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Sister Gertrude Morgan

1900-1980 (ALABAMA, USA)

PHOTOGRAPHED BY LEE FRIEDLANDER, LIONISED BY ANDY WARHOL, RE-MIXED BY KING BRITT, THE REMARKABLE SISTER GERTRUDE MORGAN (NÉE GERTRUDE WILLIAMS) WAS A RARE AND RARIFIED FIGURE IN THE AESTHETIC HISTORY OF 20TH CENTURY AMERICA: A CONFIDENT FEMALE ARTIST, WHOSE VISCERAL IMAGE-MAKING WENT HAND-IN-HAND WITH THE SAVING OF SOULS.

BORN IN 1900 IN LAFAYETTE, ALABAMA, MORGAN WAS AS MODEST AS SHE WAS LARGER-THAN-LIFE. HER NEW ORLEANS GOSPEL MISSION WAS A SPIRITUAL HOME FOR BELIEVERS AND NON-BELIEVERS ALIKE. FOR IT WAS HERE THAT SHE PROSELYTISED AND PAINTED AND RATTLED HER TAMBOURINE, WHEN SHE WAS NOT OUT SINGING, PREACHING AND TEACHING BIBLE TO NEIGHBOURHOOD STRAYS. THESE MOMENTS BECAME THE CONTENT OF HER LEGEND.

MORGAN DEPICTED THE EVERYDAY ALONGSIDE THE DIVINE, OUTPUTTING HER PICTORIAL RHETORIC ONTO ANY SURFACE SHE COULD FIND. SCRAPS OF CARD, WINDOW BLINDS, PAPER FANS AND SERVING TRAYS CARRIED HER REPERTOIRE. THEY EVOKED A BIOGRAPHICAL OTHER-WORDLY HYBRID, WHERE NEW JERUSALEM RESEMBLED NEW ORLEANS, AND WHERE THE GOOD SISTER’S MARRIAGE TO JESUS, GOD OR BOTH, SWIRLED AMONG THE HEAVENLY BODIES AND ELIPTICAL TEXTS.

ALTHOUGH THE BLACK ARTS MOVEMENT WAS PEAKING ON THE EAST COAST OF AMERICA, MORGAN REMAINED REMOTE FROM THEIR COMMUNITY, SEPARATED BY NOT ONLY BY GEOGRAPHICAL DISTANCE, BUT ALSO BY ARTISTIC INTENT. SHE WAS A LOCAL LOUISIANA HERO, EVEN A STAR: A STOUT, MIDDLE-AGED, AFRICAN-AMERICAN LADY, WHO WAS SUCCESSFULLY PAINTING - AND EXHIBITING HER PAINTING - AT A TIME WHEN FEW PEERS DARED EVEN EXPOSE THEIR MATERIAL, LET ALONE IN THE RACIST, MISOGYNIST AND CONSERVATIVE SOUTH.

OFTEN TO BE SEEN ON THE STREETS IN HER SIGNATURE WHITE PINAFORE, IT WAS THE PERFORMATIVE NATURE OF HER PRACTICE WHICH BROUGHT HER TO THE ATTENTION OF LARRY BORENSTEIN AND ALLEN JAFFE. WORKING TOGETHER, THESE HIGH-OCTANE STALWARTS OF THE CITY BROUGHT MORGAN’S WORK INTO DIALOGUE WITH THE WIDER ARTS COMMUNITY VIA BORENSTEIN’S ART GALLERY AT PRESERVATION HALL. MORGAN’S PROLIFIC OUTPUT LED TO A FAST UPTAKE AMONGST THE NEW ORLEANS ARTS COMMUNITY OF THE 1960S AND 1970S, REACHING NEW YORK VIA ANDY WARHOL’S INTERVIEW AND A 1973 ARTICLE BY ROSEMARY KENT.

MAJOR EXHIBITIONS WERE TO FOLLOW, INCLUDING THE CORCORAN GALLERY’S BARRIER-BREAKING BLACK FOLK ART IN AMERICA 1930-1980 (1982), WHICH TOURED THE US. ALMOST 40 YEARS AFTER HER PASSING, A MAJOR RETROSPECTIVE CURATED BY WILLIAM FAGALY OPENED AT NEW YORK’S AMERICAN FOLK ART MUSEUM. TODAY SISTER GERTRUDE MORGAN HAS BEEN REDISCOVERED BY A YOUNGER GENERATION OF AMERICAN AND INTERNATIONAL CURATORS.

HER WORK WAS MOST RECENTLY FEATURED IN OUTLIERS AND THE AMERICAN VANGUARD ART (2019), CURATED BY LYNNE COOKE AND TRAVELLED FROM THE NATIONAL GALLERY AT THE SMITHSONIAN (WASHINGTON DC), TO THE HIGH MUSEUM (ATLANTA) AND LACMA (LOS ANGELES). HER EMBLEMATIC SONG I GOT A NEW WORLD IN MY VIEW (1970) WAS FEATURED IN THE MARTIN LUTHER KING JR BIOPIC, SELMA (2014); AND HER CLASSIC LET’S MAKE A RECORD WAS REWORKED BY DJ AND PRODUCER KING BRITT IN 2005.

THE MILK OF DREAMS, 59TH VENICE BIENNALE, (ITALY), 2022
OUTLIERS AND AMERICAN VANGUARD ART,
NATIONAL GALLERY OF ART, (WASHINGTON DC), 2018
GREAT AND MIGHTY THINGS: OUTSIDER ART,
(PHILADELPHIA MUSEUM OF ART), 2013
THE TOOLS OF HER MINISTRY: THE ART OF SISTER GERTRUDE MORGAN
, AMERICAN FOLK ART MUSEUM, (New York); NOMA (New Orleans); and THE CENTER FOR INTUITIVE AND OUTSIDER ART (CHICAGO), 2004
BLACK FOLK ART IN AMERICA 1930-1980
, CORCORAN GALLERY, (Washington DC); San FRANCISCO museum of modern art (California); THE SAINT LOUIS ART MUSEUM (Missouri); THE BALTIMORE MUSEUM OF ART (Maryland); THE DES MOINES ART CENTER (Iowa); THE CLEVELAND MUSEUM OF ART (Ohio), 1982
LOUISIANA FOLK PAINTINGS:  BRUCE BRICE, CLEMENTINE HUNTER, SISTER GERTRUDE MORGAN, MUSEUM OF AMERICAN FOLK ART
, AMERICAN FOLK ART MUSEUM (New York), 1973
TWENTIETH-CENTURY FOLK ART,
 AMERICAN FOLK ART Museum, (NEW YORK), 1970
DIMENSIONS OF BLACK
, LA JOLLA MUSEUM OF ART (CALIFORNIA), 1970
BLACK HISTORY, BL ACK VISION: THE VISIONARY IMAGE IN TEXAS
, ARCHER M. HUNTINGTON ART GALLERY, UNIVERSITY OF TEXAS (AUSTIN), 1989

WALKS TO THE PARADISE GARDEN, JONATHAN WILLIAMS, ROGER MANLEY, GUY MENDES, PHILLIP MARCH JONES (INSTITUTE 193) 2019LET’S MAKE A RECORD, SISTER GERTRUDE MORGAN & KING BRITT, 2005THE TOOLS OF HER MINISTRY: THE ART OF SISTER GERTRUDE MORGAN, WILLIAM A FAGALY (RISSOLI INTERNATIONAL PUBLICATIONS) 2004
FREE WITHIN OURSELVES: AFRICAN-AMERICAN ARTISTS IN THE COLLECTION OF THE NATIONAL MUSEUM OF AMERICAN ART, REGENIA A PERRY (WASHINGTON, D.C.: NATIONAL MUSEUM OF AMERICAN ART IN ASSOCIATION WITH POMEGRANATE ART BOOKS) 1992
BLACK FOLK ART IN AMERICA, JOHN BEARDSLEY & JANE LIVINGSTON (UNIVERSITY PRESS OF MISSISSIPPI) 1980
INTERVIEW MAGAZINE, ROSEMARY KENT, 1973
GOD’S GREATEST HITS, ROD MCKUEN (STANYAN BOOKS, RANDOM HOUSE) 1970