SISTER GERTRUDE MORGAN-LP-W/PRESS-OUTSIDER ART

$

155

SISTER GERTRUDE MORGAN-LP-LET'S MAKE A RECORD-TRUE BELIEVER RECORDS LB 1--WITH 2 PAGE XEROX OF NEWSPAPER & MAGAZINE CLIPPINGS THAT WERE USED AS A PRESS KIT OF SORTS.THIS CAME FROM THE COLLECTION OF A NEW ORLEANS GALLERY OWNER FROM THE 70'S-THIS IS THE ORIGINAL OF THIS AWESOME & RARE LP BY THIS NEW ORLEANS STREET PREACHER & OUTSIDER ARTIST--IT IS STILL IN IT'S ORIGINAL SHRINK WRAP ALTHOUGH I WOULD HAVE TO GRADE THE JACKET A VG- DUE TO THE BOTTOM RIGHT HAND CORNER BEING BENT--THE VINYL IS ALSO A VG DUE TO MINOR SCUFFS & SCRATCHES BUT PLAYS GREAT--FAIR RESERVE--Buyer pays for cost of shipping ---- We prefer payment thru PAYPAL ---- Thanks for looking ---------- Please check our other auctions for more Psych, Garage, Rocknroll, Rockabilly, Bubblegum, Powerpop, Punk, New Wave, Synth, Industrial, 20th Century Classical, Electronica, Experimental, Industrial, Avant Garde, Psychedelic, F*CK OFF Records, Throbbing Gristle, Current 93, WHITEHOUSE, NWW, LAFMS, Philip Glass, stockhausen, Krautrock, post punk, no wave, Ralph Records, ESG, ESP-Disk, VU, Nico, Suicide, DEVO, folk, french pop, gainsbourg, mutantes, Black Metal, EYEHATEGOD, Killed by Death, Bloodstains, Back to Front, Break the Rules, Nuggets, Back from the Grave, Hyped 2 Death (H2D), and Homework DIY punk, UK DIY, NWOBHM, Country, Bluegrass, Hippie jam band stuff, P-Funk, Jazz, Blues, Vocal Harmony Group, Gospel, Soul, Motown, Funk, Reggae, Ska, Rocksteady, Dancehall, Techno, House, Ambient, Disco, R&B, Mod, SWAMP POP, Zydeco, cajun south louisiana and local New Orleans singles (Dr. John, Dave Bartholomew, Nevilles, K-Doe, Minit, Instant, NOLA, Jin, Fury, Vinyl Solution, Lectric Eye, Shell Shock, Exhorder, Cosimo Matassa, Lloyd Price, Lee Dorsey, Tommy Ridgeley, Willie Tee) and other odds and ends.---------------READ THIS BIO---------musician and poet, was a natural as an artist, although she got a late start, like many self-taught artists. Her paintings and drawings, often on found objects, are profoundly religious yet joyous. It also offers a vivid self-portrait of herself and her life as a self-proclaimed missionary, as she appears in the majority of her figurative work. She also produced some handsome, color-added text-only pieces late in her life. Sister Gertrude's works are blasts of exuberant primary colors laced with a luscious, electric white paint (originally white shoe polish, according to one account) and often threaded with lines of text. Her repetitive patterns, especially dots, make her a prime candidate for the Pattern and Decoration School, though her subject matter is entirely different. The seventh child of an Alabama farmer with a third-grade education, Gertrude Willliams married Will Morgan in 1928 and lived in Georgia. She received a call from God to preach in 1934. She experienced other revelations during her long career as a self-proclaimed missionary, which lasted until her death. In 1939, called again, she moved to New Orleans, where she set up a children's home with two other women. They all wore black dresses with a white collar. What happened to the marriage is unknown. She traveled in the south preaching and attending religious gatherings. Back in the French Quarter, she distributed food and clothing along with her other missionary duties. Around 1956, Sister Gertrude, already deeply involved in art-making as a religious poet and musician, received another revelation telling her to use art to illustrate her sermons. About a year later, she was called to become the "bride of Christ," after which she dressed completely in white. She went out on her own to preach, eventually establishing her own mission. She sold her artworks to help support herself and her mission, made a record of her songs, and received national recognition for her art. "Tools of Her Ministry: The Art of Sister Gertrude Morgan," curated by William A. Fagaly of the New Orleans Museum of Art, who knew Sister Gertrude during the last 12 years of her life, neatly lays out the development of her distinctive art. Her development, from copying from the Bible and possibly other religious texts to a signature style of her own, appears to have been rapid. Drawn to the book of Revelation, like many other self-taught preacher-artists, her vision of a New Jerusalem is her most important theme. This vision translates in her paintings into images of multi-storied houses, gardens (which often resemble the one near her Everlasting Gospel Mission in New Orleans), and Sister Gertrude herself, dressed in white with "Dada Jesus." The skies above are typically filled with multicolored angels, like those swooping overhead in the undated There's a Bright Crown Waitang (sic) for Me in acrylic and/or tempera, pencil, ballpoint pen on wood panel. In 1974, she received another revelation to stop painting and to devote her time to poetry, which may have had something to do with difficulties with her eyes. Sister Gertrude, a single-minded missionary, never took credit for her art. She maintained that everything she created came from God, just like the Reverend Howard Finster, John (J. B.) Murry and a host of other self-taught artists. She once said: "He moves my hand. Do you think I would ever know how to do a picture like this by myself?"