Mavis Pusey’s art gains recognition at a Philadelphia exhibition, addressing her previous neglect in the art world.

In 2019, renowned artist Mavis Pusey passed away at the age of 90 while residing in the home of her caregiver in rural Virginia. Despite having produced bold, distinctive artworks that once adorned the walls of prominent museums, her legacy slipped into obscurity, and her works were sold off during bankruptcy proceedings. This unfortunate chain of events effectively erased her name from the annals of the contemporary art scene that had celebrated her contributions decades earlier.

Pusey, originally from Jamaica, relocated to New York City in 1958 with aspirations in fashion. However, fate took a different turn when she enrolled in a painting class. As an exceptional Black woman in the realm of abstract art, Pusey gained significant recognition, which included selling a print to the Museum of Modern Art in 1968 and participating in the Whitney Museum’s notable 1971 exhibit, “Contemporary Black Artists in America.” Her academic contributions included teaching positions at prestigious institutions such as Rutgers University and the Pennsylvania Academy of the Fine Arts.

Despite her early accomplishments, Pusey’s visibility in the art world waned. As her contemporaries garnered continued recognition from leading institutions, Pusey’s work was often overlooked and marginalized. In 1988, seeking solace, she departed New York for a quieter life in Virginia, effectively disappearing from the public eye.

In a remarkable turn of events, Pusey’s works have recently experienced a posthumous renaissance, gaining international acclaim, including recognition from the Centre Pompidou in Paris and participation in the 2024 Whitney Biennial. “Mavis Pusey: Mobile Images,” her first solo museum exhibition, opened last month at the Institute of Contemporary Art in West Philadelphia. Over the next two years, the exhibit will travel to the Hammer Museum in Los Angeles and the Studio Museum in Harlem.

This resurgence highlights a critical moment in art history, as curators and institutions strive to correct past oversights regarding the contributions of women artists, particularly Black women in abstract art. Hallie Ringle, chief curator and interim director of the Institute for Contemporary Art, remarks on the importance of acknowledging Pusey’s legacy as both an overdue recognition and a response to a historic injustice in the art world.

Throughout the later years of her life, interest in Pusey’s substantial body of work began to resurface, prompting curators to seek out her art in an effort to rectify what many considered an institutional failing. This search uncovered the robust artistic contributions of an artist who had been years ahead of her time.

In her pursuit to bring Pusey’s work back into the limelight, Ringle encountered significant challenges, including Pusey’s decline due to dementia and the loss of many of her artworks, which were sold by the state of Virginia after Pusey filed for bankruptcy. The state’s repossession led to the liquidation of her collection, which included paintings, drawings, and prints. A small gallery in Massachusetts acquired around 50 of Pusey’s works for ,000, the highest bid during the auction process.

Following her passing, renewed attention to Pusey’s art surged, especially following a New York Times obituary that reignited interest from several high-profile institutions. The Petrucci Family Foundation ultimately purchased a collection of her pieces for ,501, settling Pusey’s debt and ensuring a small inheritance for her family.

Today, Pusey’s work has been featured prominently at various institutions, including the Whitney Museum, and is gaining recognition among art collectors and enthusiasts alike. In Philadelphia, significant pieces such as “Dejygea” and “Within Manhattan” are showcased alongside Pusey’s poetry and design work. The ongoing exhibit at the Institute of Contemporary Art is complemented by an upcoming symposium on Pusey and Jamaican modernism, fostering a broader understanding of her artistic contributions.

Ringle expresses her hope that this renewed visibility will solidify Pusey’s legacy within the art canon, emphasizing the importance of recognizing her work and the ongoing efforts to ensure that such oversights do not occur again. The revival of Mavis Pusey’s legacy stands as a testament to the enduring power of art to reward patience and resilience, as well as the necessity of acknowledging and celebrating the diverse voices within the artistic community. The exhibit “Mavis Pusey: Mobile Images” runs through December 7 at the Institute of Contemporary Art in Philadelphia. For more information, visit Media News Source.