CROSSROADS
FELRATH HINES
/ about the artist
Felrath Hines (1913-1993), was an artist originating from Indiana who joined the New York art scene in the 1960s. His art ranged from cubism in his early works to often geometric and dynamic abstracts, many of which were inspired by his personal life and his involvement in civil rights. This influence of civil rights on the art scene in the 1960s led Hines and others to become founders of the Spiral movement, a group of African American artists who formed a network to discuss the link between art and politics. This culminated in the only exhibit done by the group in 1965, which was made of exclusively black and white painting for both aesthetic and political reasons. Outside of this movement, Hines refused to characterize his artwork as belonging to a certain group and did not believe such a distinction in the art world should exist. Along with his work in abstraction, Hines became known for his excellence in the conservation of art, opening his practice in 1964. Following this period, he left New York in 1972, moving to Washington, D.C. to continue his conservation efforts as chief conservator at the National Portrait Gallery and the Hirshhorn Museum and Sculpture Garden, eventually retiring in 1984.
"I suggest that Western society, and particularly that of America, is gravely ill and a major symptom is the American treatment of the Negro. The artistic expression of this culture concentrates on themes of “absurdity” and “anti-art” which provide further evidence of its ill health. It is the right of everyone now to re-examine history to see if Western culture offers the only solutions to man’s purpose on this earth."
-Romare Bearden, one of the founders of the Spiral Group
more works by felrath hines
"Red Stripe with Green Background."
Felrath Hines.
1986.
"Bouquet."
Felrath Hines.
1957.
In his artwork, Hines strived to escape from the rigid boundaries set by the developing art scene in New York at the time, hoping to transcend with his art to new levels that didn’t require labels limited to race. His abstraction came out of necessity to display the bare emotions and elements of everyday life, stripping it down to the universality of personal experiences. His painting “Crossroads (AKA Raw Umber and Cobalt Blue)” does just this in the simplicity of the lines across the canvas mixed with the earthen tones and materials used. To every individual, it conveys their own experiences with the mixing of materials, smooth surfaces, and sharp lines. Its title references both the materials and the literal depiction of the lines in a clash. It embraces the simplicity and nuance of the term crossroads and looks to the individual for a definition of the art as a universal and personal interaction. Hines said, "In my view, an artist's work is to rearrange everyday phenomena so as to enlarge our perception of who we are and what goes on about us", which emanates particularly from this piece as it portrays his life, and subsequently the lives of others.
"Beige Green." Felrath Hines. 1968.
/ engage more
Watch a quick documentary about the life and methods of Hines made by museums and educators in his home state.
Click on this picture of Hines' work "Japanese Landscape" to follow a close looking exercise for another of Hines' paintings. How does this piece and the background info on the artist inform your understanding of "Crossroads?"
Hines's piece seeks to let the audience define its meaning and explore what the universal symbol of the crossroads means in their own lives. Listen to another iteration of the symbol, from legendary 1930s blues guitarist Robert Johnson. How does this inform your understanding of the piece? How is it different from your experience with the piece?