193:, which he called "spirit script," that he inscribed onto his drawings and paintings. Murray's writing gave him a power he believed could be used for benediction and protection of himself and others. As a part of the process, Murray kept a bottle of what he called "holy water" on a table by his bedside, which he would raise towards the sky whenever he prayed. Murray believed that if a person with a pure heart read his "writing" while looking through the bottle of holy water, that person would read messages from God. During the last few years of his life, as his reputation as a mystic grew, Murray would receive visitors on his property who requested ritual readings of the holy water. When writing these holy messages, Murray would often hold the bottle of holy water in one hand and write with the other, keeping his hand as limp as possible, and letting the holy spirit guide it. This process of automatic writing was recorded in a documentary directed and produced by Judith McWillie of the
140:. He attended school for one month at the age of six, then spent the rest of his life as a general farm laborer. Murray was unable to read or write in English. He married his neighbor, Chloe Kitchens, in his early twenties. Murray built a house in the neighboring town of Sandersville. He and his wife had eleven children, five of whom died within Murray's lifetime. By the time he was in his fifties, his wife had left him. Aside from doctor's visits and weekly services at the Mineral Springs Baptist Church, Murray lived in virtual isolation for the remaining two decades of his life. He died in 1988 of
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shrinelike piles of found materials, rocks, and other debris strategically placed throughout his yard to repel evil that Murray believed loomed over all facets of life. He then began painting car parts, televisions, and other reflective material that he would then affix to his home in another effort to reflect evil and protect his home. The tradition of adorning one's yard with sculptures and totems, otherwise known as the "yard show," was a very common practice among
African American artists, particularly from the south eastern United States. Other artists from northern Georgia, such as
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check up for a minor illness. Murray believed that
Rawlings offered more than just physical healing, so he frequented Rawlings' office for mental and spiritual advice. Along with these visits, Murray would send hundreds of paintings and spirit scripts to Rawlings, who then began to supply Murray with higher quality art materials. Murray went from painting on discarded building material with house paint purchased at the local convenience store to painting with tempura paints, markers, watercolors, oil paint sticks, etc.
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and painted objects functioned as a shield to ward off such harmful forces. His house never became a site for collectors or art historians, as other folk artists' houses had been. However, as his notoriety progressed, a small group of private patrons began exchanging his completed paintings for new supplies and discouraging him from engaging with other interested collectors. It is unknown how much Murray was compensated for his work, if at all. At the end of his career, he had produced nearly 2,000 paintings.
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and physically. Furthermore, some Afro-Islamic mystic leaders dissolve the written words of sacred texts or the name of Allah in water then pour the solution into a small vial, which the practitioner drinks or wears in secret around their neck. In his own way, and without lending credit to the similarity, Murray reflected these
Islamic practices when he wrote his prophetic "spirit scripts" and interpreted them through his small glass of water for visiting practitioners.
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or the sun. White was often added among these colors to denote spiritual purity and black was seldom added to denote death or the afterlife. Murray uses color and "spirit script" in tandem to create "spirit works," what he called his paintings, which showcased the battles between good and evil that Murray saw unfolding in everyday life. His "spirit works" contained messages for visitors and viewers that Murray alone could interpret.
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will talk with Spirit. And when I left there , the eagle crossed my eye—a
Spiritual Eagle. The Eagle can see farther than any bird in the world and that's why I can see things other people can't see. When I see between here and the sun is in a twinkle. It was then that I began to write these letters. Different writing represents different languages and folks. It's the Language of the Holy Spirit, direct from God"
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Murray's lexicon of colors was confined to primary colors, white, and black for the majority of his career. Each color held a specific meaning. Red represented torment or evil, blue represented "good" and positive strength, and yellow and gold indicated a divine presence or energy such as God himself
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in the mid-1980's, he began to make work furiously, feeling as though he was running out of time. This and Murray's increased exposure to medical drawings and hospitals, in accordance with his treatment, altered his work in the last four to five years of his life. His work focused more on warfare and
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Two people helped expand Murray's range of materials and exposure to viewers. One was his general practitioner, Dr. William
Rawlings, a local doctor in Sandersville. The other was Andy Nasisse, an art professor at the University of Georgia. Murray and Dr. William Rawlings met as a result of a routine
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Murray distrusted people who did not believe in God; in his mind, most people had strayed from the Lord's path and were therefore potentially harmful. He also believed that destructive evil spirits populated the world, and thus much of the artwork he created served a protective purpose. His paintings
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When I started, I prayed and prayed. And the Lord sent a vision from the sun. Everything I see is from the sun. He showed me signs and seasons and he tells me. He turned around and gave me a question to ask Him and I asked Him to see me mother. He brought her before me and two brothers... See, Spirit
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while watering his potatoes which inspired him to produce a remarkable body of abstract paintings and drawings in the last decade of his life. Seeing an eagle descend from the sun, Murray believed that he had been granted a privileged religious insight, which was to be the inspiration for his work as
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traditions. Islamic traditions in western and northern Africa venerate writing, studying and memorizing the Koran and other sacred texts as a power bestowed on man by Allah and can constitute forms of worship. Interpretation and intercession of sacred texts are used to heal practitioners spiritually
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Many scholars have written about West
African spiritual and religious influences on religious practices of the African American descendants of enslaved peoples in the southeastern United States. Murray's work differs from other visionary work in that it has no formal narrative components, and relies
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has called "one of the most remarkable and unlikely art 'careers' in the southern vernacular field" after he and his wife separated. After a decade of living alone, Murray dislocated his hip, and was forced to retire from farming and seek new existential perspectives. His first creations were
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Murray's greatest advocate may have been Krista Lamar, Dr. Rawlings' wife. She bought supplies for
Rawlings to give to Murray and even introduced Murray to Andy Nasisse, an art professor at the University of Georgia. Through Nasisse, Murray was introduced to
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biological uncertainty which Murray felt stirring within him. As a result, his once iconic, compartmentalized style began to blur and serpentine shapes manifested over the background. He died at the
Memorial Hospital in
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Nearly all of Murray's works were completed on paper, whether that be napkins, receipt paper, construction paper, or poster board, using pens, colored pencils, felt-tip markers, and acrylic paint.
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repertoire in that there is very little representation or interpretation of life. There is no wildlife, Biblical characters, political or patriotic themes, and no narrative obvious to the viewer.
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of the
Phyllis Kind Gallery in New York. After she agreed to represent Murray in her gallery, his work became internationally known and exhibited around the world.
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His colors and calligraphy were often compartmentalized into horizontal or vertical registers and square or rectangular spaces. Many historians also note
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toward the end of his life. Although other deeply religious artists wrote in asemic script, such as Joe Light's pseudo-Arabic and
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http://galleristny.com/2014/03/terms-of-art-looking-at-the-american-south-studio-museum-considers-the-insider-outsider-divide/
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Wrestling with
History: A Celebration of African American Self-Tught Artists from the collection of Ronald and June Shelp,
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Pictured in My Mind: Contemporary American Self-Taught Art from the collection of Dr. Kurt Gitter and Alice Rae Yelen.
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Pictured in my mind: contemporary American self-taught art from the collection of Dr. Kurt Gitter and Alice Rae Yelen
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Art historian Mary Padgelek, who wrote a book about Murray's life and works, has also written a musical about him:
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201:'s Phoenician-like script, Murray was the only artist known to read and decipher his writings through water.
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The Souls of Black Folk: Selections of African American Folk Art from the Museum's Permanent Collection
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981:"J. B. Murray: Writing in an Unknown Tongue: Reading Through the Water", directed by Judith McWillie
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Testimony: Vernacular Art of the African American South: the Ronald and June Shelp Collection.
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John Bunion (J.B.) Murray was born to John H. Murray and Moriah Macrae M. Bass in
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1128:"Spirited Hands Productions to Present New Musical VISIONARY MAN, 7/26-8/31"
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112:. His work has been shown among folk art exhibitions and is included at the
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May–August 1988, High Museum of Art at Georgia Pacific Center, Atlanta, GA.
1340:(Knoxville: University of Tennessee Press, 2005) pp. 39, 40, 168–171.
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Murray's works are in the permanent collections of the following museums:
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Outsider Visions: Self-Taught Southern Artists of the Twentieth Century.
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Another Face of the Diamond: Pathways Through the Black Atlantic South.
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https://issuu.com/cavinmorris/docs/two_transcend-jbm_catalog_safarova_
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https://issuu.com/cavinmorris/docs/two_transcend-jbm_catalog_safarova_
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Self-Taught Art: The Culture and Aesthetics of American Vernacular Art
513:. 28 Nov. 2004- ongoing, Museum of African American Life and Culture,
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primarily on sacred scripts. Thus, despite Murray's commitment to the
189:, Murray developed his own personal style of seemingly unintelligible
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Making the connection: JB Murray and the scripts and forms of Africa.
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Coming Home: Self-Taught Artists, the Bible, and the American South.
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Ed. Randall Morris and Shari Cavin. Cavin-Morris Publishing, 2013
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715:. Jackson, MS: University Press of Mississippi. pp. 131–4.
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When the Stars Begin to Fall: Imagination in the American South.
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American Resources: Selected Works of American American Artists.
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Two Transcend: Drawings by J.B. Murray and Melvin Edward Nelson
225:, which was presented at the Hudson Mainstage Theater in 2014.
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http://americanart.si.edu/collections/search/artwork/?id=86323
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Amazing Grace: Self-Taught Artists from the Mullis Collection,
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Stories of Community: Self-Taught Art from the Hill Collection
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Define Drawing: Work by Self-Taught Artists Past and Present.
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Arnett, William (Fall 2019). "The Handwriting on the Wall".
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http://www.cargofolkart.com/Artist%20Pages/J.B.%20Murry.htm
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Murray's work has been shown in the following exhibitions:
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University of Missouri-Kansas City: doctoral dissertation.
1075:. Minneapolis: University of Minnesota Press. p. 173.
838:
Wertkin, Gerard C. (2004-08-02). Wertkin, Gerard C (ed.).
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17 Nov, 2007- 24 Feb, 2008. Owensboro Museum of Fine Art,
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Masterworks by Twentieth Century African-American Artists.
1271:"Untitled, John B. Murray ^ Minneapolis Institute of Art"
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Black History, Black Vision: The Visionary Image in Texas
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No Space Hidden: The Spirit of African American Yardwork
108:; 1908–1988) was an abstract expressionist painter from
1220:. Lafayette, LA: University of Southwestern Louisiana.
924:. New York: Harry N. Abrams, Inc. Publishers. pp.
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Testimony: Vernacular Art of the African-American South
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Pure Folk: Celebrating the Folk Art Society of America.
352:. 27 Jan.- 19 Mar. 1989, Archer m. Huntington Gallery,
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in Murray's work. His paintings deviate from the known
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African Muslims in Ante-bellum America-- A source book
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21 Sep, 2011- 8 Jan, 2012, Boca Raton Museum of Art,
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Crossroads: Spirituality in American Folk Traditions.
490:. 12 Aug- 30 Oct, 2004. Museum of Arts and Sciences,
394:, 15 Dec. 1990- 12 Jan, 1991, Phyllis Kind Gallery,
1108:. Intuit: The Center for Outsider and Intuitive Art
1050:"African Influence on the Art of the United States"
950:"JB Murray: This Well Grow Deep and Never Run Dry,"
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1358:http://www.folkartmuseum.org/?t=images&id=4381
1216:Baking in the Sun: Visionary Images from the South
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401:Parallel Visions: Modern Artists and Outsider Art.
292:Baking in the Sun: Visionary Images from the South
152:At the age of 70, Murray began what art historian
612:Naives, Seers, one Wolves, and World Savers XXIV,
333:26 Aug- 24 Sep, 1989, Bernice Steinbaum Gallery,
209:, scholars have connected Murray's practice with
448:17 Jan- 1 Mar, 1998, Springfield Museum of Art,
633:14 Sep.- 10 Nov. 2012, Barbara Archer Gallery,
294:, 13 Jun.- 31 Jul 1987, University Art Museum,
965:"J.B. Murray GPS" McWillie, Judith. p. 1 from
605:19 Aug.- 2 Oct. 2010, Barbara Archer Gallery,
380:27 Jan- 24 Feb. 1990, University Art Gallery,
555:. 6 Jun.- 8 Sep., 2006, Galerie St. Etienne,
537:. 15 Jun - 15 Jul, 2005, Luise Ross Gallery,
480:14 Jul- 15 Sep 2001, Barbara Archer Gallery,
302:Outside the Mainstream; Folk Art in Our Time.
8:
1179:Outsider art : spontaneous alternatives
546:. 5 Apr.- 26 May 2006, Galerie St. Etienne,
983:https://www.youtube.com/watch?v=qjJGl1MGoMs
1090:. London and New York: Garland Publishing.
378:Gifted Visions: African American Folk Art.
29:
18:
641:Voodoo Child: J.B. Murray and Mary Smith.
500:19 Jun - 13 Nov. 2004, Art Museum of the
35:J.B. Murray standing outside his home in
1313:"Untitled | Souls Grown Deep Foundation"
1292:"Untitled | Souls Grown Deep Foundation"
405:Los Angeles County Museum of Art (LACMA)
1054:African Diaspora Archaeology Newsletter
700:
317:Gifted Visions:Black American Folk Art,
894:. Macon, GA: Mercer University Press.
310:30 Jul.- 7 Aug. 1988, Berman Gallery,
1149:Walker, Alice-Denise (31 July 2014).
1048:Thompson, Robert Farris (Fall 2019).
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994:
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791:"Art & Culture | Art Trends"
457:21 Feb - 31 Mar 2000, Museum of Art,
455:Southern Spirit: The Hill Collection.
283:Exhibitions and permanent collections
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1433:People from Glascock County, Georgia
1151:"Visionary Man Uplifts and Inspires"
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1336:Judith McWillie and Grey Gundaker.
1025:African American Religious Cultures
1428:Painters from Georgia (U.S. state)
614:2 Apr. 2011, Dean Jensen Gallery,
169:all created prominent yard shows.
14:
1130:. Broadwayworld.com. 24 June 2014
840:Encyclopedia of American Folk Art
1027:. Santa Barbara, CA: ABC CLIO.
771:Smithsonian American Art Museum
684:Smithsonian American Art Museum
118:Smithsonian American Art Museum
1408:20th-century American painters
1343:Clifton-James, Licia E. 2016.
1212:University Art Museum (1987).
1102:"J.B. Murray: Reading Meaning"
892:In the Hand of the Holy Spirit
172:In 1978, Murray experienced a
1:
525:American Visionary Art Museum
354:University of Texas at Austin
744:collection.folkartmuseum.org
674:Minneapolis Institute of Art
564:29, Sep. 2007- 6 Jan. 2008,
918:Conwill, Kinshasha (2001).
594:Museum of American Folk Art
469:Kalamazoo Institute of Arts
403:18 Oct. 1992- 3 Jan. 1993,
382:University of Massachusetts
342:1989, New Visions Gallery,
308:Afro-American Folk Artists.
245:Once he was diagnosed with
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1071:Judy, Ronald A.T. (1993).
890:Padgelek, Mary G. (2000).
669:Metropolitan Museum of Art
592:6 Oct, 2009- 6 Sep, 2010,
523:2 Oct. 2004- 4 Sep. 2005,
1423:American outsider artists
1413:American abstract artists
1273:. collections.artsmia.org
1086:Austin, Allen D. (1984).
1023:Pinn, Anthony B. (2009).
711:Russell, Charles (2001).
521:Holy H2O: Fluid Universe.
321:University of Connecticut
102:John Bunion (J.B.) Murray
28:
1315:. www.soulsgrowndeep.org
1294:. www.soulsgrowndeep.org
689:American Folk Art Museum
643:2013, abcd, le galerie,
590:Approaching Abstraction.
418:Birmingham Museum of Art
134:Glascock County, Georgia
114:American Folk Art Museum
55:Glascock County, Georgia
16:African American painter
1183:. Thames & Hudson.
1175:Rhodes, Colin. (2010).
654:Studio Museum in Harlem
368:New Jersey State Museum
1250:"Untitled early 1980s"
652:27 Mar- 29 Jun, 2014,
319:1988, Atrium Gallery,
254:on 18 September 1988.
184:
136:in the remote town of
1418:American folk artists
848:10.4324/9780203644485
570:University of Georgia
566:Georgia Museum of Art
502:University of Memphis
364:A Density of Passions
258:Subject and materials
252:Washington County, GA
195:University of Georgia
179:
74:Sandersville, Georgia
37:Sandersville, Georgia
85:Painting and drawing
1331:Relevant literature
1252:. www.metmuseum.org
553:Recent Acquisitions
544:Parallel Visions II
110:Glascock County, GA
679:Ackland Art Museum
535:Visual Glossolalia
48:John Bunion Murray
23:John Bunion Murray
1438:Visionary artists
1034:978-1-57607-470-1
274:American Folk Art
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68:(1988-00-00)
1403:1988 deaths
1398:1908 births
635:Atlanta, GA
482:Atlanta, GA
372:Trenton, NJ
177:an artist.
1392:Categories
1319:2019-10-22
1298:2019-10-22
1277:2019-10-22
1256:2019-10-22
1155:Life in LA
954:Raw Vision
827:: 464–481.
776:2019-10-22
749:2019-10-22
695:References
645:Paris, FR.
574:Athens, GA
515:Dallas, TX
392:J.B. Murry
358:Austin, TX
325:Storrs, CT
187:Illiterate
128:Early life
94:Modern Art
1199:880330136
1010:190429331
603:All Folk,
492:Macon, GA
396:New York.
1236:18909093
1160:8 August
1134:8 August
1112:8 August
229:Exposure
138:Mitchell
116:and the
90:Movement
740:"Faces"
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1006:S2CID
926:156–7
106:Murry
1232:OCLC
1222:ISBN
1195:OCLC
1185:ISBN
1162:2014
1136:2014
1114:2014
1029:ISBN
930:ISBN
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436:CUNY
66:1988
63:Died
51:1908
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952:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
