In the foreground, a black man holds a white man's hand as they walk. Their backs are towards us, and looking between the "v" of their joined arms there is a crowd of people standing in front of buildings, all faced in one direction.
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Art Term Tuesday: Portfolio, A Body of Work 2/3

Miranda Dyson, Children’s Education Associate

As professional artists create, there is a level of documentation and organization that structures their work. Last time we reviewed a “body of work” we were looking at an art series. Next, we’re reviewing the applications of an artist portfolio and how they’re used to showcase collections of work.

Portfolio

Portfolios can serve many purposes depending on the artist’s intention. A portfolio could function like a series, with a collection of works following a consistent theme or material throughout the collection.

A portfolio could showcase a sampling of an artist’s best work. This sampling isn’t necessarily restricted to a common material or theme, but generally follows an artist statement, or signature style. Often used in conjunction with a resume, professional artists will reference their portfolio as an example of experience and skill. These portfolios are compiled digitally or in book form, referencing works that have been publicly displayed, commissioned, or developed for the artist’s personal collection.

If a working artist is receiving commission requests, a portfolio is a helpful tool in referencing the kind of work where they excel. A client can more easily assess if their vision would align with the artist’s style. A portfolio displays technical competence, consistent creative application, and usually the artist’s most recent work.

Documentation of a cohesive project: I AM A MAN

One example of a cohesive portfolio from the FWMoA collection is Ernst C. Withers’ photograph portfolio, I Am a Man. Withers is known for his photographic documentation during the Civil Rights movement and the most well known images of Rev. Dr. Martin Luther King Jr. Withers took candid photos that felt intimate to the viewer, landing them in the center of any event or conversation he captured. It’s estimated that he took over 1.8 million photos during his career. These are continuing to be categorized and uploaded digitally. Located in Memphis, TN, the Withers Collection Museum & Gallery displays images encompassing and extending beyond the Civil Rights images.

Below, use the arrows on the the photographs to view images within this portfolio.

  • In the foreground, a black man holds a white man's hand as they walk. Their backs are towards us, and looking between the "v" of their joined arms there is a crowd of people standing in front of buildings, all faced in one direction.
    Bishop Frederick Jordan, AME Baptist Church, T.O. Jones, Head of Sanitation Workers, Walter Ruether, United Auto Workers, lead commemorative march. Memphis, Tennessee, April 8th, 1968.
  • A black and white photo of a crowd of people outside on a street. All are facing the viewer with matching signs that read, "I Am a Man." The crowd is mostly men dressed in button down shirts, suit jackets, or sweaters.
    I Am a Man: Sanitation Workers Strike, Memphis, Tennessee, March 28th, 1968.
  • A father pushing the stroller of his infant. Hung around the father's neck is a sign that says, "Daddy I want to be free too!" They are on the sidewalk, passing a police car, looking in at the three officers.
    Daddy, I Want to be Free Too: William Edwin Jones pushes daughter Renee A. Jones during protest march on Main St., Memphis, August, 1961.
  • A tight image with Dr. Martin Luther King Jr. in the center, framed by the back of a man's shoulder and head. Three other individuals are in the background, MLK looks pressed in on all sides by a crowd.
    Dr. Martin Luther King is Confronted. Dr. King is stopped by police at Medgar Ever’s Funeral. Jackson, Mississippi, June, 1963.
  • A courtroom with wood paneling, benches, and a window letting in light through a sheer curtain. On the right, two officers sit in uniform at the front of the crowded room. On the left, five African-American men in suits sit with arms crossed, extended in front of them, or on their chest.
    Courthouse: Civil Rights lawyers Odell Horton, A.W. Willis, Benjamin Hooks, Russell Sugarmon and J.F. Estes at Memphis Police Court. Memphis, 1960.
  • A city bus with Dr. King and Ralph Abernathy sitting in the front row. All other passengers are white, including a man standing at the rear, holding metal bars.
    First Desegregated Bus Ride. Dr. Martin Luther King and Rev. Ralph Abernathy on first desegrated bus. Montgomery, Alabama, December, 1956.
  • A car parked in front of a high school building, under a large tree. The students exiting the car are gathering books, one dropped on the ground. The young woman are dressing in poodle skirts.
    Little Rock Nine. The “Little Rock Nine’s” first day of school. Little Rock, Arkansas, 1957.
  • An action photo of a march happening on the street in front of department stores. Marchers carry matching signs reading, "Union justice no!" and "Honor King, end racism!"
    Marchers on Main Street. Marchers on Main Street in Memphis after the assassination of Dr. King. Memphis, Tennessee, 1968.
  • A street so filled, only a small area in the foreground isn't covered with people. The crowd of people stretched back to the photo's horizon.
    Martin Luther King Funeral Procession. Funeral procession for Dr. Martin Luther King on Auburn Ave. after leaving King’s church. Atlanta, Georgia, April 12, 1968.
  • A couple with five children standing outside of a tent. One child is a baby, held by the mother, the other four, all under ten years old, stand in their coats, looking toward the camera.
    Tent City Family. This family was evicted from their home for voting. Somerville, Fayette County, Tennessee, 1960.
  • The title page of a portfolio, reading: "I Am A Man", Photographs by Ernest C. Withers (with signature). Portfolio 15/35, Panopticon Press 1994
    Ernest Withers, American 1922-2007. Title Page of the I Am a Man portfolio, 1994. Image courtesy of FWMoA.

A Studio Compilation: The Spirit of Independence: Kent Bicentennial Portfolio

A group of artists may have their work displayed or within a portfolio together. The Spirit of Independence: Kent Bicentennial Portfolio did just that. In celebration of the U.S. Bicentennial, the Lorillard Tobacco Company sponsored twelve artists to respond to the prompt, “What does ‘independence’ mean to you?” Each artist created an edition of 125 lithographs or serigraphs, applying their own interpretation of the prompt and personal style. This group of diverse prints was then distributed as a group to museums throughout the country. The inaugural exhibition of the portfolio was held at the Corcoran Gallery of Art in Washington, D.C.

Below, use the arrows on the the photographs to view images within this portfolio.

  • A Native American man, seated, facing the viewer. An American flag is draped across his lap, and a long feather quill is in his hand.
    Fritz Scholder, Native American, Luiseno, 1937-2005. Bicentennial Indian, 1974, from the Kent Bicentennial Portfolio: Spirit of Independence, lithograph, color on paper.
  • A cartoon abstract of black people gathering together. Standing in the doorway and around a large wooden table, people. The image is flat, with bold primary colors used for the room and clothing.
    Jacob Lawrence, African American, 1917-2000. The 1920’s…The Migrants Cast their Ballots, screenprint on paper, 1974.
  • The outline of men in the signing of the Declaration of Independence. Each outline is in a different, bright color, and a line above each head leads to the signature of the man.
    Larry Rivers, American, 1923-2002. An Outline of History, lithograph and screenprint on paper, 1975.
  • An image of two figures with the backdrop of ship masts behind them. The main figure is holding a box above his head, ready to throw it. The man in the background is holding an ax above his head. The men are dressed with feathers on their heads and are wearing capes. The dark clouds show it's dusk or dawn.
    Joseph Hirsch, American, 1910-1981. The Boston Tea Party, lithograph on paper, 1975.
  • Two women standing next to each other, holding each others' hands and shoulders. The women's faces are detailed in black and white. but the rest of their bodies and hands are outlines in bright colors.
    Marisol Escobar, American, 1930-2016. Woman’s Equality, lithograph on paper, 1975.
  • A colorful image with several figures and animals. In the center is a carriage driven by a black cartoon character, pulled by a horse. On the wagon is a traditionally dressed Native American, the Liberty Bell, a man in a pointed hat, and above, a figure balancing a bike across a rope. The colors are vibrant and organic.
    Red Grooms, American, b. 1937. Bicentennial Bandwagon, screenprint on paper, 1975.
  • A collection of Americana. The American flag is in the background along with a picture of George Washington. An eagle, figurines of soldiers, beads, and streamers in red, white, and blue cover the table's surface.
    Audrey Flack, American, 1931-2024. Fourth of July Still Life, screenprint, laminated, die-cut on paper, 1975.
  • Text reading, "Made in U.S.A." The entire surface looks like a pointillism piece, composed of thousands of dots. The colors are muted, but very diverse.
    Edward Ruscha, American, b. 1937. America Her Best Product, lithograph, color on paper, 1974.
  • Profiles of faces next to and above each other in rows. Surrounding the faces are portions of the American flag, either stripes or stars.
    Colleen Browning, American, 1928-2003. Union Mixer, lithograph on paper, 1975.
  • The profile of a white man with white hair tied low into a braid. The man has a grey coat and hat with a bright red brim.
    Alex Katz, American, b. 1927. Washington, lithograph on paper, 1976.
  • A black home on stilts with a stairway crossing back and forth up towards the house. Through the stairway and the stilts, the ocean and sand are visible. A woman dressed in black with a low black bun is standing on different levels of the house. She is seen standing beneath, sitting on the stairs, looking at the ocean, and looking at the viewer. This gives the impression of her passage of time at this house.
    Will Barnet, American, 1911-2012. Waiting, lithograph and screenprint on paper, 1975.
  • The number, "76" in bold red, with one large yellow star behind it. This is surrounded by an off-white circle with text reading, "They chose to be - free - we choose to be." The background is navy blue with thin, vertical, red stripes. At the bottom, in green lettering is the word, "Liberty"
    Robert Indiana, 1928-2018. Liberty ’76, screenprint on paper, 1975.

To see more inspiring works in person, plan your next visit to the FWMoA!

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