Art Into Words: My Nasher Museum Label Adventure

Imagine walking into a room and having your heart instantly captured by a single piece of art. That’s exactly what happened to me a few months ago when I stepped into the office of Marshall N. Price, Ph.D., Chief Curator and Nancy A. Nasher and David J. Haemisegger Curator of Modern and Contemporary Art at the Nasher Museum of Art at Duke University . He presented a diorama of the pavilion, its edges adorned with miniature paintings, and invited me to write a label for an artwork in his new exhibition, American Stories / American Myths. The opportunity was as thrilling as it was unexpected.

This was my first invitation to such a project, and it had been many years since my last art history class. I had always imagined the minds behind these wall labels as enigmatic geniuses, each with a Ph.D. in their specialized field, effortlessly weaving complex narratives into concise texts. Naturally, I felt a mix of excitement and apprehension. I wanted to sound intelligent and do justice to the artist and the piece.

The next month was a whirlwind of activity. My days were spent scouring the internet, diving into online archives, academic databases, and digital collections. I bookmarked countless pages and filled my browser with tabs on how curators approach and write wall labels. Each click led me deeper into the world of art curation, uncovering techniques and nuances that would help me craft the perfect label.

I delved deep into the life and work of Mose Tolliver, the artist of the piece that had captivated me. His story unfolded before me—his struggles, his unique vision, and his indomitable spirit. I read through interviews, articles, and books, seeking to understand the man behind the art.

As the deadline approached, my nerves intensified. I wanted to encapsulate Mose T's essence and the significance of his work within a few short sentences. With my heart pounding and hands slightly shaking, I submitted my first draft, hoping it would meet the high standards set by the museum.

Mose Tolliver (Born in Montgomery, Alabama, c. 1920–2006)

George Washington, 1993

House paint on wood Promised gift of Bruce Lineker, A.B.’86

L.9.2008.15

Moses Tolliver, known as Mose T, expressed many times that he wasn’t interested in “art”; he was interested in making “pictures.” His artistic vision and compulsion to paint rose above his struggles and economic hardship. He used tree roots, broken windows, and things found in old vacant lots as canvases. Mose T crafted harmonious palettes from leftover house paints, transforming humble materials into powerful stories. He addressed injustice with his “boycott buses” and simply painted what he wanted: a menagerie of real and imaginary landscapes and animals, self-portraits, and portraits of his wife, Willie Mae. With a flat background, broad strokes, and a few textured details, Mose T painted George Washington, the “Father of His Country.” Elevating the significance of the portrait, he painted a frame and fashioned wall mounts from beer can tabs. Understanding his work means understanding the smile that radiated from him as he sat on his front porch, displaying his paintings in the yard of his Montgomery home.

What holds significance for you, and what narrative do you aim to convey? How would you amplify your voice with accessible resources?

To be honest, it felt like I was trying to capture someone else’s voice in my initial draft. The language was academic, the tone detached—far from the personal connection I felt with the piece. I was fortunate and grateful when Marshall encouraged me to take another try. He said, "I think what would be most valuable for the visitor is to hear a more personal voice from you, written from an artist’s perspective. I know for most museum labels there is a certain anonymous voice that is used, but in this case, we want to hear from you, from Karen Huang."

Taking his advice to heart, I stepped back and took some time to reflect. I asked myself what truly attracted me to this painting. The answer came in a flood of memories: the echoes of laughter from my childhood, the days when I was someone’s daughter, and now, the profound experience of being a mother to my own daughters. My memories transported me back to the times spent doodling, being silly, and laughing at the kitchen table. I realized that the painting resonated with me on a deeply personal level, evoking cherished moments and the innocence of my early years.

With this newfound clarity, I rewrote the label, infusing it with my own voice and experiences. Now, alongside the beautiful, historic painting, is my very first wall label for the Nasher Museum of Art. It reads:

Mose Tolliver (Born in Montgomery, Alabama, c. 1920–2006)

George Washington, 1993

House paint on wood Promised gift of Bruce Lineker, A.B.’86

L.9.2008.15

Shapes, composition, and colors—when skillfully combined—evoke deep emotions and transport us to different times. Mose Tolliver’s vibrant?George Washington, reminiscent of a child’s uninhibited painting, transcends portraiture. As a child, I begged my mother to draw familiar subjects—cats, bunnies, human faces. Her rudimentary stick figures, distinguishing a cat solely through pointed ears, would send us into fits of laughter that still echo within me today.

Mose T’s work invites us to see the world anew through shape and color. Using found wood and inexpensive paint, he breathed life into this painting?and freed himself from?rigid rules. The eyes are red, the nose rectangular, and the circular face is central. The artist’s unrestrained creativity?gives?voice to his thoughts and emotions. As an artist, I yearn for that freedom—to transport viewers with bold strokes and vibrant hues, evoking memories from their past. This piece, in its seeming simplicity, reminds us of art’s power to liberate our minds.

—? Karen Huang

This raises a profound question: Is art about the artist, or is it about what the viewer discovers within the art? At its core, art is a dialogue—a conversation between the creator and the observer. We all yearn to be heard and seen, and through art, these desires find a unique medium of expression. Guests at the museum often ask, "What does this mean? I don’t get it." But what if the conversation isn’t one-way? What if the power of art lies not in providing definitive answers, but in the questions it raises within us? What if there are no wrong answers? What if the question becomes, "What do you see in the art?"

Art has the profound ability to transcend the boundaries of language and culture, touching upon the shared human experience. It invites us to see the world through different lenses, to feel the emotions embedded in the strokes and colors, and to find personal connections in the abstract. In this way, art becomes a mirror, reflecting our inner thoughts, memories, and dreams. It challenges us to confront our perceptions, explore our emotions, and engage in a deeper level of introspection.

In art, there are no mistakes—only emotions and humanity. Every piece, regardless of its form or medium, carries the essence of the artist’s experience and the potential for endless interpretations. It’s in this space of ambiguity and exploration that art finds its true power. It is not confined by rigid definitions or singular meanings; rather, it thrives in the diverse and dynamic responses it evokes from each viewer.

So, the next time you find yourself in front of a piece of art, don’t just ask, "What does this mean?" Instead, embrace the uncertainty and ask, "What does this mean to me?" In doing so, you not only honor the artist’s intention but also discover a piece of yourself within the canvas.

Thank you, Dr. Marshall N. Price, for the opportunity and Bruce Lineker for the generous promised gift of Mose T's work to the museum.

American Stories / American Myths, June 15, 2024 – July 20, 2025 at the Nasher Museum

https://nasher.duke.edu/exhibitions/art-of-the-united-states-american-stories-american-myths/