HERBERT GENTRY PARIS AND BEYOND 1949-1978 ESSAY BY GRETCHEN WAGNER
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 WagnerIn 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
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
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Herbert Gentry in Copenhagen studio, 1963. Photo credit Kirsten Malone
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incorporation of nonwestern forms, evident in the young artist’s work from the 1940s and 1950s reflect a cross-current 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.
the bohemian Montparnasse district where many American artists had studios. The space, which served as a gallery by day 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.
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
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
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Gentry asserted that his paintings came from the hands of his ancestors as much as his own. “It’s about my family, my forefathers’, mother’s; it’s not only me who’s painting, it’s the people who lived before me, connected with me,” he explained.12 His close friend Romare Bearden recalled that Gentry often expressed that he would find “something missing in himself and his art, should he not return to his roots.”13 Gentry grew up surrounded by preeminent artists of the Harlem Renaissance, who reclaimed through their art African traditions as well as stereotypes and caricatures to take control of their depicted identity. To a certain extent, Gentry’s ideas drew upon his proximity to this history; however, he rejected notions that as a black artist he had
a responsibility to “tell a conscious story figuratively” about black life and culture.14 Instead, he adhered to a 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 Royal Academy of Fine Arts in 1975, securing his place in contemporary discourse.
Gentry spent increasingly more time in New York during the 1970s and 1980s, when he took up permanent residence in the Chelsea Hotel in 1982 between his ongoing trips to Europe. The city of his childhood, now facing economic downturn and widespread neglect, was a different place from his youth. Nonetheless, it provided a creative grittiness, perhaps reminding him of the austerity of postwar Paris and the interpersonal resourcefulness it inspired. Once again, he immersed himself in a vibrant community of artists, writers, and musicians, within which he continued to expand
7 role, I don’t calculate.”9 The compositions from this period vibrate and overflow with visual activity. In several, layers of 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
— 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.
8 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.
1 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.
8 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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ChezHoney, 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
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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
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CoupleandLamp, 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
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Mask(WomanwithChild),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
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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
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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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(WhiteBuffalo)AbstractUmber/WhiteGround, 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
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ThenandNow, 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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AllAreas, 1978
Acrylic on canvas 7/8 x 25 1/8 inches (71.1 x 63.5 cm)
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DanceTurquoise, 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
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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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BlueVisage, 1966
Gouache on paper
25 3/8 x 19 5/8 inches (64.5 x 49.8 cm)
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TalkingtotheBirds, 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
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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
Gentry in Montparnasse in Paris, 1949 Gentry with artist friends in Paris in the breadline, c. 1946-1947
58 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
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
Gentry and sculptor Kosta Alex in Paris, c. 1950
Gentry portrait, c.1959. Photo: Fra København ©The Associated Press
Gentry in Copenhagen (Tuborg beer factory across waterway), 1960-1963
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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.
Gentry at the Chelsea Hotel with Arnold P Johnson c. 1970 Ed Clark, Herb Gentry, Jacob Lawrence in Chelsea, 198460 Romare Bearden and Gentry,
1978. Photo credit Frank Stewart Gentry with Gordon Parks c. 1985 Chester Higgins, Hale Woodruff , Gentry, Romare and Nanette Bearden, New York, 1971
61 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
HERBERT GENTRY
b. 1919 Pittsburgh, PA
d. 2003 Stockholm, Sweden
Education
1949 MA, Académie de la Grande Chaumière, Paris, France
1950 BS, New York University
Solo Exhibitions
2020 Herbert Gentry: Paris and Beyond 1949-1978, RYAN LEE Gallery, New York, NY
2019 Herbert Gentry: Rounded Friendship, N’Namdi Contemporary, Miami, FL
2014 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
2008 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
2007 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.
2006 Herbert Gentry: Moved by Music, Wadsworth Atheneum, Amistad Center for Art and Culture, Hartford, CT.
2005 Face to Face, Phillips Museum of Art, Franklin & Marshall College, Lancaster, PA
2004 Tribute to a Friendship: Romare Bearden and Herbert Gentry, Alitash Kebede Gallery, Los Angeles, CA
2004 G. R. N’Namdi Gallery, Chicago, IL
2003 My Buddy, G. R. N’Namdi Gallery, Detroit, MI
Parish Gallery, Georgetown, Washington, DC
2002 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
1999 G. R. N’Namdi Gallery, Birmingham, MI
1998 Stella Jones Gallery, New Orleans, LA
G. R. N’Namdi Gallery, Chicago, IL
1996 G. R. N’Namdi Gallery, Birmingham, Michigan
1995 Quick Art Center, St. Bonaventure University, Olean, NY
1994 Alitash Kebede Gallery, Los Angeles, CA
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1993 Galerie Futura, Stockholm, Sweden
Ragnarpers, Gärsnäs, Sweden
1992 Falsterbo Konsthall, Falsterbo, Sweden
Lilla Galleriet, Helsingborg, Sweden
1991 Friendship, G. R. N’Namdi Gallery, Birmingham, MI
Capitol East Graphics, Washington, DC
Gallerihuset, Copenhagen, Denmark
Bülowska Gallery, Malmö, Sweden
1990 Gallery Altes Rathaus, Inzlingen (Basel), Germany
1989 Galerie Futura, Stockholm, Sweden
1987 Bülowska Gallery, Malmö, Sweden
Alitash Kebede Fine Arts, Los Angeles, CA
1986 La Maison Francaise, New York University, NY
1985 Lilla Galleriet, Helsingborg, Sweden
Gooijer Fine Arts, Amsterdam, Holland
1984 Galleria del Naviglio, Milan, Italy
Biblioteca Comunale di Milano, Milan, Italy
Owl 57 Gallery, Woodmere, NY
1983 Gallery Asbæk, Copenhagen, Denmark
Saab Konstförening, Linköping, Sweden
1981 Galerie Oscar, Stockholm, Sweden
Galerie Glemminge, Glemmingebro, Sweden
1980 Galerie Glaub, Cologne, Germany
1979 Galerie International, Stockholm, Sweden
Gallery Magstræde, Copenhagen, Denmark
1978 Randall Gallery, New York, NY
1977 Fabien Carlsson Gallery, Gothenburg, Sweden
Montclair State College, Montclair, NJ
1976 Herbert Gentry: 20-year Retrospective,Amos Andersson Museum, Helsinki, Finland and Norrköping, Sweden
1975 Herbert Gentry: 20-year Retrospective, Kungliga Konstakademien för de Fria Konsten
[The Royal Academy of Fine Arts], Stockholm, Sweden.
1974 Andre Zarre Gallery, New York, NY
Skandinaviska Enskilda Banken, Stockholm, Sweden
Galerie Pinx, Helsinki, Finland
1973 Oslos Konstförening, Oslo, Norway
1972 Selma Burke Art Center, Carnegie Institute, Pittsburgh, PA
1970 Stadsgalleriet, Halmstad, Sweden
1969 Klippans Kulturreservat, Malmö, Sweden
1968 Galerie Doktor Glas, Stockholm, Sweden
New Stanley Gallery, Nairobi, Kenya
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1967 Galerie Marya, Copenhagen, Denmark
Galerie le Zodiaque, Brussels, Belgium
1966 Vikingsborg Museum, Helsingborg,
Lorensbergs Konstsalong, Gothenberg, Sweden
Västerbottens Läns Konstförening, Umeå, Sweden
1965 Modern Nordisk Konstgalleri, Karlstad, Sweden
1964 Galerie Hybler, Copenhagen, Denmark
Philips Electronics, Amsterdam, Netherlands
1963 Philips Electronics, Copenhagen, Denmark
Galerie Modern, Silkeborg, Denmark
Lorensbergs Konstsalong, Gothenburg, Sweden
Galerie Passpartout, Copenhagen, Denmark
1962 Galerie Leger, Malmö, Sweden
Galerie Rudolph Meier, Davos, Switzerland
1961 Galerie Perron, Geneva, Switzerland
Galerie Passpartout, Copenhagen, Denmark
1960 Galerie Aestetica, Stockholm, Sweden
Den Frie, Copenhagen, Denmark
Galerie Die Insel, Hamburg, Germany
Kunstudstillningsbygning, Odense, Denmark
1959 Galerie Hybler, Copenhagen, Denmark
GalerieSuzanne Bollag, Zurich, Switzerland
1958 Maison de Culture, Geneva, Switzerland
1957 Burr Gallery, New York, NY
1951 « Hamelin », Paris, France
1950 Galerie Huit, Paris, France
1949 Galerie Seine, Paris, France
1943 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 (forthcoming) Americans in Paris, Artists Working in France, 1946–1962, Grey Gallery, New York University, NY
2020 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
2018 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
2017 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
2016 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
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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
2015 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
2014 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
2013 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
2012 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
2011 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
2010 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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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
2009 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
2007 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
2006 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
More than Meets the Eye: Perspectives from the Robert E. Holmes Collection, California African American Museum, Los Angeles, CA
2005 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
2004 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
2003 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
2002 Samlingsutställning, Futura Gallery, Stockholm, Sweden Convergence, James E. Lewis Museum of Art, Morgan State University, Baltimore, MD Not Just
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February: African American Art, 1817-2001, Steve Turner Gallery, Beverly Hills, CA Jacob Lawrence and his Contemporaries, G. R. N’Namdi Gallery, Detroit. MI
2001 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
2000 African American Artists at 2000: Voices of Diversity, Rockland Center for the Arts, Nyack, NY
Amistad Foundation: New Acquisitions, Wadsworth Atheneum, Hartford, CT
1999 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
1998 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
1997 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
1996 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
1994 Free Within Ourselves: African American Art in the Collections of the National Museum of American Art, National Museum of American Art, Washington, DC
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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
1993 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
1992 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
1991 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
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1990 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
1989 So We To: Contemporary African American Printmakers, Lyman Allyn Art Museum, Connecticut College. New London, CT
1988 Faces and Figures: Selected works by Black Artists from the Metropolitan Museum of Art, Readers Digest, Pleasantville, New York
1987 10 Americans, Landskrona Konsthall, Landskrona, Sweden
1986 Unbroken Circle, Kenkeleba Gallery, New York, NY
1985 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
1984 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
1983 In a Stream of Ink, Lehman College, Bronx, NY
1982 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
1981 Fabien Boulakia Gallery, Paris, France
Galerie BIMC, Paris, France
1980 Galerie Hia, Copenhagen, Denmark
1979 African American artists from the Metropolitan Museum of Art, Arsenal Gallery, New York, NY
1978 Galerie La Demeure, Paris, France
Cité Internationale des Arts, Paris, France
1977 Galerie Futura, Stockholm, Sweden
Galerie Börjesson, Malmö, Sweden
1976 Selected Works from the Collection of the Metropolitan Museum of Art, Bedford Stuyvesamt
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Restoration Corp, Brooklyn, NY
Teckningar, Kulturhuset, Stockholm, Sweden
Galerie Kända Målare, Jonköping, Sweden
1973 Galerie Milione, Milan, Italy
1972 Galerie Buren, Stockholm
1970 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
1968 Hallands Museum, Halmstad, Sweden
1967 Folketshus, Stockholm
1966 Konstframjandet, Stockholm
Galerie Dr. Glas, Stockholm
1965 Tempo, American Art Gallery, Copenhagen
Galerie Rive Gauche, Paris, France
The American Center, Paris, France
1964 10 American Negro Artists: living and working in Europe, Den Frie, Copenhagen, Denmark Galerie Hybler, Copenhagen
Galerie Rive Gauche, Paris
1963 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
1962 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
1960 Nikolai Kirke, Copenhagen
1959 Galerie Hybler, Copenhagen
1953 Burr Galerie, New York
1952 Salon du Mai, Paris
Académie de la Grande Chaumière, Paris
New York City Public Libraries, 135th St and 42nd Street Branches, NY
1951 Salon d’Automne, Paris
Chez Honey, Paris
1950 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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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
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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
