”
