Joe Overstreet Selected Works: 1975–1982
ISBN: 978-0-9844715-9-1
Library of Congress Control Number: 0123456789
Joe Overstreet
Selected Works: 1975–1982
November 14, 2019–January 11, 2020
First published in the United States of America by Eric Firestone Press, 2021
Eric Firestone Press 4 Newtown Lane
East Hampton, NY 11937 USA 631-604-2386
ericfirestonegallery.com
Lyrical Defiance
John Yau
Joe Overstreet was born in the small town of Conehatta, Mississippi, in 1933, the second of three children. In an interview with Graham Lock, Overstreet described the town as “a small place where maybe a hundred black families lived. […] The rest of the people in Conehatta were Choctaw Indians.” i
Overstreet’s father was a highly skilled and accomplished cement mason. He left Mississippi to work on the war effort, on projects in the Shipyards and for the Defense effort. This occasioned several moves for the family. When Overstreet was eight, his family moved to Savannah, Georgia. This was followed by a move each year to Pasco, Washington; Vanport, Oregon; New York City; and Oakland, California. The next year, 1946, as the war ended, they settled in nearby Berkeley, California.
At this time, “Joe was developing as a young artist; his mother supported his experimentation with various techniques. He worked hard to develop unique techniques a new idea, a new technique every day.”ii
Between 1952 and ’58, he lived in the North Beach neighborhood of San Francisco, where many artists, writers, and musicians congregated. There, Joe apprenticed as a mason, learning about materials and tools. He began attending the California School of the Arts in 1953, but soon dropped out because he could not afford tuition. That year, Beat poet Lawrence Ferlinghetti co-founded City Lights Bookstore in North Beach.
During these years, Overstreet, who had joined an African American artist collective, knew many figures from the Beat scene, and was close friends with the Black poet Bob Kaufman. Both Overstreet and Kaufman served parttime in the Merchant Marines, and both moved to New York City in 1958. In Overstreet’s case, he moved because he wanted to immerse himself in the art that was being made there.
By the time Overstreet arrived in New York, he was in his mid 20s and had lived in at least eight different cities across the United States, not to mention spending a considerable amount of time at sea. Speaking about his early life, he told Lock: I felt like a nomad myself at times, and in those years there was homelessness, a lot of black people were homeless. We could survive with our art by rolling it up and moving all over, and I tried to show that. iii
In addition to influencing his subject matter, I believe that Overstreet’s nomadic life also inspired his restlessness as an artist. As opposed to many of his contemporaries, who first gained attention in the turbulent 1960s, he refused to develop a signature style. This refusal is an important constant running throughout his work.
After making work associated with Pop Art, Overstreet produced paintings that seemed to hover between abstraction and figuration, and he worked in both styles over the course of the 1960s. Toward the end of the decade, he began to suspend unstretched, abstract canvases from the ceiling and tie them to the floor. With each series, his paint application differed.
Regarding the third group, I would like to call attention to an earlier exhibition, Joe Overstreet, Innovation of Flight: Paintings 1967–72 at Eric Firestone Gallery in New York City (March 1–May 5, 2018), curated by Horace Brockington. That exhibition included a series that Overstreet called Flight Patterns “Flight” can signify the act of fleeing or flying, or, as I see it, both. To take flight is to simultaneously escape and free oneself of all constraints, to be reliant on the body’s capabilities.
Starting in 1941, Overstreet and his family became part of the Great Migration that Jacob Lawrence depicted in a series of sixty panel paintings (1940–41). However, unlike many Black families who traveled north to escape Jim Crow laws, gain employment, and establish a new home, the Overstreet family kept moving, from one city to another, setting what I see as a distinct pattern in his artistic life. His migratory existence and the homelessness that was rampant among Black people were both subjects he touched upon in his art.
c. 1980
The works brought together in the exhibition Joe Overstreet, Selected Works: 1975–1982 at Eric Firestone Gallery (November 14, 2019 were all completed after the artist, in collaboration with his wife, Corrine Jennings, and Samuel C. Floyd, opened Kenkeleba House in 1974, an art space on East Second Street in Manhattan s Lower East Side. Knowing that the work of most Black artists was not going to be accepted by the largely white mainstream art establishment, Overstreet, Jennings, and Floyd established an alternative space, a place that challenged the art world hegemony. This challenge was synonymous with those in Overstreet’s life.
Previously Overstreet had been the art director of the Black Arts Repertory Theatre/School (BART/S), which was
Joe Overstreet in his studio on E. 2nd Street in the Lower East Side,
Photograph by Dawoud Bey ©2020
founded by Amiri Baraka in 1965, and coincided with the Black Arts Movement. I do not consider the work that Overstreet made during the 1970s and ’80s, which he continued right up to his death in 2019, as separate from his commitment to Kenkeleba House and the sense of community it engendered. For all of his artistic restlessness, a sense of continuity is evident in his work, which is deeply rooted in his knowledge of the rich, under-recognized cultural traditions encompassed in Black history, poetry, free jazz, and abstract art.
The paintings in Joe Overstreet, Selected Works: 1975–1982 are mostly untitled, but a number of them bear a parenthetical subtitle: Untitled (Bowery) (1978, acrylic on canvas, 72 1/8 by 95 5/8 inches); Conehatta (1978, acrylic on canvas, 48 1/2 by 72 3/8 inches); and Gay Head (1982, acrylic on canvas, 48 1/2 by 72 3/8 inches). He completed them between 1978 and 1982, prior to his commission to make seventy-five Cor-ten steel and neon panels for the San Francisco International Airport (1982–87). With their extension beyond the rectangle of the canvas, they manifest Overstreet’s refusal to frame the viewer’s experience. In Untitled (1982, acrylic on constructed canvas, 76 by 70 inches), the quadrilateral shape, augmented by the orientation of the three lengths of wood he used to secure the canvas, evokes both a tipi and a kite. The upward diagonal thrust of the middle bar further enhances this reading, while introducing a forceful sense of movement.
Overstreet took three approaches during this period: He would use a brush and paint directly; pour the paint directly onto the surface; and pour paint onto sheets of plastic, which he could peel off and apply to a painting. This third process enabled him to incorporate the poured paint as collage.
The work’s palette is largely earth tones (browns and yellows), along with blues, Kelly green, peachy pink, and black, on a beige ground. The various directions of the drips, as well as sudden breaks and shifts, suggest that Overstreet composed the painting by pouring paint onto the canvas and onto plastic. As Barry Schwabsky points out in “Flight or Alchemy”(The Nation, May 24, 2018), his insightful review of Joe Overstreet, Innovation of Flight: Paintings 1967–72, which, among other things, contrasts Overstreet’s shaped canvases with those by artists such as Frank Stella: […] he sets shape, color, and structure into counterpoint rather than unifying them; the paintings open up to the world rather than closing in on themselves. His work is allusive, atmospheric, and metaphorically charged in ways that Stella and his cohort would have avoided.
I want to expand upon Schwabsky’s distinction. By making abstract paintings that “open up to the world,” Overstreet rejects Ad Reinhardt succinct and unequivocal view that “art is art. Everything else is everything else.” Not so. Overstreet did not accept the division between subjective and objective art, as formulated at the time by various critics and theoreticians who were trying to move beyond the gestural abstraction of Willem de Kooning and other non-geometric painters. For Overstreet, to accept the obsolescence of subjectivity would have been
tantamount to self-erasure; to exclude the outer world from his work would have required him to deny the engine of his art: the history of race relations in America and its origins in genocide, slavery, and white supremacy. This is why his tipi-kite shape resonates beyond the realm of art history. At the same time, as evidenced in his painting, Overstreet was not interested in the gestural brushstroke. He believed that de Kooning had pretty much exhausted its possibilities and had no desire to work in that well-trod territory, nor did he want to be a pure geometric abstractionist. Always conscious of multiple histories, which have parameters of one kind or another at their center, Overstreet found ways to deny or subvert these stylistic boundaries. It is a fierce and lyrical defiance that animates the work.
Untitled (1980, acrylic on unstretched canvas, 84 by 70 inches) is distinguished by two vertical forms, to the right and left of each other, on either side of a diagonal line. The form on the left is gray and the one to the right is brown. Except for a small area above the brown form, neither of these colors appears elsewhere in the painting. The drips in the painting, which move in various directions, defy gravity and the viewer’s expectations, and seem to take flight.
By painting Untitled on an unstretched canvas, Overstreet emphasizes the work’s portability: he can roll it up and carry it elsewhere. Although done in a completely different format from the tipi-kite painting, the qualities these works share speak to movement and seeking freedom.
The trapezoidal canvas Untitled (1982, acrylic on canvas construction, 71 by 55 inches) is oriented diagonally on the wall, so that it seems to rise up, from left to right, as well as recede in space. Across the painting’s solid red ground, Overstreet has poured beige and black paint. The scruffy, rumpled surface suggests the artwork’ s physical capacity for endurance and survival, while the trapezoid’s implied upward movement conveys the desire to break free of the limitations of one’s form.
Given the themes and subjects that Overstreet has embraced in his work, what is most striking is his refusal to dwell on past wrongs. In his evocation of a nomadic existence, movement becomes more than the need to flee or the aspiration for flight it is a celebration of artistic production and experimentation.
i.Graham Lock and David Murray, eds, The Hearing Eye: Jazz & Blue Influences in African American Visual Art (Oxford: Oxford University Press, 2009).
ii.Family of Joe Overstreet, as relayed to the author.
iii.Ibid.
Plates
Untitled, 1978
60h � 92w in
acrylic on canvas
Untitled, 1982
acrylic on canvas construction
76h � 70w in
Untitled, 1980
acrylic on unstretched canvas
84h � 70w in
Untitled
acrylic on stainless steel wire cloth
23h � 24 1/8w in
Untitled, 1982
acrylic on canvas construction
79h � 77w in
Untitled, 1982
acrylic on canvas construction
30 ½h � 50 ½w in
Untitled, 1982
acrylic on canvas construction
76h � 70w in
Untitled (Bowery), 1978
72 3/4h � 96 ½w in
acrylic on canvas
Untitled, 1982
acrylic on canvas construction
55 ½h � 52 w in
Gay Head, 1982
acrylic on canvas construction
79h � 83w in
Untitled, 1976
acrylic on stainless steel wire cloth
46 ½h � 29 ½w in
Fibonacci 1, 1, 1977–78
acrylic transfer on canvas
60h � 92w in
Untitled, 1982
acrylic on canvas construction
71h � 55w in
Untitled (Bowery), 1978
72 1/8h � 96 5/8w in
acrylic on canvas
Joe Overstreet
b. 1933, Conehatta, Mississippi
d. 2019, New York, New York
Education
1951–52 Contra Costa College, San Pablo, CA
1953 California School of Fine Arts, San Francisco
1954 California College of Arts and Crafts, Berkeley, CA
1971
Joe Overstreet, Selected Works: 1975–1982, Eric Firestone Gallery, New York
Joe Overstreet: Innovation of Flight, Eric Firestone Gallery, New York
Navigator Paintings, CW Post, Long Island University, Brooksville, NY
The Storyville Series, City Gallery East, Atlanta, GA
Meridian Fields, Wilmer Jennings Gallery, New York
Silver Screens, Wilmer Jennings Gallery, New York
Recent Paintings, Dartmouth College, New York
(Re) Call and Response, Everson Museum, Syracuse, NY
Joe Overstreet: Works from 1957 to 1993, New Jersey State Museum, Trenton, NJ
Watercolors, Aljira Contemporary Art Center, Newark
Facing the Door of No Return, Kenkeleba Gallery, New York
The Storyville Series, Montclair State College Art Gallery, Montclair, NJ
JoeOverstreet, G.R. N’Namdi Gallery, Birmingham, MI; Columbus, OH
Recent Paintings, Wilmer Jennings Gallery
The Storyville Series, Vaughan Cultural Center, St. Louis, MO
The Storyville Series, Kenkeleba Gallery, New York
Kenkeleba House, New York
JoeOverstreet, Institute for the Arts, Rice University, Houston, TX; The De Luxe Black Art Center, Houston, TX
Joe Overstreet, Living Art Center, Dayton, OH
Joe Overstreet, Ankrum Gallery, Los Angeles, CA
Flight Patterns, Dorsky Gallery, New York
Joe Overstreet: Stretch Paintings, Berkeley Rotary Art Center, Berkeley, CA
Studio Museum in Harlem, New York
Spanierman Gallery, New York
International Gallery, New York
Tea Gallery, Miss Smith’s Tea Room, San Francisco
Cousin Jimbo’s Bop City, San Francisco
Vesuvio’s, San Francisco
The District, Oakland
Selected Group Exhibitions
TheDirtySouth:ContemporaryArt,MaterialCulture,andtheSonicImpulse , Virginia Museum of Fine Art, Richmond, VA
13 American Artists: A Celebration of Historic Work, Eric Firestone Gallery, New York
Unbound, Zuckerman Museum of Art, Kennesaw State University, Kennesaw, GA
Into Form: Selections from The Rose Collection, 1957-2018, Rose Art Museum, Waltham, MA
Generations: A History of Black Abstract Art, Baltimore Museum of Art, Baltimore, Maryland
Three Acts: Felix Gonzalez-Torres, Senga Nengudi, Joe Overstreet, Colgate University, Picker Art Gallery, Hamilton, NY
Shape, Rattle & Roll, Eric Firestone Gallery, East Hampton, NY
This Must Be the Place, 55 Walker, New York
Way Bay, University of California, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA
Soul of a Nation: Art in the Age of Black Power, Tate Modern, London; Crystal Bridges, Bentonville, AR; Brooklyn Museum, New York; Broad Museum, Los Angeles; De Young Museum, San Francisco, CA; The Museum of Fine Arts, Houston, TX
Picturing Mississippi, Mississippi Museum of Art, Jackson, MS
Life on the Canal Then by Artists Now, Erie Canal Museum, Syracuse, NY; Schenectady County Historical Society, NY
Abstract Masters of the 1950’ s. (Where were the Mistresses?), Anita Shapolsky Gallery, New York
The Color Line, Musee du Quai Branly, Paris, France
The World Goes Pop, Tate Modern, London
I Got Rhythm; Kunst und Jazz Seit 1920. Stiftung Kunstmuseum Stuttgart, Germany
Art of the 5. I’ll Take Manhattan, Intra-church Center Gallery, New York
Masters and Pupils, Rye Art Center, New York
Witness: Art and Civil Rights in the Sixties, The Brooklyn Museum, New York; Hood Museum of Art,
Hood Museum of Art, Hanover, NH; Blanton Museum of Art, Austin, TX
The Transverse, An Art Exhibit on Transportation, The Port Authority Bus Station of New York City
Large and Small, Anita Shapolsky Gallery, New York
American Renaissance Art, Anita Shapolsky Gallery, New York
Visual Rhythms, California African American Museum, Los Angeles, CA
Reflections of Monk, Images of Music and Moods, Wilmer Jennings Gallery, New York
The Countryside in Art and Southern Literature, Anita Shapolsky Foundation, Jim Thorpe, PA
Now Dig This! Art and Black Los Angeles 1960-1980, Hammer Museum, Los Angeles; MoMA PS1,
Long Island City, NY, Williams College Museum of Art, Williamstown, MA
From the Page’s Edge: Water in Literature and Art, Payne Gallery, Moravian College, Bethlehem, PA; Lake Champlain Maritime Museum, Vergennes, Vermont; Albany Institute of Art, New York
Tradition Redefined: The Larry and Brenda Thompson Collection of African American Art, David
C. Driskell Center, University of Maryland, College Park; Georgia Museum of Contemporary Art, Jacksonville, FL; Rice University Art Gallery, Houston, TX; Saint Louis University Museum of Art, Missouri
African American Contributions to a Shared Vision ; Prints From the Cochran Collection, Lamar
Dodd Art Center of La Grange College, GA
Rehistoricizing Abstract Expressionism in the San Francisco Bay Area, 1950 ’ s-1960s, Luggage
Store Gallery and San Francisco Art Institute, San Francisco
Americans at Play, Sullivan Goss Gallery, Santa Barbara
African American Abstract Masters, Anita Shapolsky Gallery, New York; AS
Art Foundation, Jim Thorpe, PA; Opalka Gallery, Sage Colleges, Albany, NY
From the Permanent Collection, The Brooklyn Museum, New York
Harlem of the West : Jazz, Bebop and Beatnik, California African American Museum, Los Angeles
Harlem of the West, Jazz Heritage Center, San Francisco
a point in space is a place for an argument, David Zwirner Gallery, New York
Short Distance to Now : Paintings from New York, 1967-1975, Galerie Kienzle & Gmeiner, Berlin; Galerie Thomas Flor, Dusseldorf Germany
Energy / Experimentation : Black Artists and Abstraction, 1964-1980, The Studio Museum in Harlem, New York
High Times, Hard Times, ICI, Weatherspoon Art Museum, Greensboro, NC; Tamayo Museum, Mexico City; National Academy of Design Museum, NY
Interstellar Low Ways, Hyde Park Community Center, Chicago, IL
Back at Black, Art, Cinema and the Racial Imaginary, Whitechapel Art Gallery, London; New Art Gallery, Walsall.
Something to Look Forward to, Phillips Museum of Art, Franklin and Marshall College, Lancaster, PA
Rhythm of Structure : The Mathematical Aesthetic, Wilmer Jennings Gallery, New York
Peg Alston Fine Arts, New York
Math Art/Art Math, Selby Gallery, The Ringling College of Art and Design, Sarasota, FL
Abstraction: No Greater Love, Jack Tilton Gallery, New York
Artists of the 1950's, Anita Shapolsky Gallery, New York
African American Abstraction, City Gallery East, Atlanta, GA
The Act of Drawing, Rush Arts Gallery, New York; Tompkins College Center Gallery, Cedar Crest College, Allentown, PA
The Politics of Racism, Fire Patrol No. 5, New York
Public Voices/Private Visions : African American Artists@ 2000, Rockland Center for the Arts, West Nyack, NY
19th and 20th Century African American Artists, Kenkeleba Gallery, New York
Tenacious Beauty, Delaware College of Art and Design, Wilmington
When the Spirit Moves : African American Art Inspired by Dance, National Afro-American Museum and Cultural Center, Wilberforce, OH
Slave Routes, Kenkeleba Gallery, NY
Art by African Americans in the Collection of the New Jersey State Museum, Trenton, NJ
Space, Time& Object : Black Abstractionists, City University of New York, New York
The Art of Jazz, Dell Pryor Galleries, Detroit, MI
Abstractions, Kenkeleba Gallery, New York
The Fifties, Anita Shapolsky Gallery, New York
Heritage . . . The Dream Continues, Morris County Records & Administration Building, NJ
African-American Artists : Then and Now, Sacks Fine Art, New York
Dream Singers, Storytellers : An African-American Presence, New Jersey
Tokushima Modern Art Museum, Tokushima, Japan; Otani Memorial Art Museum, Museum, Nishinomiya, Japan.
Dakar Biennale, Senegal; National Center for Art; French Cultural Center, Libreville, Gabon; GRAFOLIE Festival, Abidjan, Cote D’Ivoire
Art is for Everyone III, Museum of African American Art, Los Angeles, CA
The Spirit Made Visible, John Natsoulas Gallery, Davis, CA
In the Tradition, Part I, Anita Shapolsky Gallery, NY
African American Invitational, St. Louis Artists’ Guild, MO
African American Art in the U.S., Museo Nacional des Bellas Artes, Santiago, Chile
The Search for Freedom: African-American Abstract Painting, 1945-1975, Kenkeleba Gallery,
New York; The Cleveland Institute, OH; The State University of New York, New Paltz
The Nerlino Gallery, New York
The Color of Jazz, The Rye Art Center, New York
The Blues Aesthetic, Washington Project for the Arts, Washington, DC; California Afro-American Museum. Los Angeles, CA; Museum of Art, Duke University, Durham, NC; Blaeffer Gallery,
University of Houston, TX; The Studio Museum in Harlem, New York
Kenkeleba Gallery, New York Made in the USA, University of California at Berkeley, Berkeley, CA
Evergreen Gallery, Brooklyn, NY
Alitash Kebede Gallery, Los Angeles, CA
U.S. Art Census ‘86 Contemporary Afro-American Artists, Pennsylvania Academy of Fine Arts, Philadelphia, PA
Twentieth Century African American Artists, The Newark Museum, Newark, NJ Transitions: The Afro-American Artist, Bergen County Museum of Art and Science, NJ Choosing: Changing
Perspectives in Modern Art, Hampton Institute, VA
A View from Harlem, Smithtown Arts Council, NY
13 Black Artists, Hudson River Guild, New York
In Honor of Greatness, Essex County College, West Cauldwell, NJ
Tradition and Conflict: Images of a Turbulent Decade, 1963-1973, The Studio Museum in Harlem
Celebration VI, The New Museum of Contemporary Art, New York
Affirmations of Life, Kenkeleba Gallery, New York
Free Expressions, Center for the Arts, Mount Vernon, NY
The Gathering of the Avant-Garde: The Lower East Side, 1948-1970, Kenkeleba Gallery, New York
Art Works in City Spaces, the Tweed Courthouse, New York, NY
Images of Jazz, The Wilson Arts Center, Rochester, NY
Jus’ Jass, The University of Massachusetts at Amherst
Henry Street Arts for Living Center, New York
20th Century Afro-American Artists: Selections from the Collection of the Newark Museum, Newark Museum of Art, Newark, NJ
Since the Harlem Renaissance, Center Gallery, Bucknell University, Lewisburg, PA; Amelie
A. Wallace Gallery, The State University of New York, College at Westbury; Museum of Art, Munson-Williams-Proctor Institute, Utica, NY; The Art Gallery, University of Maryland, College Park; The Chrysler Museum, Norfolk, VA; Museum of Art, The Pennsylvania State
University, University Park, PA
Stereotypes, Balch Institute, Philadelphia
Jus’ Jass, Kenkeleba Gallery, NY
Artists: New York/Taiwan, The Hatch-Billips Collection, American Institute in Taiwan,
Kaohsiung, National Taiwan University, Spring Gallery
Aspects of the 1970’ s: Spiral, National Center of African American Art, Boston, MA Summer Show, Kenkeleba Gallery, NY
Artist of Today’s Lower East Side, Islip Town Council, NY
Focus South Africa, Countee Cullen Library, New York
New York Artists, 22 Wooster Gallery, New York
Another Generation, The Studio Museum in Harlem, New York
Black Artists/South, Huntsville Museum, AL; Oakland Museum, CA
New York Public Library, Countee Cullen Branch
Henry O. Tanner Gallery, New York
Recreation Pier, Maryland Institute Alumni Association, Baltimore, MD
Richard Allen Center, New York
Fells Point Gallery, Baltimore, MD
Presents with Presence, Fells Point Gallery, Baltimore, MD
Tugboat Show, Fells Point Gallery, Baltimore, MD
West Coast 74: Black Image, Crocker Art Gallery, Sacramento, CA; Los Angeles Municipal
Art Gallery, CA
MIX: Third World Painting/Sculpture Exhibition, San Francisco Museum of Modern Art, CA
California State University, Heyward, CA
Berkeley Museum, Berkeley, CA
Fells Point Gallery, Baltimore, MD
Black American Artists, University of Iowa, Iowa City, IA
Off the Stretcher, Oakland Museum, Oakland, CA
William Zierler Gallery, New York
Some American History, The DeLuxe Black Arts Center and Rice University, Houston; University of Texas Art Museum, Austin, TX
Black Artists: Two Generations, Newark Museum, Newark, NJ
Dorsky Gallery, New York
Columbia University, New York
New York Public Library, Countee Cullen Branch
Afro-American Artists: New York and Boston, Boston Museum of Fine Arts, Boston, MA
New Black Artists, The Brooklyn Museum, New York; The Urban Center, Columbia University, New York
University of Minnesota, Minneapolis, MN
Allan Stone Gallery, New York
The Real Great Society, Tompkins Square Gallery, New York
The Brooklyn Madau Museum, New York
The New York Public Library, Countee Cullen Branch
Pan American Building, New York
Perls Gallery, New York
Port Authority of New York and New Jersey, NY
Martha Jackson Gallery, New York
Contemporary Afro-American Arts, The Brooklyn Museum Community Gallery, Brooklyn, New York St.
Mark’s Church of the Bowery, New York
Gordon Gallery, New York
The New York Public Library, Countee Cullen Branch
Allan Stone Gallery, New York
Tenth Street Aegis Gallery, New York
Tenth Street Aegis Gallery, New York
Gallery A, New York
City College of the City University of New York, New York
Artists Cooperative, San Francisco, CA
Dilexi Gallery, San Francisco, CA
Selected Public Collections
Brooklyn Museum, New York
Everson Museum, Syracuse, NY
Newark Museum of Art, NJ
Oakland Museum, Oakland
Berkeley Art Museum and Pacific Film Archive, University of California, Berkeley
Crockett Museum, Sacramento
Living Art Center, Dayton, OH
Chicago Bank for Savings, Chicago
The Port Authority of New York and New Jersey
New York Urban Coalition, New York
New York Health and Hospitals Corporation, New York
New Jersey State Museum at Trenton, NJ
Chase Manhattan Bank, New York
Menil Foundation, Houston
John De Menil Collection, Houston
Sam Dorsky Gallery, New York
Atlantic Richfield Corporation, Philadelphia
Colgate-Palmolive Corporation, New York
Carillon Corporation, Fort Lee, NJ
Cochran Collection of Works on Paper, Stone Mountain, GA
Beatrice International, New York
The Rose Collection, Rose Art Museum, Waltham, Massachusetts
Mississippi Museum of Art, Jackson
Rennie Collection, Vancouver
California African American Museum, Los Angeles
Awards
Governor’s Award for Excellence in the Arts presented by the Mississippi Arts Commission
Selected Comissions
1968 The New Jemima, The Menil Foundation, Houston, TX
1982–7 Tunnels A & C. Environmental Installations, San Francisco International Airport, San Francisco, CA
Acknowledgments
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Published on the occasion of the exhibition.
Joe Overstreet
Selected Works: 1975–1982
Eric Firestone Loft
4 Great Jones Street, #4
New York, NY 10012
Principal: Eric Firestone
Catalogue Design: Nate Baltikas
Photography: Jenny Gorman
Printed by: Kirkwood
904 Main Street
Wilmington, MA 01887
