Herbert Gentry, Paris and Beyond, 1949-1978

HERBERT GENTRY PARIS AND BEYOND 1949-1978 ESSAY BY GRETCHEN WAGNER

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HERBERT GENTRY PARIS AND BEYOND 1949-1978

November 14, 2020 – January 23, 2021 On view Tuesday through Saturday 10:00 a.m. - 6:00 p.m. by appointment The gallery will be closed to the public December 24, 2020 to January 4, 2021.

A CERTAIN SPONTANEITY: EXPRESSION AND EXPERIENCE IN HERBERT GENTRY’S ART

by Gretchen Wagner In the autumn of 1946, Herbert Gentry arrived in Paris to begin his studies at the city’s art academies and private studios. The scene he left behind at home in New York was a hotbed for new art in the post-World War II era. Critics had broadcast the term “abstract expressionism” on the pages of The New Yorker, Jackson Pollock began his celebrated “drip paintings,” and Norman Lewis launched his new calligraphic style. While these and other exciting developments were soon to transform contemporary art, a different metropolis, Paris, had immediate and irresistible allure for Gentry. As an aspiring young modernist who first encountered Paris in 1944 as a black solider in the segregated American armed forces days after the city’s liberation, he recalled, “I knew then that I would return to Paris to study art, to work, and to settle until it was time for New York to open up its door to art for all.”1 The French capital promised many artists, especially artists of color, freedom from social and creative constraints that persisted in the United States.2 At the time, major American museums that supported an active contemporary program, such as The Museum of Modern Art, favored art by whites and, as scholars observe, “minorities of the ‘folk’ variety over their academically trained counterparts.”3 Funded by the G.I. Bill, Gentry was one of the first African American artists to go to Paris to study immediately following the war. In doing 4

so, he became an important bridge between generations of black Americans who sojourned to Europe, from celebrated figures Henry Ossawa Tanner, Lois Mailou Jones, and Hale Woodruff in the nineteenth and early twentieth centuries to aspiring talents such as Beauford Delaney, Romare Bearden, and Ed Clark, among others who followed Gentry there in the 1950s.

Taking up residence at the Cité internationale universitaire de Paris and enrolling at the progressive Académie de la Grande Chaumière, Gentry immersed himself in an education that combined studio instruction with life experience. As he stated, “I just didn’t go to art school, I met everybody who was somebody in the art world,”4 and indeed, he interacted with many sculptors and painters active in the scene. Painter Yves Brayer and sculptor Ossip Zadkine, who both taught at Académie de la Grande Chaumière, were central figures in his early training. They nurtured Gentry’s interest in the modernist styles of Cubism and Expressionism. In addition, Gentry sought out Georges Braque and completed several lessons with the elder Cubist, who invited Gentry to observe his working process. Members of the CoBrA group entered Gentry’s circle as well and introduced him to ideas about the subconscious and the artist as a social being. The saturated hues, compressed spaces, faceted volumes, as well as an

Herbert Gentry in Copenhagen studio, 1963. Photo credit Kirsten Malone

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incorporation of nonwestern forms, evident in the young the bohemian Montparnasse district where many American artist’s work from the 1940s and 1950s reflect a cross-current artists had studios. The space, which served as a gallery by day of stylistic tendencies. His experiences also exposed him to primitivism and instances of cultural appropriation which underpin the western modernist tradition.5 Paris, and Europe for that matter, certainly offered African Americans many freedoms, yet inequity remained. In France, the exoticization of black culture endured, and racism was on the rise as the decolonization movement took hold. Nonetheless, within the five years of his initial stay in Paris, Gentry enjoyed several significant exhibition opportunities which put his work in front of the day’s public and critics. In 1949, the prestigious Galerie Seine hosted his first one-person exhibition in Europe, followed by another solo presentation in 1950 at the groundbreaking collective-run Galerie Huit founded by Haywood (Bill) Rivers to champion contemporary American art. He also gained entry to the legendary Salon d’Automne in 1951.

Although visual art was always Gentry’s focus, music also occupied an important place in his life. During his childhood in 1920s Harlem, Gentry’s mother performed in elaborate Ziegfeld stage productions and danced alongside Josephine Baker. Through her, he developed knowledge of the entertainment world, and once in Paris, he quickly gravitated to the vibrant jazz scene there and the connections it had to offer. He stepped easily into the role of managing a musical venue, Chez Honey, which he opened in 1949 in 6

and a popular jazz venue by night, attracted both American and European artists, thinkers, and musicians. Louis Armstrong, Duke Ellington, and Dizzy Gillespie, among other renowned names, performed there in front of packed audiences which included figures such as Simone de Beauvoir and Richard Wright.6 Notable creatives enjoyed the buzzing social atmosphere, and Gentry, who was a natural connector, reveled in the interactions and exchanges that transpired.

His canvas Chez Honey (1949) captures one such moment where two patrons press together in an intimate encounter.

The figure on the right, grasping her companion’s shoulder with a brightly manicured hand, leans in and whispers to her partner, who gazes dreamily upward, as if entranced by the woman’s words, attire, and the club’s sensual ambiance.

Instances of social and psychological connection, such as this one, remained a dominant theme in his art throughout Gentry’s career.

By the end of the 1950s, Gentry relocated to Copenhagen initiating his frequent travels between Scandinavia, Paris, and New York that continued until his death.7 During this time and into the 1960s, gestural abstraction became his primary style and earned him a place in the first European exhibition bringing together African American artists.8 Describing his process in front of the easel, Gentry explained, “there’s a certain spontaneity that exists…my subconscious plays a great

role, I don’t calculate.”9 The compositions from this period a responsibility to “tell a conscious story figuratively” vibrate and overflow with visual activity. In several, layers of about black life and culture.14 Instead, he adhered to a broad linear brushstrokes structure tonal fields, generating satisfying tension between flatness and recession. Evidence of the figure remains in the totemic profiles of Copenhagen (1960) as well as in the vague faces and eyes that emerge in several paintings of the period. Although his reliance on automatism and energetic rhythms parallels abstract expressionism, Gentry, like the CoBrA artists he befriended, avoided the individualistic rhetoric behind the movement flourishing in the United States.10 Rather, a collective impulse informs the subconscious spontaneity Gentry summoned to direct his brush. For him, “all the types that I’ve met in my life” flow into the art.11

type of abstraction born spontaneously from the collective subconscious. This commitment to western aesthetics and philosophies distanced him from some of his American contemporaries—such those in the Black Arts Movement who called for clear articulations of black experience— however, as he saw it, identity still had a place in his practice.

“The blackness within you will have to come out if you are to be a truthful artist,” he stated.15 Europe created the space for him, as an African American, to explore his distinct approach freely, which ultimately earned him numerous substantial museum and gallery exhibitions throughout the region. The acclaim Gentry received during these years included the distinguished honor of a retrospective organized by Sweden’s Gentry asserted that his paintings came from the hands Royal Academy of Fine Arts in 1975, securing his place in of his ancestors as much as his own. “It’s about my family, contemporary discourse. my forefathers’, mother’s; it’s not only me who’s painting, it’s the people who lived before me, connected with me,” Gentry spent increasingly more time in New York during he explained.12 His close friend Romare Bearden recalled the 1970s and 1980s, when he took up permanent residence that Gentry often expressed that he would find “something in the Chelsea Hotel in 1982 between his ongoing trips to missing in himself and his art, should he not return to his Europe. The city of his childhood, now facing economic roots.”13 Gentry grew up surrounded by preeminent artists downturn and widespread neglect, was a different place of the Harlem Renaissance, who reclaimed through their art from his youth. Nonetheless, it provided a creative grittiness, African traditions as well as stereotypes and caricatures to perhaps reminding him of the austerity of postwar Paris and take control of their depicted identity. To a certain extent, the interpersonal resourcefulness it inspired. Once again, Gentry’s ideas drew upon his proximity to this history; he immersed himself in a vibrant community of artists, however, he rejected notions that as a black artist he had writers, and musicians, within which he continued to expand 7

his social and professional network and seek out support.

Canvases from this period, where clusters of contoured heads and bodies emerge interconnected among a dense accumulation of webbed line, reference social relationships.

One example, Untitled (Subway) (1972), captures public transit riders gazing in unison, as if passing strangers synced in synergetic attentiveness. His brushstrokes suggest more control and consideration than before, and, given Gentry’s propensity to traverse varied stylistic sources, one recognizes parallels ranging from neo-expressionist impulses to graffiti’s linearity. Painting, “it’s about putting things together,” Gentry once expressed, and that certainly pertained to his combination of visual inspirations as well as the communal connectedness that his compositions evoke.16 Since his first days in Paris until his later years, this approach—based on intuitive creative release and a lifetime of extraordinary encounters—propelled Gentry to define a complex art that profoundly links geographies, generations, and narratives.

— Gretchen L. Wagner is a curator and art historian based in St. Louis. She has completed projects featuring modern and contemporary art at institutions internationally, including the Saint Louis Art Museum, Museum of Modern Art, Pulitzer Arts Foundation, WIELS Centre d’Art Contemporain, Tang Teaching Museum and Art Gallery at Skidmore College, and Williams College Museum of Art, among others. Most recently she co-organized the exhibition The Shape of Abstraction: Selections from the Ollie Collection at the Saint Louis Art Museum which celebrated abstraction by contemporary black artists. Wagner holds degrees in Art History from the University of Wisconsin and Williams College.

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G. R. N’Namdi Gallery. Herbert Gentry: The Man, the Master, the Magic, (Chicago: G. R. N’Namdi Gallery, 2008), p. 17.

2 For discussion of Paris’s draw for many African American artists following World War II, see Catherine Bernard, Michel Fabre, Valerie J. Mercer, and Peter Selz, Explorations in the City of Light: African-American Artists in Paris, 1945-1965, (New York: Studio Museum in Harlem, 1996) and Marie-Françoise Sanconie, “Paris 1945-1991,” in Paris Connections: African American Artists in Paris, eds. Asake Bomani and Belvie Rooks, (Fort Bragg, CA: Q. E. D. Press, 1992), 44-50.

3 Darby English and Charlotte Barat, Among Others: Blackness at MoMA, (New York: The Museum of Modern Art, 2019), 23.

4 Brenda K. Delany, “Post-World War II Expatriate Painters: The Question of a Black Aesthetic,” (Ed. D. diss., Columbia University, 2003), 129.

5 For a discussion of Gentry’s relationship with the avant-garde circles he encountered, see Rachel Tolano, “Among Others and With Friends: Abstraction and the Social Subject in Herbert Gentry’s Art,” in Making Connections: The Art and Life of Herbert Gentry, (Boston: Boston University Art Gallery, 2014), 16-25.

6 Rehema Barber and Mary Ann Rose, Moved by Music: Herbert Gentry, Paintings, Prints, and Drawings, (Hartford, CT: The Amstad Center for Art and Culture, 2006), unpaginated.

7 In addition to Paris and New York, Gentry established homes in Copenhagen and the Swedish cities of Stockholm, Gothenburg, and Malmö during his lifetime.

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The exhibition 10 American Negro Artists Living and Working in Europe was organized by Den Frie Udstilling in Copenhagen and opened in the summer of 1964. Artists Harvey Cropper, Beauford Delaney, Arthur Hardie, Clifford Jackson, Sam Middleton, Earl Miller, Norma Morgan, Larry Potter, and Walter Williams participated alongside Gentry.

9 “Oral History Interview with Herbert Gentry, 1991 May 23,” conducted

by Liza Kirwin for the Archives of American Art, accessed June 19, 2020, https://www.aaa.si.edu/collections/interviews/oral-history-interviewherbert-gentry-11493.

10 See Karen Kurczynski, “Ironic Gestures: Asger Jorn, Informel, and Abstract Expressionism,” in Abstract Expressionism: The International Context, ed. Joan Marter, (New Brunswick, NJ: Rutgers University Press, 2007), 110-113.

11 Archives of American Art, “Oral History Interview.”

12 Archives of American Art, “Oral History Interview.”

13 Romare Bearden, “Herbert Gentry,” in An Ocean Apart: American Artists Abroad, (New York: The Studio Museum in Harlem, 1983), 9.

14 Delany, “Post-World War II Expatriate Painters,” 131.

15 Delany, “Post-World War II Expatriate Painters,” 131-32.

16 N’Namdi Gallery, Herbert Gentry, p. 6.

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PAINTINGS

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Chez Honey, 1949 Oil on masonite 18 x 15 inches (38.1 x 45.7 cm)

Exhibited at Making Connections: The Art and Life of Herbert Gentry, Boston University Art Gallery, 2014 Reproduced in Making Connections, the Art and Life of Herbert Gentry, 2014 12

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Cityscape, 1955 Oil on masonite 37 x 24 inches (94 x 61 cm)

Exhibited at Explorations in the City of Light: African American Artists in Paris, 1945-1965, The Studio Museum in Harlem, NY, 1996, which travelled to the Chicago Cultural Center, IL, 1996; New Orleans Museum of Art, LA, 1996; Modern Art Museum of Fort Worth, TX, 1997; and the Milwaukee Art Museum, WI, 1997; and at The Man The Master, The Magic, Diggs Gallery, Winston-Salem State University, 2008 Reproduced in Black Renaissance Noire, Winter/Spring 2012, p. 186; and in Making Connections, Boston University Art Gallery, 2014 14

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Couple and Lamp, 1955-1957 Oil on masonite 36 x 24 inches (91.4 x 61 cm)

Exhibited at Making Connections: The Art and Life of Herbert Gentry, Boston University Art Gallery, 2014 16

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Mask (Woman with Child), 1959 Oil on linen 32 x 25 1/2 inches (81.3 x 64.8 cm)

Exhibited at Facing Other Ways: Herbert Gentry and African American Abstraction at the University of Rochester, 2007 18

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Copenhagen, 1960 Oil on panel 33 1/2 x 23 1/2 inches (85.1 x 59.7 cm)

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Untitled, 1961 Oil on masonite 29 1/2 x 24 1/4 inches (74.9 x 61.6 cm)

Exhibited at Explorations in the City of Light: African American Artists in Paris, 1945-1965, The Studio Museum in Harlem, NY, 1996, which travelled to the Chicago Cultural Center, IL, 1996; New Orleans Museum of Art, LA, 1996; Modern Art Museum of Fort Worth, TX, 1997; and the Milwaukee Art Museum, WI, 1997 Reproduced in the exhibition catalogue, p. 59 22

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Blue Untitled Abstract, c. 1962 Oil on linen 52 x 32 inches (132.1 x 81.3 cm)

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(White Buffalo) Abstract Umber/White Ground, 1963 Oil on canvas 57 x 53 inches (144.8 x 134.6 cm)

Exhibited at Facing Other Ways: Herbert Gentry and African American Abstraction at the University of Rochester, 2007 26

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Then and Now, 1964 Oil on linen 27 x 25 3/4 inches (68.6 x 65.4 cm)

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Untitled (Subway), 1972 Acrylic on linen 47 x 42 inches (119.4 x 106.7 cm)

Exhibited at Herbert Gentry, 20 Year Retrospective, Kungliga Akademien for de Fria Konsten (Royal Swedish Academy of Fine Arts), Sweden, 1975; which travelled to the Amos Anderson Museum, Helsinki, Finland, 1976 and the Norrkopings Art Museum, Sweden, 1976; and at Modern Heroics, Newark Museum, 2016.

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Center One III, 1972 Acrylic on linen 25 1/2 x 21 inches (64.8 x 53.3 cm)

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Les Deux, 1973-1974 Acrylic on linen 22 x 18 inches (55.9 x 45.7 cm)

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All Areas, 1978 Acrylic on canvas 29 7/8 x 25 1/8 inches (71.1 x 63.5 cm)

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Dance Turquoise, 1978 Acrylic on canvas 40 x 52 inches (101.6 x 132.1 cm)

Exhibited at Overseeing the Seer, Macy Art Gallery Teachers College at Columbia University, 2000; and at Driven to Abstraction: Works by Contemporary American Artists, New York State Museum, 2006; Herbert Gentry, Gordon Parks Gallery, College of New Rochelle, 2007; The Man The Master, The Magic, Diggs Gallery, Winston-Salem State University, 2008; Making Connections: The Art and Life of Herbert Gentry, Boston University Art Gallery, 2014 Reproduced in Black Renaissance Noire, Winter/Spring 2012, p. 186; and in Overseeing the Seer, Macy Art Gallery, the Teachers Colleg at Columbia University 38

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WORKS ON PAPER

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Untitled, 1964 Gouache on paper 23 3/4 x 19 3/4 inches (60.3 x 50.2 cm)

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Untitled, 1965 Gouache on paper 12 3/4 x 19 1/2 inches (32.4 x 49.5 cm)

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Blue Visage, 1966 Gouache on paper 25 3/8 x 19 5/8 inches (64.5 x 49.8 cm)

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Talking to the Birds, 1971 Gouache on paper 25 1/4 x 18 3/4 inches (64.1 x 47.6 cm)

Exhibited at Facing Other Ways: Herbert Gentry and African American Abstraction at the University of Rochester, 2007 48

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INSTALLATION VIEWS

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BIOGRAPHY

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Gentry in soldier garb in front of Notre Dame Cathedral, c. 1945

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Gentry in Montparnasse in Paris, 1949

Gentry with artist friends in Paris in the breadline, c. 1946-1947

July 17, 1919

Born in Pittsburgh, Pennsylvania

1925 - c. 1940

Moves and lives in Harlem, New York City.

WWII

Stationed in Corsica, France and then in the Parisian suburbs

1946 - 1951

Lives and works in Paris, France Studies at Académie de la Grande Chaumière Opens jazz club-gallery Chez Honey (1948-51)

Nov. 28, 1951 - 1953

Returns to New York and remains 20 months

Gentry portrait, c.1959. Photo: Fra København Gentry and sculptor Kosta Alex in Paris, c. 1950 ©The Associated Press

Gentry in Copenhagen (Tuborg beer factory across waterway), 1960-1963

Aug 1953 - 1958

Returns to Paris Creates shows for the Allied and American Armed Forces.

Works at jazz clubs and meets important African American and European artists.

1958 - 1962

Lives in Copenhagen, Denmark Is invited to participate in an exhibition in Copenhagen, relocates to Denmark Always returns to Paris, and keeps his Parisian studio till c. 1967

1963 - 1965

Moves to Gothenburg, Sweden

1965 - 1976

Moves to Stockholm, Sweden 59

Gentry at the Chelsea Hotel with Arnold P Johnson c. 1970

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Ed Clark, Herb Gentry, Jacob Lawrence in Chelsea, 1984

Romare Bearden and Gentry,

c. 1970

Stays at New York’s Chelsea Hotel periodically for long stays during the decade.

1976 - 1980

Returns to live and work in Paris Awarded a studio in the Cité internationale des arts, in Paris

1980 - 2000

Splits his time working and living between Malmö, Sweden and New York City.

Takes a permanent apartment at the Chelsea Hotel in 1982 and the importance of New York as his home base grows through 2000. Returns to Malmo and due to a health crisis he remains in Sweden.

1978. Photo credit Frank Stewart

Gentry with Gordon Parks c. 1985

Chester Higgins, Hale Woodruff , Gentry, Romare and Nanette Bearden, New York, 1971

2001 - 2003

Relocates to Stockholm, Sweden (due to lack of healthcare in the United States.

The best and only option rather than a conscious choice by the artist)

Sept. 8, 2003

Dies in Stockholm, Sweden

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HERBERT GENTRY b. 1919 Pittsburgh, PA d. 2003 Stockholm, Sweden Education 1949 1950

MA, Académie de la Grande Chaumière, Paris, France BS, New York University

Solo Exhibitions 2020 2019 2014 2008 2007

2006 2005 2004 2004 2003 2002

1999 1998 1996 1995 1994

Herbert Gentry: Paris and Beyond 1949-1978, RYAN LEE Gallery, New York, NY Herbert Gentry: Rounded Friendship, N’Namdi Contemporary, Miami, FL Herbert Gentry: Interior Man, N’Namdi Center for Contemporary Art, Detroit, MI Making Connections: the Art and Life of Herbert Gentry, Boston University Art Gallery, Boston, MA Diggs Gallery, Winston Salem State University, Winston-Salem, NC, G. R. N’Namdi Gallery, New York, NY, Herb Gentry: The Man, the Master, the Magic Facing Other Ways: Herbert Gentry and African American Abstraction, Rush Rhees Library Rare Books and Special Collections, University of Rochester, Rochester, NY Herbert Gentry’s Inner Dance, Gordon Parks Gallery, College of New Rochelle, Bronx, NY. The Magic Within, James E. Lewis Museum, Morgan State University, Baltimore, MD. Herbert Gentry: Moved by Music, Wadsworth Atheneum, Amistad Center for Art and Culture, Hartford, CT. Face to Face, Phillips Museum of Art, Franklin & Marshall College, Lancaster, PA Tribute to a Friendship: Romare Bearden and Herbert Gentry, Alitash Kebede Gallery, Los Angeles, CA G. R. N’Namdi Gallery, Chicago, IL My Buddy, G. R. N’Namdi Gallery, Detroit, MI Parish Gallery, Georgetown, Washington, DC Transatlantic Jazz, Steve Turner Gallery, Beverly Hills, CA 2000 Overseeing the Seer, Macy Gallery, Teachers College, Columbia University, New York, NY G. R. N’Namdi Gallery, Chicago, IL Molloy College, Rockville Centre, Long Island, NY G. R. N’Namdi Gallery, Birmingham, MI Stella Jones Gallery, New Orleans, LA G. R. N’Namdi Gallery, Chicago, IL G. R. N’Namdi Gallery, Birmingham, Michigan Quick Art Center, St. Bonaventure University, Olean, NY Alitash Kebede Gallery, Los Angeles, CA

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1993 1992 1991

1990 1989 1987 1986 1985 1984 1983 1981 1980 1979 1978 1977 1976 1975 1974 1973 1972 1970 1969 1968 64

Galerie Futura, Stockholm, Sweden Ragnarpers, Gärsnäs, Sweden Falsterbo Konsthall, Falsterbo, Sweden Lilla Galleriet, Helsingborg, Sweden Friendship, G. R. N’Namdi Gallery, Birmingham, MI Capitol East Graphics, Washington, DC Gallerihuset, Copenhagen, Denmark Bülowska Gallery, Malmö, Sweden Gallery Altes Rathaus, Inzlingen (Basel), Germany Galerie Futura, Stockholm, Sweden Bülowska Gallery, Malmö, Sweden Alitash Kebede Fine Arts, Los Angeles, CA La Maison Francaise, New York University, NY Lilla Galleriet, Helsingborg, Sweden Gooijer Fine Arts, Amsterdam, Holland Galleria del Naviglio, Milan, Italy Biblioteca Comunale di Milano, Milan, Italy Owl 57 Gallery, Woodmere, NY Gallery Asbæk, Copenhagen, Denmark Saab Konstförening, Linköping, Sweden Galerie Oscar, Stockholm, Sweden Galerie Glemminge, Glemmingebro, Sweden Galerie Glaub, Cologne, Germany Galerie International, Stockholm, Sweden Gallery Magstræde, Copenhagen, Denmark Randall Gallery, New York, NY Fabien Carlsson Gallery, Gothenburg, Sweden Montclair State College, Montclair, NJ Herbert Gentry: 20-year Retrospective,Amos Andersson Museum, Helsinki, Finland and Norrköping, Sweden Herbert Gentry: 20-year Retrospective, Kungliga Konstakademien för de Fria Konsten [The Royal Academy of Fine Arts], Stockholm, Sweden.

Andre Zarre Gallery, New York, NY Skandinaviska Enskilda Banken, Stockholm, Sweden Galerie Pinx, Helsinki, Finland Oslos Konstförening, Oslo, Norway Selma Burke Art Center, Carnegie Institute, Pittsburgh, PA Stadsgalleriet, Halmstad, Sweden Klippans Kulturreservat, Malmö, Sweden Galerie Doktor Glas, Stockholm, Sweden New Stanley Gallery, Nairobi, Kenya

1967 1966 1965 1964 1963

1962 1961 1960

1959 1958 1957 1951 1950 1949 1943

Galerie Marya, Copenhagen, Denmark Galerie le Zodiaque, Brussels, Belgium Vikingsborg Museum, Helsingborg, Lorensbergs Konstsalong, Gothenberg, Sweden Västerbottens Läns Konstförening, Umeå, Sweden Modern Nordisk Konstgalleri, Karlstad, Sweden Galerie Hybler, Copenhagen, Denmark Philips Electronics, Amsterdam, Netherlands Philips Electronics, Copenhagen, Denmark Galerie Modern, Silkeborg, Denmark Lorensbergs Konstsalong, Gothenburg, Sweden Galerie Passpartout, Copenhagen, Denmark Galerie Leger, Malmö, Sweden Galerie Rudolph Meier, Davos, Switzerland Galerie Perron, Geneva, Switzerland Galerie Passpartout, Copenhagen, Denmark Galerie Aestetica, Stockholm, Sweden Den Frie, Copenhagen, Denmark Galerie Die Insel, Hamburg, Germany Kunstudstillningsbygning, Odense, Denmark Galerie Hybler, Copenhagen, Denmark GalerieSuzanne Bollag, Zurich, Switzerland Maison de Culture, Geneva, Switzerland Burr Gallery, New York, NY « Hamelin », Paris, France Galerie Huit, Paris, France Galerie Seine, Paris, France U.S. Army Service Center, Oran, Algeria U.S. and Allied Service Club, Casablanca, Morocco

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Gentry with journalist and poet Leonard “Skip” Malone and Egyptian artist Hamed Abdalla at Den Frie Konsthall’s 1964 opening 10 American Negro Artists Living and Working in Europe.

Photo credit Kirsten Malone.

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Gentry with Ivar Soe Pedersen and two others at the 1966 solo exhibition at Vikingsborg Museum in Helsingborg.

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Selected Group Exhibitions 2022 2020

2018

2017 2016

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(forthcoming) Americans in Paris, Artists Working in France, 1946–1962, Grey Gallery, New York University, NY African American Art in the 20th Century from the Collection of the Smithsonian American Art Museum, The Westmoreland Museum of American Art, Greensburg, PA 2019 Detroit Collects: Selections of African American Art from Private Collections, Detroit Art Institute, Detroit, MI Afro-Cosmologiea: American Reflections, Wadsworth Atheneum, Hartford, CT [Un] Common Collections: Selections from Fifteen Collectors, Driskell Center, University of Maryland, College Park, MD The Shape of Abstraction: The Ollie Collection, Saint Louis Art Museum, Saint Louis, MO African American Art in the 20th Century from the Collection of the Smithsonian American Art Museum, Cornell Fine Arts Museum, Winter Park, FL, African American Art in the 20th Century from the Collection of the Smithsonian American Art Museum, Dubuque Museum of Art, Dubuque, Iowa On Their Own Terms, University of Arkansas, Windgate Center of Art and Design, Brad Cushman Gallery, Little Rock, AR Lost, Loose and Loved: Foreign Artists in Paris, 1944-1968, Museo Nacional Centro de Arte, Reina Sofia, Madrid, Spain An Experience of Color: Landscapes and Legacies, Spanierman Modern Miami, Miami, FL Super Bodies, Anita Shapolsky Gallery, New York, NY Constructing Identity in America (1766–2017), Montclair Art Museum, Montclair, NJ The Beautiful Difference, The Francine Kelly Gallery, Featherstone Art Center, Oak Bluffs, MA Works from the Permanent Collection, Brad Cushman Gallery, Windgate Center of Art + Design, University of Arkansas, Little Rock, AR Transformative Space: The N’Namdi Collection, August Wilson Cultural Center, Pittsburgh, PA A Curator Collects: Highlights from the collection of H. Elaine Jackson, Brentwood Arts Exchange, Brentwood, MD Constructing Identity: Petrucci Family Foundation Collection of African American Art, Portland Art Museum, Portland, Oregon The Hardy Collection of African American Art, Cosmos Club, Washington, DC Grand Opening Exhibition: Art: Religion and Spirituality, The National Museum of African American History & Culture, Washington, DC, Human Animals: The Cobra Art Movement and Its Legacy, University Museum of Contemporary Art, University of Massachusetts, Amherst Modern Heroics: 75 Years of African-American Expressionism at the Newark Museum, Newark Museum, Newark, NJ INspired: 20 Years of African American Art, Stella Jones Gallery, New Orleans, LA Beyond Borders: Bill Hutson and Friends, University of Delaware Art Museums , Mechanical Hall Gallery, Newark, Germany

2015

2014

2013

2012

2011

2010

35 Years – N’Namdi Collection, N’Namdi Center for Contemporary Art, Detroit, MI Displaying Prestige: Jewels from the James E. Lewis Museum of Art, James E Lewis Museum of Art, Morgan State University, Baltimore, MD In the Line of Duty: Collecting African American Art: William C. Robinson Family Collection, Many Rivers: Celebrating 40 Years of Black Dimensions in Art, Saratoga Arts, Saratoga Springs, NY Contemporary Selections, Gerald Peters Gallery, NY Southern University Visual Arts Gallery, Baton Rouge, LA, Irvin Jones Collection of African American Art African American Art: Harlem Renaissance, Civil Rights Era & Beyond, Smithsonian American Art Museum, traveled to Hunter Museum of American Art, Chattanooga, TN and Crocker Art Museum, Sacramento, CA Classics & Contemporaries: The Canvas, Paper & Stone Collection, LeRoy Nieman Art Center, Harlem, New York, NY The Dianne Whitfield-Locke & Carnell Locke Collection: Building on Tradition, The Howard University Gallery of Art, Washington, DC Brothers and Sisters, Studio Museum in Harlem, New York, NY Classics and Contemporaries: From the Collection of Averlyn Archer and Donald Clayton, Leroy Nieman Art Center, Columbia University School of Visual Arts Paper Works, Wilmer Jennings Gallery at Kenkeleba, New York, NY Reloading the Canon: African Traditions in Contemporary Art, James E. Lewis Museum, Morgan State University, Baltimore, MD Through the Years: Gallery Artists, Parish Gallery – Georgetown, Washington, DC African American Art: Harlem Renaissance, Civil Rights Era & Beyond, Smithsonian American Art Museum, traveled to The Mennello Museum of American Art, Orlando, FL; Peabody Essex Museum, Salem, MA, In Conversation: Modern African American Art; Albuquerque Museum of Art, Albuquerque, NM, African American Art in the 20th Century The Dianne Whitfield-Locke & Carnell Locke Collection: Building on Tradition, Hampton University Museum, Hampton, VA Contemporary Memories, Amistad Center for Art and Culture at Wadsworth Atheneum, Hartford, CT African American Art: Harlem Renaissance, Civil Rights Era & Beyond, Smithsonian American Art Museum, traveled to the Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA Royal Blues Line: DC to NY, Wilmer Jennings Gallery at Kenkeleba, New York, NY Middle-Day—Landlight: Black Viewpoints 1856-2006, Wilmer Jennings Gallery at Kenkeleba, New York, NY Celebrating 20 Years, Parish Gallery - Georgetown, Washington, DC Pennsylvania Artists, Anita Shapolsky Art Foundation, Jim Thorpe, PA You Can’t Desert the Muse: Focus on Recent Print Acquisitions, Museum of Art, Savannah College of Art & Design [SCAD], Savannah, GA In My Father’s House, August Wilson Center for African American Culture, Pittsburgh, PA African University Ctr. Galleries, Texas A & M University, College Station, TX

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2009

2007

2006

American Abstract Masters, Opalka Gallery, The Sage Colleges, Albany, NY Seminal Works from the N’Namdi collection of African-American Art, N’Namdi Center for Contemporary Art, Detroit, MI African American Abstract Masters, Anita Shapolsky Art Foundation, Jim Thorpe, PA Knowing Forms, Wilmer Jennings Gallery at Kenkeleba, New York, NY African American Abstract Masters, Anita Shapolsky Gallery, New York, NY Abstraction + Abstraction, Wilmer Jennings Gallery at Kenkeleba, New York, NY Art of the Collectors II, Gallery Myrtis, Baltimore, MD 25th Anniversary: Forms of Abstraction, G. R. N’Namdi Gallery, Chicago, IL The Cochran Collection: African American Contributions to a Shared Vision, Lamar Dodd Art Center, LaGrange College, LaGrange, GA Masters for the First Family, Parish Gallery - Georgetown, Washington, DC 2008 In Search of Missing Masters: The Lewis Tanner Moore Collection of African American Art, Woodmere Art Museum, Philadelphia, PA Seminal Works from the N’Namdi collection of African-American Art, Oakland University Art Gallery, Rochester, MI Herbert Gentry and Friends, Parish Gallery, Georgetown, DC Living with Art: Modern and Contemporary Art from the Collection of Alitash Kebede, Bermuda National Gallery, Hamilton, Bermuda Expressions in Blue, New York State Museum, Albany, NY Between Two Worlds: The Alitash Kebede Collection, California African American Museum, Los Angeles, CA 25th Anniversary: Forms of Abstraction, G. R. N’Namdi Gallery, New York, NY Black Art: Treasures from the Schomburg Shaw Center for the Arts, Schomburg Center for Research in Black Culture, NY Living with Art Living with Art, LSU Museum of Art, Baton Rouge, LA Driven to Abstraction, New York State Museum, Albany, NY Living with Art: Modern and Contemporary Art from the Collection of Alitash Kebede, Peninsula Fine Arts Center, Newport News, VA Fifteen Years: Parish Gallery 1991 to 2006, Parish Gallery, Washington, DC James A Porter and His Contemporaries, G. R. N’Namdi Gallery, Detroit, MI Holding Our Own: Selections from The Collectors Club of Washington, DC, UMUC Gallery, University of Maryland University College, Adelphi, MD Images of America: African American Voices, Weston Gallery, Cincinnati Arts Association, Aronoff Center, Cincinnatti, OH Living with Art: Modern and Contemporary Art from the Collection of Alitash Kebede, Peninsula Fine Arts Center, Newport News, VA Images of America: African American Voices, DuSable Museum of African-American History, Chicago, IL Living with Art: Modern and Contemporary Art from the Collection of Alitash Kebede, Stark

2005

2004

2003

2002

More than Meets the Eye: Perspectives from the Robert E. Holmes Collection, California African American Museum, Los Angeles, CA New Forms: African American Artists at UMES, The Mosely Gallery, University of Maryland, Eastern Shore, Princess Anne, MD Images of America: African American Voices, Diggs Gallery, Winston-Salem State University, Winston-Salem, NC Embracing the Muse, Michael Rosenfeld Gallery, New York, NY Vivacious! Works from the Collection of George & Carmen N’Namdi, Diggs Gallery, Winston Salem State University, Winston-Salem, NC Affirming a Legacy: Art from Robert E Holmes Collection, H.C. Taylor Gallery, North Carolina A&T State University Greensboro, NC Living with Art: Modern and Contemporary Art from the Collection of Alitash Kebede, Smith Robertson Cultural Center, Jackson, MS Glimpses of America, Carriage House Gallery, Emlen Physick Estate, Cape May, NJ Momentum: The Robert Blackburn Workshop, EFA Studio Center, Elizabeth Foundation of the Arts, New York, NY Images of America - African-American Voices, Walton Art Center, Fayetteville, AR Fifty Years of American Printmaking, G. R. N’Namdi Gallery, Detroit, MI Figuratively Speaking, Kind Of, G. R. N’Namdi Gallery, Chicago, IL Living with Art: Modern and Contemporary Art from the Collection of Alitash Kebede, Pritchard Art Gallery, University of Idaho, Moscow, ID With an Eye and a Passion: Selections from the Susan and Allan Marion Collection, Vincent Price Art Museum, East Los Angeles College, Monterey Park, CA With an Eye and a Passion: Selections from the Susan and Allan Marion Collection, Bakersfield Museum of Art., Bakersfield, CA Momentum: The Robert Blackburn Printmaking Workshop, Elizabeth Foundation of the Arts, New York, NY Glimpses of America, The Gallery, Mercer County Community College, West Windsor, NJ 22nd Anniversary Show, Futura Gallery, Stockholm, Sweden Living with Art: Modern and Contemporary Art from the Collection of Alitash Kebede, Gallery of Contemporary Art at University of Colorado, Colorado Springs, CO Ambient Forays, Studio 18 Gallery, New York, NY Living with Art: Modern and contemporary art from the collection of Alitash Kebede, Museum of Texas Tech University, Lubbock TX Glimpses of America, Mercer County Community College Gallery, West Windsor, NJ Generations, Atrium Art Gallery, Morris County Building, Morristown, NJ The Cochran Collection: African American Works on Paper, The Long Island Museum in Stony Brook, Long Island, traveled to Louisiana Art and Science Museum, Baton Rouge, LA and the Masur Museum of Art, Monroe, LA Samlingsutställning, Futura Gallery, Stockholm, Sweden Convergence, James E. Lewis Museum of Art, Morgan State University, Baltimore, MD Not Just

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2001

2000 1999 1998

1997

1996

1994 72

February: African American Art, 1817-2001, Steve Turner Gallery, Beverly Hills, CA Jacob Lawrence and his Contemporaries, G. R. N’Namdi Gallery, Detroit. MI African-American Art-20th Century Masterworks- VII, Michael Rosenfeld Gallery, New York, NY African-American Art-20th Century Masterworks- VII, Texas Southern University, Houston, TX Ebony Soliloquy: A Five Year Retrospective, Stella Jones Gallery, New Orleans, LA Columbia Collects: African American Art, Benedict College, Columbia, SC African American Artists at 2000: Voices of Diversity, Rockland Center for the Arts, Nyack, NY Amistad Foundation: New Acquisitions, Wadsworth Atheneum, Hartford, CT Bara Konst, Futura Gallery, Stockholm, Sweden La Connexion Francaise, Rush Arts Gallery, New York, NY Fine Art Comes to Harlem, American Vision Gallery 145, New York, NY Black New York Artists of the 20th Century, Schomburg Center for Research in Black Culture, The New York Public Library The Box: A Rejected Object: A journey into the African diasporan experience, Standard Bank Gallery, Johannesburg, South Africa Gallery Retrospective: A Year in Review, Stella Jones Gallery, New Orleans, LA The Hirshhorn Collects: Recent Acquisitions, Hirshhorn Museum, Washington, DC Explorations in the City of Light, Modern Art Museum of Fort Worth, TX Explorations in the City of Light, Milwaukee Art Museum, Milwaukee, WI Studio Museum in Harlem: 25 Years, Heckscher Museum, Huntington, L.I., NY Studio Museum in Harlem: 25 Years, The Lowe Art Gallery, University of Miami, FL Studio Museum in Harlem: 25 Years, Tufts University Art Gallery, Medford, MA Explorations in the City of Light: African American Artists in Paris, 1945-1965, Studio Museum in Harlem, New York, NY Explorations in the City of Light, Chicago Cultural Center, Chicago, IL Explorations in the City of Light, New Orleans Museum of Art, New Orleans, LA Studio Museum in Harlem: 25 Years, The New York State Museum, Albany, NY Studio Museum in Harlem: 25 Years, The Mexican Museum, San Francisco, CA Studio Museum in Harlem: 25 Years, The Art Museum, Bowdoin College, Brunswick, ME 1995 Black Beauty, Cathedral of St. John the Divine, New York, NY African American Art: Twentieth Century Masterworks II, Long Beach Museum of Art, Long Beach, CA Studio Museum in Harlem: 25 Years, Modern Art Museum of Fort Worth, TX Studio Museum in Harlem: 25 Years, The Smart Museum of Art, Univ. of Chicago, IL Studio Museum in Harlem: 25 Years, Munson-Williams-Proctor Institute, Utica, NY The Studio Museum in Harlem: 25 Years, Scottsdale Art Center, Scottsdale, AZ Master Printmaker ROBERT BLACKBURN and works from the Archives of Bob Blackburn Workshop, CRT’s Craftery Gallery, Hartford, CT Free Within Ourselves: African American Art in the Collections of the National Museum of American Art, National Museum of American Art, Washington, DC

1993

1992

1991

By Their Choice, Terry Dintenfass Gallery, New York, NY Three Masters, James E. Lewis Museum of Art, Morgan State University, Baltimore, MD Romare Bearden and Friends, Alitash Kebede Gallery, Los Angeles Norman Lewis and his Contemporaries, G.R. N’Namdi Gallery, Birmingham Four Artists, G.R. N’Namdi Gallery, Birmingham, MI Contemporary African American Artists, G.R. N’Namdi Gallery, Birmingham, MI African-American Artists, 1940-1980, G.R. N’Namdi Gallery, Birmingham, MI Studio Museum in Harlem: 25 Years, Rhode Island School of Design Art Museum, Providence, RI Studio Museum in Harlem: 25 Years, The Wood Street Galleries, Pittsburgh, PA Another Perspective, Bronx Museum, Bronx, NY Studio Museum in Harlem: 25 Years, Montclair Museum of Art, Montclair, NJ Studio Museum in Harlem: 25 Years of African American Art, Payne-Weber Gallery, New York, NY Borderless Prints, Rochdale Art Gallery, Lancashire, England Faces, Gallery Konstnarscentrum, Malmo, Sweden Forty-Years of African American Printmaking, G.R. N’Namdi Gallery, Birmingham, MI Forty-Years of African American Printmaking, Del Pryor Galleries, Detroit, MI From Bonnard to Baselitz: New Acquisitions, Bibliotheque Nationale de Paris, France Paris Connections, Bomani Gallery, San Francisco, CA African American Artists in Paris, Cinque Gallery, New York, NY Slow Art, P.S.1, Long Island City, NY The Prevailing Fifties, Anita Shapolsky Gallery, New York, NY Les Afro-Americains et l’Europe, Galerie d’Art Noire Contemporain, Paris, France New Acquisitions, National Museum of American Art, Smithsonian, Washington, DC Recent Acquisitions, The Studio Museum in Harlem, New York, NY Bob Blackburn’s Printmaking Workshop, Hillwood Art Museum, Long Island University, NY Artists of Color: Bob Blackburn’s Printmaking Workshop, Bronx River Gallery, Bronx, NY African American Works on Paper from the Cochran Collection, Lamar Dodd Art Center, LaGrange College, La Grange, GA. Traveled to Columbia Museum of Art, Columbia, SC; Lauren Rogers Museum, Laurel, MI; Hickory Museum of Art, Hickory, NC; Museum of the South, Mobile, AL; Museum of Arts and Sciences, Macon, GA; Greenville Museum of Art, Greenville, SC; Danville Museum of Fine Arts and History, Danville, VA; Gadsden Museum of Art, Gadsden, AL; Polk Museum of Art, Lakeland, FL; Gibbes Museum of Art, Charleston, SC; Cleveland Institute of Art, Cleveland, OH; York County Museum of Art, Rock Hill, SC; Pensacola Museum of Art, Pensacola, FL; Marietta-Cobb Museum of Art, Marietta, GA; Indiana State University, Terre Haute, IN; Miami Univeristy Museum of Art, Oxford, OH; Washington and Lee University, Lexington, VA; Jacksonville Museum of Art, Jacksonville, FL; William and Mary College, Williamsburg, VA; Northwest Visual Arts Center, Panama City, FL; Gertrude Herbert Institute, Augusta, GA; Springfield Art Museum, Springfield, MO; Beach Museum of Art, Manhattan, KS; Montgomery Museum of Art, Montgomery, AL; New Visions Gallery, Atlanta, GA. Anita Shapolsky Gallery, New York, NY Galleri Futura, Stockholm, Sweden

73

1990

1989 1988 1987 1986 1985

1984

1983 1982

1981 1980 1979 1978 1977 1976 74

Abroad at Home, Manhattan East Gallery, New York, NY The Tradition, Anita Shapolsky Gallery, New York, NY Permanent Collection: New Acquisitions, California African American Museum, Los Angeles, CA Prints by African Americans from the Printmakers Workshop, Mid-Hudson Arts and Science Center, Poughkeepsie, NY Larssons Art, Cologne, Germany So We To: Contemporary African American Printmakers, Lyman Allyn Art Museum, Connecticut College. New London, CT Faces and Figures: Selected works by Black Artists from the Metropolitan Museum of Art, Readers Digest, Pleasantville, New York 10 Americans, Landskrona Konsthall, Landskrona, Sweden Unbroken Circle, Kenkeleba Gallery, New York, NY Twentieth Century African American Artists, Newark Museum, Newark, NJ Signed and Numbered, The Works Gallery, Newark, NJ Recent Acquisitions and Notables from The Studio Museum, Studio Museum in Harlem, NY Tribute to Robert Blackburn, AC-BAW Center of the Arts, Mount Vernon, NY Robert Blackburn Printmaking Workshop: In a Stream of Ink, traveled to Louisiana State University Shreveport, University Center Gallery, Shreveport, LA; Clark College Woodruff Library, Atlanta, GA; The New Museum, Brooklyn, NY; Howard University Art Gallery, Washington, DC Since the Harlem Renaissance, Bucknell University Gallery, Lewisberg, PA Studio Museum in Harlem, NY, NY, Treasures from Harlem: Permanent Collection Robert Blackburn Printmaking Workshop: In a Stream of Ink, traveled to College Art Gallery, State University New York, New Paltz, NY; Museum of African and African American Art & Antiquities, Buffalo, NY Art in Print: A Tribute to Bob Blackburn, Schomburg Center, New York, NY Court Gallery, Copenhagen In a Stream of Ink, Lehman College, Bronx, NY An Ocean Apart, Studio Museum in Harlem, NY New Acquisitions, Newark Museum, Newark, NJ Recent Acquisitions of the Schomburg Collection, Schomburg Center for Research in Black Culture. New York Public Library, Harlem, NY Fabien Boulakia Gallery, Paris, France Galerie BIMC, Paris, France Galerie Hia, Copenhagen, Denmark African American artists from the Metropolitan Museum of Art, Arsenal Gallery, New York, NY Galerie La Demeure, Paris, France Cité Internationale des Arts, Paris, France Galerie Futura, Stockholm, Sweden Galerie Börjesson, Malmö, Sweden Selected Works from the Collection of the Metropolitan Museum of Art, Bedford Stuyvesamt

1973 1972 1970 1968 1967 1966 1965 1964 1963

1962

1960 1959 1953 1952 1951 1950

Restoration Corp, Brooklyn, NY Teckningar, Kulturhuset, Stockholm, Sweden Galerie Kända Målare, Jonköping, Sweden Galerie Milione, Milan, Italy Galerie Buren, Stockholm Afro-American Artists Abroad, Jack S. Blanton Museum of Art, University of Texas at Austin AfroAmerican Artists Abroad, Morgan State University Gallery, Baltimore, MD Afro-American Artists Abroad, Museum of National Center of Afro-American Artists, Boston, MA Hallands Museum, Halmstad, Sweden Folketshus, Stockholm Konstframjandet, Stockholm Galerie Dr. Glas, Stockholm Tempo, American Art Gallery, Copenhagen Galerie Rive Gauche, Paris, France The American Center, Paris, France 10 American Negro Artists: living and working in Europe, Den Frie, Copenhagen, Denmark Galerie Hybler, Copenhagen Galerie Rive Gauche, Paris Kresten Krestensen Collection, Moderna Museet, Stockholm, Sweden Kresten Krestensen Collection, Charlottenborg, Royal Art Academy, Copenhagen, Denmark Konstnarena Huset, Oslo, Norway Tempo Gruppen Traveling Exhibition: Hamburg, Munster, Neustadt, Odense Galerie Passpartout, Copenhagen Prix Suisse de Peinture Abstraite, Galerie Kasper, Lausanne, Switzerland Haus der Kunst, Munich, Germany Maison de Culture, Geneva, Switzerland Louisiana, Humlebaek, Denmark Galerie du Perron, Geneva, Switzerland Nikolai Kirke, Copenhagen Galerie Hybler, Copenhagen Burr Galerie, New York Salon du Mai, Paris Académie de la Grande Chaumière, Paris New York City Public Libraries, 135th St and 42nd Street Branches, NY Salon d’Automne, Paris Chez Honey, Paris Galerie Huit, Paris Selected Public Collections Amos Andersson Museum, Helsinki, FI Basel Kunstmuseum, Basel, Switzerland Arkansas Art Center, Little Rock, AR

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76

Berkeley Art Museum, University of California, CA Biblioteca Comunale di Milano, Milan, Italy Bibiotheque Nationale de Paris, France Bronx Museum, NY Brooklyn Museum, Brooklyn, NY Butler Institute of Art, OH California Afro-American Museum, Los Angeles, CA Carnegie Institute, Pittsburgh, PA Dayton Art Institute, Dayton, OH Detroit Art Institute, Detroit, MI DeYoung Museum, California Fine Arts Museums, San Francisco, CA Diggs Gallery, Winston Salem State University, Winston-Salem, NC Driskell Center, University of Maryland, College Park, MD Folkwang Museum, Essen, Germany Hampton University Museum, VA Hirshhorn Museum, Smithsonian, Washington, D.C. Howard University, Washington, DC Library of Congress, Washington, DC. Malmo Museum, Malmo, Sweden Metropolitan Museum of Art, New York, NY Moderna Museum, Stockholm, Sweden Montclair Art Museum, Montclair, NJ Morgan State University James E. Lewis Art Museum, Baltimore, MD Musee de Grenoble, France Museo Nacional Centro de Arte Reina Sophia, Madrid, Spain National Gallery, Oslo, Norway National Gallery of Modern Art, New Delhi, India National Museum, Stockholm, Sweden National Museum of African American History and Culture, Smithsonian, Washington, DC Newark Museum, Newark, NJ Norrköping Museum, Norrköping, Sweden Padiglione d’Arte Contemporeo di Milano, Milan, Italy Petrucci Family Foundation, Asbury, NJ Philadelphia Museum of Art, Philadelphia, PA. Philander Smith College, Little Rock, AK Robert Blackburn Printmaking Workshop Collection, Elizabeth Foundation, New York City, NY Saint Louis Art Museum, Saint Louis, MO San Jose Museum of Art, San Jose, CA SCAD Museum of Art, Savannah, GA Schomburg Center for Research in Black Culture, The New York Public Library, NY Skissernas Museum, Lund, Sweden

Smithsonian, American Art Museum, Washington, DC Snus och Tändsticks museum, Stockholm, Sweden St. Bonaventure University Gallery, Olean, NY Statens Museum for Kunst, Copenhagen, Denmark Stedelijk Museum, Amsterdam, Netherlands Studio Museum in Harlem, New York, NY Teachers College, Columbia University The Amistad Center for Art and Culture at the Wadsworth Atheneum, Hartford, CT The University of Arkansas at Little Rock Gallery, AR UNESCO, Paris, France Vikingsborg Museum, Helsingborg, Sweden Wadsworth Atheneum, Hartford, CT Yale University Art Gallery, New Haven, CT

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Herbert Gentry in Copenhagen 1962. Photo credit Erhard Wehrman