Henry Taylor: B Side | Art & Artists

Oct 4, 2023–Jan 28, 2024


Exhibition works

7 total
Untitled
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Untitled


A graphite portrait on white paper of a figure looking straightforwards. Their mouth is slightly ajar and the collar of their shirt is visible. The texture of the left edge of the paper suggests that the page was torn out of a spiral-bound sketchbook. The bottom and right edges of the paper appear to be singed, as they are uneven and browned.
A graphite portrait on white paper of a figure looking straightforwards. Their mouth is slightly ajar and the collar of their shirt is visible. The texture of the left edge of the paper suggests that the page was torn out of a spiral-bound sketchbook. The bottom and right edges of the paper appear to be singed, as they are uneven and browned.

Henry Taylor, Untitled, 1991. Graphite on paper, 11 1/2 × 8 3/4 in. (29.2 × 22.2 cm). Courtesy the artist and Hauser & Wirth. © Henry Taylor. Photograph by Jeff McLane

Untitled

From 1984 to 1995 Taylor worked as a psychiatric technician on the night shift at the now-shuttered Camarillo State Mental Hospital, where he cared for adults living with developmental disabilities or mental illness as well as those seeking treatment for substance use disorders. The pencil sketches he made of patients with whom he had close, sustained relationships are among his earliest works. Known as the “Camarillo Drawings,” many include quotes from the sitters or Taylor’s own stream-of-conscious notes. The empathetic observation of physical and psychological states that Taylor developed at Camarillo would become a hallmark of his portrait drawings and paintings.

By day, Taylor studied at Oxnard Community College (1985–90) and the California Institute of the Arts (1990–95). The paintings he made during this period merge his sensitivity to emotions with bold color and the graphic vocabulary of popular culture.

Against a teal background, a dark-skinned figure wearing a yellow shirt and blue jeans sits on a green bench. They lean forward, with their elbows on their knees and their hands wrapped around their head. Their mouth is open wide and oversized, taking up the entire surface of their head such that no other facial features are visible.
Against a teal background, a dark-skinned figure wearing a yellow shirt and blue jeans sits on a green bench. They lean forward, with their elbows on their knees and their hands wrapped around their head. Their mouth is open wide and oversized, taking up the entire surface of their head such that no other facial features are visible.

Henry Taylor, Screaming Head, 1999. Oil on canvas, 29 7/8 × 24 × 3/4 in. (75.8 × 60.9 × 1.9 cm). Courtesy the artist and Hauser & Wirth. © Henry Taylor. Photograph by Jeff McLane

Henry Taylor, Screaming Head, 1999

A central figure stands with their arms bent and their head turned to the left, as if mid-dance. Behind them is an irregularly shaped yellow star with a white outline. The background is pale blue, and in the top center, the word "Peanuts" is written in white text with a navy outline.
A central figure stands with their arms bent and their head turned to the left, as if mid-dance. Behind them is an irregularly shaped yellow star with a white outline. The background is pale blue, and in the top center, the word "Peanuts" is written in white text with a navy outline.

Henry Taylor, Peanuts, 2007. Acrylic on canvas, 78 × 90 in. (198.1 × 228.6 cm). Hudgins Family Collection, New York. © Henry Taylor. Courtesy the artist and Hauser & Wirth. Photograph by Robert Bean

Henry Taylor, Peanuts, 2007


On the Hour

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Frank WANG Yefeng, The Levitating Perils #2

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