The Lost World: The Art of Minnie Evans

Through Jan 10, 2027


Exhibition feature

9 total
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Winged angel and centaur present a bouquet to a smiling multi-faced figure under a blue sky.
Winged angel and centaur present a bouquet to a smiling multi-faced figure under a blue sky.

Minnie Evans, Untitled (Angel with Centaurs and Creatures), 1978. Mixed media, 9 5/8 × 12 7/8 in. (24.4 × 32.7 cm). The Keen Collection, Philadelphia. © The Estate of Minnie Evans. Photograph by Karen Mauch

As her health began to fail during the last decades of her career, Evans's work became increasingly religious. She recorded her vision of a paradise on earth, free from suffering and sin, over which Christ would rule. As she once said, "I love to think of it, the New Jerusalem." These late works testify to the ongoing centrality of dreams and visions in her creative process. "I was a great dreamer all my life," Evans recalled. "My whole whole life was nothing but dreams."

Decorative mandala with two lions, four white angels, and colorful floral patterns.
Decorative mandala with two lions, four white angels, and colorful floral patterns.

Minnie Evans, A Dream—Nov. 1968, 1980. Oil, pencil, and crayon on paper, 16 × 20 in. (40.64 × 50.8 cm). High Museum of Art, Atlanta, purchase and gift of Carl and Marian Mullis. © The Estate of Minnie Evans

A Dream—Nov. 1968, 1980

In the New Testament, Jesus is represented as the Lion of Judah, the conquering king who fulfills God's promise to redeem humanity. During Evans's lifetime, the Lion of Judah was closely associated with international Black identity and linked to Ethiopian emperor Haile Selassie, an advocate for and symbol of Black liberation around the world.



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On the Hour

A 30-second online art project:
Frank WANG Yefeng, The Levitating Perils #2

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