Many works by Alabama artist Bill Traylor, silhouette drawings with strikes, significant blocks of color, drawn on scraps of paper, or someone else’s stationery – like things. This was not Triler’s way of making a postmodern statement; He was just using art supplies.
Trailer Was born into slavery in 1853 and died in 1949. Her work is an enigmatic and important part of the American art canon. This documentary, directed by Jeffrey Wolf, is a plain, honest, nutritious account of the artist. The wolf makes excellent use of photo and film archives, laying out an area fed up with the sight of the trailers: dirt roads, railroad tracks, backwoods. These locations, notes critic and composer Greg Tate in the film, lay the ground for the “mystical realm” of Triler’s work: deliberately two-dimensional figures and limited but bold colors with the prefix power of a waking dream.
The color blue is particularly important in this realm. Tate vowed to embrace “blues” to “keep the blues off”. Visual artist Radcliffe Bailey says of his work, “It’s the blue of the trailer, no.” Yves klein. I picked up that blue from him. “
Montgomery’s evacuation of Monroe Street in the 1930s and ’40s – the “city of the era that never sleeps,” according to one interviewee – are vivid. Treier set up shop there, outside a pool hall, drawing with his blunt instruments and available paper and sleeping in the coffin storage room of a nearby funeral home. His health problems eventually led to the amputation of one of his legs. In his paintings he often looked back – for moments of relief from a painful world, as if he lived in a local swimming hole in the afternoon.
“I see his work as a pill for pain,” Bailey says in the film. It remains a powerful medicine today.
Bill Traylor: Chasing Ghosts
Not rated. Running Time: 1 hour 15 minutes. In theaters and On virtual cinema. Please consult guidance Outlined by the Centers for Disease Control and Prevention before watching the film inside theaters.