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Beyond the Surface: Collage, Mixed Media and Textile Works from the Collection

June 16, 2022 – May 14, 2023
Nina Chanel Abney, First and Last, 2012. Acrylic and cut paper collage on paper. 38 × 51 inches (96.5 × 129.5 cm). Anonymous gift. 2016.4.1

This exhibition includes approximately 40 works, primarily from the Nasher Museum’s collection. With a focus on collage, mixed media and textile works, Beyond the Surface explores how artists bring together disparate materials and ideas to create artworks that engage with all audiences. Through skill and care, artists juxtapose unexpected elements and concepts in their work to tell many different stories.

Since opening in 2005, the Nasher Museum has been dedicated to building a groundbreaking collection of contemporary art centered on diversity and inclusion. The museum’s emphasis is on artists historically underrepresented, overlooked or excluded from art institutions, with a particular focus on artists of African descent. In this effort, the museum supports global artists of extraordinary vision, whose works spark opportunities for thoughtful engagement.

Artists include Nina Chanel Abney, Emma Amos, Korakrit Arunanondchai, Romare Bearden, María Berrío, Sanford Biggers, Mark Bradford, Nick Cave, Barbara Chase-Riboud, william cordova, Njideka Akunyili Crosby, David C. Driskell, Sherman Fleming, Derek Fordjour, Charles Gaines, Deborah Grant, Lyle Ashton Harris, Barkley L. Hendricks, Silvia Heyden, Rashid Johnson, Mauricio Lasansky, Kemang Wa Lehulere, Hugo McCloud, Vik Muniz, Wangechi Mutu, Christopher Myers, Alexander Ney, Odili Donald Odita, Ebony G. Patterson, Dario Robleto, Paul Anthony Smith, Jeff Sonhouse, Alma Thomas, SoiL Thronton, Stacy Lynn Waddell, Purvis Young, and Nettie Young.

Organization and Support

This exhibition is organized by Lauren Haynes, former Patsy R. and Raymond D. Nasher Senior Curator of Contemporary Art.

Beyond the Surface is supported by the Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions and the J. Horst and Ruth Mary Meyer Fund for the Nasher Museum.

  • María Berrío, Syzygy, 2017.

    María Berrío, Syzygy, 2017. Collage with Japanese paper and watercolor on canvas, 80 × 96 inches (203.2 × 243.8 cm). Collection of the Nasher Museum of Art at Duke University. Gift of Nancy A. Nasher (J.D.’79, P’18, P’22) and David J. Haemisegger (P’18, P’22), 2018.7.1. © Maria Berrio.

  • Jeff Sonhouse explores black masculinity through fantastical portraits of masked, neatly dressed African American men. The mask hides the identity of his subject and undermines traditional portraiture, but reveals the eyes, nose and mouth, features most closely associated with racial stereotypes. Sonhouse’s confrontational figures are a spoof on stereotypes, and also have a spiritual presence, acting as both oracle and trickster. Sonhouse regularly uses combustible materials such as matches and charcoal, which speak to the fragility of representation and demonstrate the artist’s dry wit, suggesting that the entire composition could go, or has gone, up in flames. Piano wire and wood scraps extend well beyond the canvas, blurring the line between painting and sculpture. The swirling piano that breaks apart in the background acts as a metaphor for the parallels between musical and visual composition building. In these ways, Decompositioning functions as commentary on the act of painting itself.

    Jeff Sonhouse, Decompositioning, 2010. Mixed media on canvas, 82 x 76 1/4 inches (208.3 x 193.7 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase, 2010.15.1. © Jeff Sonhouse.

  • Ebony G. Patterson, ...shortly after 8 beyond the bladez, 2014.

    Ebony G. Patterson, ...shortly after 8 beyond the bladez, 2014. Mixed media on paper, 92 × 111 inches (233.7 x 281.9 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase with additional funds provided by Blake Byrne (A.B.’57) and Marjorie (P’16, P’19, P’19) and Michael Levine (B.S.’84, P’16, P’19, P’19), 2015.3.1. © Ebony G. Patterson. Courtesy of the artist and Monique Meloche Gallery, Chicago.

  • Christopher Myers, Hecate, 2019

    Christopher Myers, Hecate, 2019. Appliqué fabric, 72 × 48 inches (182.88 × 121.92 cm). Collection of the Nasher Museum of Art at Duke University. Gift of Fort Gansevoort, New York; 2021.15.1. © Christopher Myers. Courtesy of the artist and James Cohan, New York. Photo by Peter Paul Geoffrion.

  • This large textile work by Silvia Heyden conveys the frenzy and chaos of a storm by combining converging, intricate patterns with dynamic, multi-colored strips of textiles layered in three dimensions.

    Silvia Heyden, Hurricane, 20th century. Silk and linen, 80 3/4 × 94 1/4 inches (205.1 × 239.4 cm). Collection of the Nasher Museum of Art at Duke University. Gift of Mary D.B.T. Semans and James H. Semans, M.D.; 1976.101.1. © Silvia Heyden Estate. Photo by Peter Paul Geoffrion.

  • Odili Donald Odita, Chasm, 2015

    Odili Donald Odita, Chasm, 2015. Acrylic on canvas, 60 × 120 inches (152.4 × 304.8 cm). Collection of the Nasher Museum of Art at Duke University. Gift of Kenneth W. Hubbard and Victoria Dauphinot, 2020.9.1. © Odili Donald Odita. Courtesy of the artist and Jack Shainman Gallery, New York.

  • Stacy Lynn Waddell, Awful Conflagration of the Steam Ship Lexington (after Nathaniel Currier), 1840/2011, 2011.

    Stacy Lynn Waddell, Awful Conflagration of the Steam Ship Lexington (after Nathaniel Currier), 1840/2011, 2011. Burned and branded paper with watercolor, gold leaf, and acrylic; 22 x 29 3/4 inches (55.9 x 75.6 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase, 2012.12.1. © Stacy Lynn Waddell.

  • Derek Fordjour, Signing Day, 2019. Acrylic, charcoal, oil pastel, and foil on newspaper mounted on canvas; 74 1/2 × 50 1/2 inches (189.23 × 128.27 cm). Collection of the Nasher Museum of Art at Duke University. Gift of Blake Byrne, 2019.27.1. © Derek Fordjour. Courtesy of Night Gallery, Los Angeles. Photo by Peter Paul Geoffrion.

  • Nick Cave, Soundsuit, 2015

    Nick Cave, Soundsuit, 2015. Mixed media including wire and bugle beads, buttons, sequined appliqués, fabric, metal, and mannequin; 109 × 29 × 19 inches (276.9 × 73.7 × 48.3 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase with additional funds provided by the Office of the Provost, Duke University; 2016.3.1. © Nick Cave. Image courtesy of the artist and Jack Shainman Gallery, New York. Photo by James Prinz Photography.

  • Alma Thomas, Late Night Reflections, 1972

    Alma Thomas, Late Night Reflections, 1972. Acrylic on canvas, 28 3/4 x 44 inches (73 x 111.8 cm), Frame: 30 x 45 1/2 x 1 3/4 inches (76.2 x 115.6 x 4.4 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase and bequest of Marjorie Pfeffer, by exchange; 2010.13.1. © Estate of Alma W. Thomas.

  • Nettie Young, Untitled (Housetop), 1970 (finished in 2003). Corduroy and synthetic material. Collection of the Nasher Museum. Museum purchase with funds provided by the Office of the Provost, Duke University. © Nettie Young Estate. Photo by Peter Paul Geoffrion.

    Nettie Young, Untitled (Housetop), 1970 (finished in 2003). Corduroy and synthetic material, 86 × 72 inches (218.4 × 182.9 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase, 2018.4.1. © Estate of Nettie Young / Licensed by Artists Rights Society (ARS), New York.

  • Emma Amos, 22 and Cheetah , 1983. Acrylic and African fabrics on linen. 84 x 62 inches (213.36 x 157.48 cm).

    Emma Amos, 22 and Cheetah , 1983. Acrylic and hand woven African fabrics on linen, 84 × 62 inches (213.4 × 157.5 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase with funds provided by the Jolie and Matthew Johnson Fund for Acquisitions; Sotheby’s, in honor of Blake Byrne (A.B.’57); Lori Arthur Stroud (A.B.’79) and Thomas K. Stroud; Ruth (A.B.’81, P’11) and John (A.B.’81, P’11) Caccavale; Trent A. Carmichael (A.B.’88, P’17, P’19); Gail Belvett; Laurie Cone; and Michelle F. Hooper; 2018.17.1. © Emma Amos / Artists Rights Society (ARS), New York.

  • Nina Chanel Abney, First and Last, 2012. Acrylic and cut paper collage on paper, 38 × 51 inches (96.52 × 129.54 cm). Collection of the Nasher Museum of Art at Duke University. Anonymous gift. Image courtesy of the Nasher Museum of Art at Duke University. Photo by Peter Paul Geoffrion. © Nina Chanel Abney.

    Nina Chanel Abney, First and Last, 2012. Acrylic and cut paper collage on paper, 38 × 51 inches (96.5 × 129.5 cm). Collection of the Nasher Museum of Art at Duke University. Anonymous gift, 2016.4.1. © Nina Chanel Abney. Courtesy of the artist and Jack Shainman Gallery, New York.

  • Selected Works

Deborah Grant, In the Land of the Blind the Blue Eye Man is King from the series By the Skin of Our Teeth, 2007. Oil, archival ink, paper, Flashe paint, and enamel on five birch panels; 72 × 180 inches (182.9 × 457.2 cm). Collection of the Nasher Museum of Art at Duke University. Museum purchase with additional funds provided by JoAnn and Ronald Busuttil, 2013.13.1. © Deborah Grant. Courtesy of the artist and Steve Turner, Los Angeles.
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