“I think of art as making a statement about the artist’s time and place and/or turning points in techniques and tools that give the next generation of artists a new outlook.” — Sid Webb

"Skipping" by Sid Webb, 10x27in, photograph (2011), $89 | BUY NOW — *"Skipping" by Sid Webb, 10x27in, photograph (2011), $89 | BUY NOW*

Sid Webb creates in a variety of mediums, and today we see some of his photographs. “I have taken nearly 100,000 photographs,” claims Webb, “and although I am tempted by beaches, mountains, sunsets, and sunrises and their breath-taking beauty as much as anyone, I rarely find lasting substance in such images. We can count the significant landscape photographers on one hand. Landscape painters fare a little better because technique and interpretation come into play.”

Webb prefers people as subjects for his camera. Here we see a young boy approaching a large 17th-century canon at Castillo de San Marcos in St. Augustine with appropriate trepidation, sheepishly inching his foot forward, a look eager anticipation mixed with supreme caution on his face. The shot is from a distant, raised point-of-view, and if the child had a clue he was being photographed, would he have been so expressive?

"Cigar Roller" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW — *"Cigar Roller" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW*

The locations here cover a range of territory, from Germany to Portugal, and Webb’s camera finds the ordinary, universal truths of people instead of the divisive artificial barriers that arise from nations and politicians. Webb sees people experiencing the wonders of the world as a respite from their normal, daily existence.

“It is my feeling that about 80 percent of creating art is the process of making it,” says Webb. “By which I mean just being focused and absorbed in the process of creation. Another 15 percent or so has to do with skill and craft, and 5 percent is drawn from our sensitivity to the world around us and how finely tuned we are to form and balance and color. Somewhere in this mix is a bit of rational thinking and reasoning that lead us in deciding subject matter and content. Generally, artists are thought of as being creative and original. And artists think of themselves in those terms, too.”

Hometown: Lexington, KY
Education: Majored in journalism and political science, University of Kentucky; Atlanta School of Art (High Museum)
Website: http://www.sidwebb.com/

"Boys and Guns" by Sid Webb, 11x17in, photograph (2014), $45 | BUY NOW — *"Boys and Guns" by Sid Webb, 11x17in, photograph (2014), $45 | BUY NOW*

"Fairy Dust" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW — *"Fairy Dust" by Sid Webb, 11x17in, photograph (2013), $45 | BUY NOW*

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“You have to be dedicated, but also giving of yourself.” — William M. Duffy

*"African Heads" by William Duffy, prismacolor on paper*

Everybody calls him “Duffy”. You say that name to anyone in the visual art community over 30 and they immediately know whom you’re talking about. A Louisville native who earned his BFA in Painting from the Louisville School of Art during its fabled heyday in Anchorage back in the 1970’s, he turned to sculpture after chancing upon an automobile collision that freed some marble from a pillar. He was fascinated by the piece of stone and took to it with a hammer and screwdriver when he got home.

Needless to say, William M. Duffy obtained the proper tools, but the story illustrates the unpretentious, workaday touch that seems characteristic of this artist. He has distinguished himself as a sculptor ever since, and a new exhibit at the Kentucky Center for African American Heritage, Folks and Wee Folks: The Work of William M. Duffy, puts a long overdue spotlight on the man and his work.

Duffy was raised on Magnolia Avenue in the West End of Louisville, which, at that time, was predominantly Black, but the elementary school he attended, Virginia Ave. Elementary, was more balanced racially. “In my school, I would say it was closer to 50% White/50% Black back then,” recalls Duffy. He attended Shawnee High School, by which time he already knew he wanted to be an artist. Louisville School of Art came next, where he studied painting with Bob Barton.

But the most crucial influence in those early years was Gloucester Caliman “G.C.” Coxe (1907-1999). The most notable African American artist in Kentucky in that period, he was known as ‘the dean of Louisville’s African American artists.’ Duffy recalls, “He ran the Louisville Art Workshop on 35th Street back in the day, and we all called him, ‘the Master.” Duffy, along with Ed Hamilton, Sylvia Clay, Eddie Davis, and several others were a loose group around Coxe that eventually was given formal shape as “Montage.”

"I Fear None" by William Duffy, silk screen — *"I Fear None" by William Duffy, silk screen*

“It was difficult at that time for any of us as individuals to get a show in Louisville, so we formed Montage because we thought there would be strength in numbers. Part of it was that there was a militant, political edge in much of our work, and that seemed to make it even more difficult to be accepted by traditional galleries.” Montage exhibited as a group for several years, including at The Speed Museum, before disbanding, but this was happening at a time when several young, outspoken Black people holding a meeting could too easily arouse fear and suspicion. “Ed’s Shelby Street studio was kind of our center,” says Duffy, “and one night we emerged from a meeting there to find four police cars waiting for us with questions – ‘what kind of meeting was this?’ – that kind of thing…because the neighbors had called them; and that was in a predominantly Black neighborhood!”

The group also sought opportunities elsewhere. “G.C., Ed, and myself were in a show in Atlanta, so we drove to get to the exhibit opening, and then almost nobody came because the Falcons had a big game at the same time,” recalls Duffy, laughing at the memory. They returned to Louisville the same night driving for 8 straight hours in hammering, blinding rain.

*"A Little Bird Told Me" by William Duffy, 7.75x5x7in, alabaster sculpture (2011)*

But Louisville remained home for all three men, a commitment to the community that Duffy worries is not carrying through with younger generations of African American artists. Having taught youth art classes for over 30 years now (including with LVA), Duffy has seen a lot of talent come up through the education system only to move on to other cities that afford more opportunity. “G.C. stayed here, Ed stayed here…we came together in support of each other, and I’m not certain that is happening enough with young Black artists in Louisville right now.”

“You have to be dedicated, but also giving of yourself. I still hear young people who have the attitude, ‘This is what we need – this is how you can help us… almost never what do you need – how can we help you?” It is a different ethos from Duffy’s halcyon days with Montage. “We were always encouraging each other, always working to help each other out. I built the turntable in Ed Hamilton’s studio that he still uses today. We always did for each other.”

Duffy speaks about his life with self-effacing ease, yet not without a sure sense of his place in the history of African American artists in Louisville. While arguably not as celebrated as some of his contemporaries, his legacy of teaching ensures a lasting influence on the past, present, and future of the Louisville arts community.

Duffy’s work can be found in numerous private, corporate, and public collections, including Phillip Morris USA, Brown-Forman Corporation, Kentucky Fried Chicken (now YUM! Brands, Inc.), Humana Inc., The Louisville Orchestra, and The Speed Art Museum.

*"At Rest" by William Duffy, 6.5x11.6.5in, bronze sculpture (2011)*

Folks and Wee Folks

April 3- May 25, 2017

Monday – Friday, 10:00am-4:00pm

Kentucky Center for African American Heritage
1701 West Muhammad Ali Boulevard
Louisville, KY 40203
502-583-4100
kcaah.org

Hometown: Louisville, KY
Age: 63
Education: BFA in Painting, Louisville School of Art
Gallery Representative: E&S Gallery (Louisville, KY)
Website: http://www.wmduffy.com/

*"Queen for a Day" by William Duffy, alabaster sculpture on wood block*

*Artist, Duffy with his wife Sherrolyn. Photo by Jason Harris.*

atlanta

Vignette: Sid Webb

“I think of art as making a statement about the artist’s time and place and/or turning points in techniques and tools that give the next generation of artists a new outlook.” — Sid Webb

Feature: William M. Duffy

“You have to be dedicated, but also giving of yourself.” — William M. Duffy