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A Dream Deferred, for Now A Dream Deferred, for Now
(3 days later)
Deborah Roberts could have given up long ago. With a mother who worked as a maid and a father who worked as an electrical lineman for the city of Austin, Tex., she grew up trading her drawings of cars, horses, dolls and airplanes for her classmates’ fat red pencils.Deborah Roberts could have given up long ago. With a mother who worked as a maid and a father who worked as an electrical lineman for the city of Austin, Tex., she grew up trading her drawings of cars, horses, dolls and airplanes for her classmates’ fat red pencils.
“It meant nothing to them, but it was everything to me,” she said. “I did not know what an artist was. I just knew that I wanted to do this.”“It meant nothing to them, but it was everything to me,” she said. “I did not know what an artist was. I just knew that I wanted to do this.”
Her parents did not understand her passion. “My daddy hated art and said it was never going to be nothing,” Ms. Roberts said. “He would say, ‘What are you doing that for?’”Her parents did not understand her passion. “My daddy hated art and said it was never going to be nothing,” Ms. Roberts said. “He would say, ‘What are you doing that for?’”
“I learned to get a thick skin when I was about 25,” she added. “Nothing anyone can tell you is ever going to make you stop doing it.”“I learned to get a thick skin when I was about 25,” she added. “Nothing anyone can tell you is ever going to make you stop doing it.”
That resolve is finally paying off. At age 57, Ms. Roberts is about to have her first major solo museum exhibition — a big deal for any artist, but especially gratifying for one who, four years ago, was working in a shoe store to pay the bills.That resolve is finally paying off. At age 57, Ms. Roberts is about to have her first major solo museum exhibition — a big deal for any artist, but especially gratifying for one who, four years ago, was working in a shoe store to pay the bills.
“She’s worked for so long without any institutional recognition,” said Hallie Ringle, the curator of contemporary art at the Birmingham Museum of Art who helped organize “Fictions,” the 2017 show at the Studio Museum in Harlem that included Ms. Roberts. “What she hasn’t done, though, is let that stop her.”“She’s worked for so long without any institutional recognition,” said Hallie Ringle, the curator of contemporary art at the Birmingham Museum of Art who helped organize “Fictions,” the 2017 show at the Studio Museum in Harlem that included Ms. Roberts. “What she hasn’t done, though, is let that stop her.”
Ms. Roberts, who has a big personality and a bigger smile, also hasn’t let the pandemic set her back, though it has pushed her debut at the Contemporary Austin in Texas to January from September — assuming the virus abates by then, as hoped.Ms. Roberts, who has a big personality and a bigger smile, also hasn’t let the pandemic set her back, though it has pushed her debut at the Contemporary Austin in Texas to January from September — assuming the virus abates by then, as hoped.
Instead she is looking at this delay as something of a gift: to press the pause button on a career that had started to accelerate faster than felt comfortable, and to make entirely new paintings for her show, which will now be informed by this challenging cultural moment.Instead she is looking at this delay as something of a gift: to press the pause button on a career that had started to accelerate faster than felt comfortable, and to make entirely new paintings for her show, which will now be informed by this challenging cultural moment.
“It just gives me time to be greater,” Ms. Roberts said, “to really flesh out this work.”“It just gives me time to be greater,” Ms. Roberts said, “to really flesh out this work.”
In this way, Ms. Roberts exemplifies where many emerging artists find themselves during the coronavirus quarantine, which is where they always are — in their studios, making work that may never sell; deploying well-honed habits of toiling in isolation; and drawing strength from the creative process that has long sustained them.In this way, Ms. Roberts exemplifies where many emerging artists find themselves during the coronavirus quarantine, which is where they always are — in their studios, making work that may never sell; deploying well-honed habits of toiling in isolation; and drawing strength from the creative process that has long sustained them.
While group shows are gratifying, Ms. Roberts had just begun getting coveted individual recognition. Institutions like the Whitney Museum of American Art and the Brooklyn Museum have acquired her work, which explores notions of beauty, identity and race through collage-based portraits of black children.While group shows are gratifying, Ms. Roberts had just begun getting coveted individual recognition. Institutions like the Whitney Museum of American Art and the Brooklyn Museum have acquired her work, which explores notions of beauty, identity and race through collage-based portraits of black children.
Celebrities who have purchased pieces include Beyoncé, Ava DuVernay and Barack Obama. Some even liken Ms. Roberts’s collages to those of the American modernist Romare Bearden. “Roberts borrows from Bearden’s vocabulary but distills it into her own powerful language,” Elizabeth Fullerton wrote last year in Art in America, “capturing her subjects in a fragile state of becoming.”Celebrities who have purchased pieces include Beyoncé, Ava DuVernay and Barack Obama. Some even liken Ms. Roberts’s collages to those of the American modernist Romare Bearden. “Roberts borrows from Bearden’s vocabulary but distills it into her own powerful language,” Elizabeth Fullerton wrote last year in Art in America, “capturing her subjects in a fragile state of becoming.”
Just four years ago Ms. Roberts was selling her work for $250 to $600; now her pieces draw from $30,000 to $150,000. Having worked almost exclusively on paper, she can afford to spread out on canvas.Just four years ago Ms. Roberts was selling her work for $250 to $600; now her pieces draw from $30,000 to $150,000. Having worked almost exclusively on paper, she can afford to spread out on canvas.
And where she used to work in her cramped bedroom, Ms. Roberts now has a proper studio in Austin and just recently built herself a bigger house, where she moved in just before the virus outbreak.And where she used to work in her cramped bedroom, Ms. Roberts now has a proper studio in Austin and just recently built herself a bigger house, where she moved in just before the virus outbreak.
But Ms. Roberts said she has always considered herself “a successful artist.”But Ms. Roberts said she has always considered herself “a successful artist.”
“Maybe not monetarily, but I’ve always honored my work,” she said. “This is the reason I’m here.”“Maybe not monetarily, but I’ve always honored my work,” she said. “This is the reason I’m here.”
A high school art teacher urged her on and taught her drawing and painting. “All praise and glory go to her,” Ms. Roberts said. “Well, it goes to God, but she’s next.”A high school art teacher urged her on and taught her drawing and painting. “All praise and glory go to her,” Ms. Roberts said. “Well, it goes to God, but she’s next.”
Ms. Roberts graduated with a bachelor’s degree in fine arts from the University of North Texas in 1985 and earned a master’s in fine art, from Syracuse University, in 2014.Ms. Roberts graduated with a bachelor’s degree in fine arts from the University of North Texas in 1985 and earned a master’s in fine art, from Syracuse University, in 2014.
Her early work reflected the sheltered world of her childhood, in which people went to church and the violence that can accompany racism was remote. “I used to draw and paint like Norman Rockwell, but it was black Americana,” Ms. Roberts said. “I grew up with women who would sit on the porch all day and dare you to get in their yard. Maybe it was sentimental or romantic, but it was real to me. When I started painting, I was painting that.”Her early work reflected the sheltered world of her childhood, in which people went to church and the violence that can accompany racism was remote. “I used to draw and paint like Norman Rockwell, but it was black Americana,” Ms. Roberts said. “I grew up with women who would sit on the porch all day and dare you to get in their yard. Maybe it was sentimental or romantic, but it was real to me. When I started painting, I was painting that.”
Then she read essays by Cornel West, in which he talked about the power of the black body and how it was a taboo subject in white America. “It just shook me to the core,” she said.Then she read essays by Cornel West, in which he talked about the power of the black body and how it was a taboo subject in white America. “It just shook me to the core,” she said.
“I did not know I was black until I was in the sixth grade,” she added, “till the second round of busing, when a white teacher hated me from the moment she saw me.”“I did not know I was black until I was in the sixth grade,” she added, “till the second round of busing, when a white teacher hated me from the moment she saw me.”
Having started by using images of her own 8-year-old face, Ms. Roberts soon found inspiration in the faces of other children, like those from Africa and Haiti. She started with girls — exploring how society views them as well as how they view themselves — and recently began incorporating boys. “I’m looking for this type of innocence that has not been touched by pop culture but maybe has been touched by tragedy,” she said. “I know when I find that face.”Having started by using images of her own 8-year-old face, Ms. Roberts soon found inspiration in the faces of other children, like those from Africa and Haiti. She started with girls — exploring how society views them as well as how they view themselves — and recently began incorporating boys. “I’m looking for this type of innocence that has not been touched by pop culture but maybe has been touched by tragedy,” she said. “I know when I find that face.”
Ms. Roberts’s work has moved some distance from the Norman Rockwell days; her 2018 mixed-media painting, “Facing the Rising Sun” refers to 14-year-old George Stinney Jr., who in 1944 was wrongfully convicted of murdering two white girls in South Carolina. Dressed in a too-big prison uniform, Stinney was forced to sit on a book so he could fit in the electric chair. (The conviction was later vacated.)Ms. Roberts’s work has moved some distance from the Norman Rockwell days; her 2018 mixed-media painting, “Facing the Rising Sun” refers to 14-year-old George Stinney Jr., who in 1944 was wrongfully convicted of murdering two white girls in South Carolina. Dressed in a too-big prison uniform, Stinney was forced to sit on a book so he could fit in the electric chair. (The conviction was later vacated.)
Updated June 5, 2020 Updated June 12, 2020
Touching contaminated objects and then infecting ourselves with the germs is not typically how the virus spreads. But it can happen. A number of studies of flu, rhinovirus, coronavirus and other microbes have shown that respiratory illnesses, including the new coronavirus, can spread by touching contaminated surfaces, particularly in places like day care centers, offices and hospitals. But a long chain of events has to happen for the disease to spread that way. The best way to protect yourself from coronavirus — whether it’s surface transmission or close human contact — is still social distancing, washing your hands, not touching your face and wearing masks.
So far, the evidence seems to show it does. A widely cited paper published in April suggests that people are most infectious about two days before the onset of coronavirus symptoms and estimated that 44 percent of new infections were a result of transmission from people who were not yet showing symptoms. Recently, a top expert at the World Health Organization stated that transmission of the coronavirus by people who did not have symptoms was “very rare,” but she later walked back that statement.So far, the evidence seems to show it does. A widely cited paper published in April suggests that people are most infectious about two days before the onset of coronavirus symptoms and estimated that 44 percent of new infections were a result of transmission from people who were not yet showing symptoms. Recently, a top expert at the World Health Organization stated that transmission of the coronavirus by people who did not have symptoms was “very rare,” but she later walked back that statement.
A study by European scientists is the first to document a strong statistical link between genetic variations and Covid-19, the illness caused by the coronavirus. Having Type A blood was linked to a 50 percent increase in the likelihood that a patient would need to get oxygen or to go on a ventilator, according to the new study.A study by European scientists is the first to document a strong statistical link between genetic variations and Covid-19, the illness caused by the coronavirus. Having Type A blood was linked to a 50 percent increase in the likelihood that a patient would need to get oxygen or to go on a ventilator, according to the new study.
The unemployment rate fell to 13.3 percent in May, the Labor Department said on June 5, an unexpected improvement in the nation’s job market as hiring rebounded faster than economists expected. Economists had forecast the unemployment rate to increase to as much as 20 percent, after it hit 14.7 percent in April, which was the highest since the government began keeping official statistics after World War II. But the unemployment rate dipped instead, with employers adding 2.5 million jobs, after more than 20 million jobs were lost in April.The unemployment rate fell to 13.3 percent in May, the Labor Department said on June 5, an unexpected improvement in the nation’s job market as hiring rebounded faster than economists expected. Economists had forecast the unemployment rate to increase to as much as 20 percent, after it hit 14.7 percent in April, which was the highest since the government began keeping official statistics after World War II. But the unemployment rate dipped instead, with employers adding 2.5 million jobs, after more than 20 million jobs were lost in April.
Mass protests against police brutality that have brought thousands of people onto the streets in cities across America are raising the specter of new coronavirus outbreaks, prompting political leaders, physicians and public health experts to warn that the crowds could cause a surge in cases. While many political leaders affirmed the right of protesters to express themselves, they urged the demonstrators to wear face masks and maintain social distancing, both to protect themselves and to prevent further community spread of the virus. Some infectious disease experts were reassured by the fact that the protests were held outdoors, saying the open air settings could mitigate the risk of transmission.Mass protests against police brutality that have brought thousands of people onto the streets in cities across America are raising the specter of new coronavirus outbreaks, prompting political leaders, physicians and public health experts to warn that the crowds could cause a surge in cases. While many political leaders affirmed the right of protesters to express themselves, they urged the demonstrators to wear face masks and maintain social distancing, both to protect themselves and to prevent further community spread of the virus. Some infectious disease experts were reassured by the fact that the protests were held outdoors, saying the open air settings could mitigate the risk of transmission.
Exercise researchers and physicians have some blunt advice for those of us aiming to return to regular exercise now: Start slowly and then rev up your workouts, also slowly. American adults tended to be about 12 percent less active after the stay-at-home mandates began in March than they were in January. But there are steps you can take to ease your way back into regular exercise safely. First, “start at no more than 50 percent of the exercise you were doing before Covid,” says Dr. Monica Rho, the chief of musculoskeletal medicine at the Shirley Ryan AbilityLab in Chicago. Thread in some preparatory squats, too, she advises. “When you haven’t been exercising, you lose muscle mass.” Expect some muscle twinges after these preliminary, post-lockdown sessions, especially a day or two later. But sudden or increasing pain during exercise is a clarion call to stop and return home.Exercise researchers and physicians have some blunt advice for those of us aiming to return to regular exercise now: Start slowly and then rev up your workouts, also slowly. American adults tended to be about 12 percent less active after the stay-at-home mandates began in March than they were in January. But there are steps you can take to ease your way back into regular exercise safely. First, “start at no more than 50 percent of the exercise you were doing before Covid,” says Dr. Monica Rho, the chief of musculoskeletal medicine at the Shirley Ryan AbilityLab in Chicago. Thread in some preparatory squats, too, she advises. “When you haven’t been exercising, you lose muscle mass.” Expect some muscle twinges after these preliminary, post-lockdown sessions, especially a day or two later. But sudden or increasing pain during exercise is a clarion call to stop and return home.
States are reopening bit by bit. This means that more public spaces are available for use and more and more businesses are being allowed to open again. The federal government is largely leaving the decision up to states, and some state leaders are leaving the decision up to local authorities. Even if you aren’t being told to stay at home, it’s still a good idea to limit trips outside and your interaction with other people.States are reopening bit by bit. This means that more public spaces are available for use and more and more businesses are being allowed to open again. The federal government is largely leaving the decision up to states, and some state leaders are leaving the decision up to local authorities. Even if you aren’t being told to stay at home, it’s still a good idea to limit trips outside and your interaction with other people.
Touching contaminated objects and then infecting ourselves with the germs is not typically how the virus spreads. But it can happen. A number of studies of flu, rhinovirus, coronavirus and other microbes have shown that respiratory illnesses, including the new coronavirus, can spread by touching contaminated surfaces, particularly in places like day care centers, offices and hospitals. But a long chain of events has to happen for the disease to spread that way. The best way to protect yourself from coronavirus — whether it’s surface transmission or close human contact — is still social distancing, washing your hands, not touching your face and wearing masks.
Common symptoms include fever, a dry cough, fatigue and difficulty breathing or shortness of breath. Some of these symptoms overlap with those of the flu, making detection difficult, but runny noses and stuffy sinuses are less common. The C.D.C. has also added chills, muscle pain, sore throat, headache and a new loss of the sense of taste or smell as symptoms to look out for. Most people fall ill five to seven days after exposure, but symptoms may appear in as few as two days or as many as 14 days.Common symptoms include fever, a dry cough, fatigue and difficulty breathing or shortness of breath. Some of these symptoms overlap with those of the flu, making detection difficult, but runny noses and stuffy sinuses are less common. The C.D.C. has also added chills, muscle pain, sore throat, headache and a new loss of the sense of taste or smell as symptoms to look out for. Most people fall ill five to seven days after exposure, but symptoms may appear in as few as two days or as many as 14 days.
If air travel is unavoidable, there are some steps you can take to protect yourself. Most important: Wash your hands often, and stop touching your face. If possible, choose a window seat. A study from Emory University found that during flu season, the safest place to sit on a plane is by a window, as people sitting in window seats had less contact with potentially sick people. Disinfect hard surfaces. When you get to your seat and your hands are clean, use disinfecting wipes to clean the hard surfaces at your seat like the head and arm rest, the seatbelt buckle, the remote, screen, seat back pocket and the tray table. If the seat is hard and nonporous or leather or pleather, you can wipe that down, too. (Using wipes on upholstered seats could lead to a wet seat and spreading of germs rather than killing them.)If air travel is unavoidable, there are some steps you can take to protect yourself. Most important: Wash your hands often, and stop touching your face. If possible, choose a window seat. A study from Emory University found that during flu season, the safest place to sit on a plane is by a window, as people sitting in window seats had less contact with potentially sick people. Disinfect hard surfaces. When you get to your seat and your hands are clean, use disinfecting wipes to clean the hard surfaces at your seat like the head and arm rest, the seatbelt buckle, the remote, screen, seat back pocket and the tray table. If the seat is hard and nonporous or leather or pleather, you can wipe that down, too. (Using wipes on upholstered seats could lead to a wet seat and spreading of germs rather than killing them.)
Taking one’s temperature to look for signs of fever is not as easy as it sounds, as “normal” temperature numbers can vary, but generally, keep an eye out for a temperature of 100.5 degrees Fahrenheit or higher. If you don’t have a thermometer (they can be pricey these days), there are other ways to figure out if you have a fever, or are at risk of Covid-19 complications.Taking one’s temperature to look for signs of fever is not as easy as it sounds, as “normal” temperature numbers can vary, but generally, keep an eye out for a temperature of 100.5 degrees Fahrenheit or higher. If you don’t have a thermometer (they can be pricey these days), there are other ways to figure out if you have a fever, or are at risk of Covid-19 complications.
The C.D.C. has recommended that all Americans wear cloth masks if they go out in public. This is a shift in federal guidance reflecting new concerns that the coronavirus is being spread by infected people who have no symptoms. Until now, the C.D.C., like the W.H.O., has advised that ordinary people don’t need to wear masks unless they are sick and coughing. Part of the reason was to preserve medical-grade masks for health care workers who desperately need them at a time when they are in continuously short supply. Masks don’t replace hand washing and social distancing.The C.D.C. has recommended that all Americans wear cloth masks if they go out in public. This is a shift in federal guidance reflecting new concerns that the coronavirus is being spread by infected people who have no symptoms. Until now, the C.D.C., like the W.H.O., has advised that ordinary people don’t need to wear masks unless they are sick and coughing. Part of the reason was to preserve medical-grade masks for health care workers who desperately need them at a time when they are in continuously short supply. Masks don’t replace hand washing and social distancing.
If you’ve been exposed to the coronavirus or think you have, and have a fever or symptoms like a cough or difficulty breathing, call a doctor. They should give you advice on whether you should be tested, how to get tested, and how to seek medical treatment without potentially infecting or exposing others.If you’ve been exposed to the coronavirus or think you have, and have a fever or symptoms like a cough or difficulty breathing, call a doctor. They should give you advice on whether you should be tested, how to get tested, and how to seek medical treatment without potentially infecting or exposing others.
If you’re sick and you think you’ve been exposed to the new coronavirus, the C.D.C. recommends that you call your healthcare provider and explain your symptoms and fears. They will decide if you need to be tested. Keep in mind that there’s a chance — because of a lack of testing kits or because you’re asymptomatic, for instance — you won’t be able to get tested.If you’re sick and you think you’ve been exposed to the new coronavirus, the C.D.C. recommends that you call your healthcare provider and explain your symptoms and fears. They will decide if you need to be tested. Keep in mind that there’s a chance — because of a lack of testing kits or because you’re asymptomatic, for instance — you won’t be able to get tested.
“She uses different clothing, patterns and tropes like boxing gloves and checkered uniform skirts — these elements that might seem incongruous — and puts them together in collages that are deceptively simple,” said Heather Pesanti, chief curator at the Contemporary Austin, who is organizing the forthcoming show. “She creates these new whole individuals from fragmented parts as a way to tell her own story.”“She uses different clothing, patterns and tropes like boxing gloves and checkered uniform skirts — these elements that might seem incongruous — and puts them together in collages that are deceptively simple,” said Heather Pesanti, chief curator at the Contemporary Austin, who is organizing the forthcoming show. “She creates these new whole individuals from fragmented parts as a way to tell her own story.”
No matter how hard it has been at times to make a living, Ms. Roberts has kept on making art. “She’s a fighter,” said Jeanne Klein, a prominent Texas art collector who has become a close friend. “I never had to fight like that.”No matter how hard it has been at times to make a living, Ms. Roberts has kept on making art. “She’s a fighter,” said Jeanne Klein, a prominent Texas art collector who has become a close friend. “I never had to fight like that.”
When she found herself forced to work in a shoe store four years ago, Ms. Roberts did almost cry uncle. Then she received a grant from the Pollock-Krasner Foundation, which she said “allowed me to eat.”When she found herself forced to work in a shoe store four years ago, Ms. Roberts did almost cry uncle. Then she received a grant from the Pollock-Krasner Foundation, which she said “allowed me to eat.”
“I’m a fat girl,” she added, laughing, “so I needed to eat.”“I’m a fat girl,” she added, laughing, “so I needed to eat.”
Then in 2017, things took a meaningful turn: in the span of just a few months, Ms. Roberts’s work appeared in New York at the Volta Art Fair, the Fort Gansevoort gallery and the Studio Museum.Then in 2017, things took a meaningful turn: in the span of just a few months, Ms. Roberts’s work appeared in New York at the Volta Art Fair, the Fort Gansevoort gallery and the Studio Museum.
Major dealers took notice, including Stephen Friedman in London and Susanne Vielmetter in Los Angeles, both of whom now represent Ms. Roberts. Her first visit to Ms. Roberts’s studio, Ms. Vielmetter said, echoed her experience with Mickalene Thomas, Nicole Eisenman and Wangechi Mutu: “There was no question about how I felt: This is very, very important work.”Major dealers took notice, including Stephen Friedman in London and Susanne Vielmetter in Los Angeles, both of whom now represent Ms. Roberts. Her first visit to Ms. Roberts’s studio, Ms. Vielmetter said, echoed her experience with Mickalene Thomas, Nicole Eisenman and Wangechi Mutu: “There was no question about how I felt: This is very, very important work.”
While it can take artists time to gain leverage in their careers, Ms. Roberts has already been making clear demands, namely that she wants her work to go to museums, where children who look like her can be inspired by her story.While it can take artists time to gain leverage in their careers, Ms. Roberts has already been making clear demands, namely that she wants her work to go to museums, where children who look like her can be inspired by her story.
And she is allowing the virus crisis to influence new paintings — gravitating toward black backgrounds, for instance, instead of her usual white; and using the time for self-reflection.And she is allowing the virus crisis to influence new paintings — gravitating toward black backgrounds, for instance, instead of her usual white; and using the time for self-reflection.
“This virus has made us scared of other people,” Ms. Roberts said. “Where we used to make eye contact and meet people, now we want to be in the shadows. We don’t want people to see us.”“This virus has made us scared of other people,” Ms. Roberts said. “Where we used to make eye contact and meet people, now we want to be in the shadows. We don’t want people to see us.”
But Ms. Roberts’ work is all about wanting to be seen. “Allowing people to be in my presence, to feel what I feel when people make comments about my hair or my body,” she said. “While I want to be in the chorus of black women talking about black womanhood, I also want to have my own solo voice.”But Ms. Roberts’ work is all about wanting to be seen. “Allowing people to be in my presence, to feel what I feel when people make comments about my hair or my body,” she said. “While I want to be in the chorus of black women talking about black womanhood, I also want to have my own solo voice.”