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L'Apres Midi Chez L'Indio
This artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024. This painting was acquired by Rhodes College from Kenneth Holditch (1933-2022) during the summer of 2024. Holditch graduated from Southwestern at Memphis with the class of 1955, and worked as a Tennessee Williams scholar in his role on the faculty at the University of New Orleans.This piece was painted by Tennessee Williams in 1979 using oil paint and pencil. A figure with black hair, dressed in a red shirt and blue pants, sits with eyes closed at the center of the composition, against a white background. Above the figure float abstract elements: a yellow circle, blue brushstrokes, and geometric shapes in green, yellow, and orange. The figure is framed by green cacti against a brown-yellow background. The French title, "L'Apr"s-Midi Chez L'Indio" (Afternoon With The Indian), appears along the bottom center of the canvas, signed"T.W." in the lower right corner. On the back, it is signed"Tennessee Williams / [illegible] 1979". This piece was loaned by Kenneth Holditch to the Columbus State University in Georgia in 2018. https://allongeorgia.com/muscogee-lifestyle/painting-by-tennessee-williams-on-display-at-csus-schwob-library
Untitled
This artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024. This painting was acquired by Rhodes College from Kenneth Holditch (1933-2022) during the summer of 2024. Holditch graduated from Southwestern at Memphis with the class of 1955, and worked as a Tennessee Williams scholar in his role on the faculty at the University of New Orleans.This piece was painted by Tennessee Williams in 1977 using oil paint and pencil. A blond, nude figure with closed eyes reclines peacefully on his back, arms resting behind his head. The figure lies on vivid green grass beside a tranquil blue body of water. At the foot of the figure, green and pink foliage adds vibrancy to the scene, while two red flowers bloom in the bottom right corner. Metallic lettering beneath the figure spells out"A I OUS N REPOSE," though some of the letters have fallen off, leaving the phrase incomplete and mysterious. Signed"T.W." in the bottom right corner, the back of the painting contains a note in the top right corner that reads"[illegible], 1977 / Tennessee Williams / Key West." Additionally, a white sticker in the top left corner bears the numbers"4312 / 100/2," and an empty tag is attached to the hanging wire
Assignment #5: Obstructions
This artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024.This painting is by Taylor Jackson, who graduated from Rhodes College in 2015. Her artist statement reads: "I rummage through a treasure trove of memories and personal observations to create imagery that is critical of the heavily ingrained politics of skin color, beauty, and womanhood. My work questions the validity of dangerous 'beautifying' rituals such as skin lightening. The work has a crude and visceral appearance. The progression of time is a major component of my work, as it shows the devastating consequences of continued reliance on these rituals. I want to demonstrate stages of the destruction of natural beauty.
La Tristesse Amoureuse
This artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024. This painting was acquired by Rhodes College from Kenneth Holditch (1933-2022) during the summer of 2024. Holditch graduated from Southwestern at Memphis with the class of 1955, and worked as a Tennessee Williams scholar in his role on the faculty at the University of New Orleans.This piece was painted by Tennessee Williams in 1978 using oil paint and pencil. Set against the backdrop of a serene beach at sunset, two nude figures"one male and one female"occupy the foreground. The female figure, positioned on the left, sits with her feet crossed, her hands covering her face. To the right, the male figure stands with his back to the viewer, hands on his hips, gazing toward the deep red sun sinking into the horizon, adding to the melancholic atmosphere. The ocean stretches out behind them, bathed in the warm glow of the fading light. The French title, "La Tristesse Amoureuse" (The Sad Lover), appears in the bottom right corner, where Williams also signed the piece as "T.W." On the reverse, the signature "Tennessee Williams / 1978" is marked in the top left corner. A tag from"Dawson & Nye" auction house is attached to the hanging wire, which reads"Lot #448 / January
28th, 2009 / 4312-101 2pcs"
Pearl
This artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024.This painting is by Erin Moore, class of 2026, as an assignment for self-portrait. Her artist statement reads: "My art focuses on bringing attention to things that often get overlooked, forgotten, or ignored, especially those that prompt self-reflection. In this painting, I bring attention to the question: 'Is my Black truly beautiful?' This is a question that every Black girl asks herself when growing up, but few say out loud. Therefore, making it a part of Black life that often goes unseen.
Growing up, Black girls often hear praise for their Afrocentric features, like their hair, but they also see their mother straightening hers every weekend. People compliment their dark skin, yet none of the love interests in their favorite shows look like them. They hear love and praise, but they see something completely different. This leaves many Black girls wondering if their Black is truly beautiful or if it’s just something people say to make them feel better about themselves.
Une Langue Perdue
This artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024. This painting was acquired by Rhodes College from Kenneth Holditch (1933-2022) during the summer of 2024. Holditch graduated from Southwestern at Memphis with the class of 1955, and worked as a Tennessee Williams scholar in his role on the faculty at the University of New Orleans.This piece was painted by Tennessee Williams in 1976 using oil paint and pencil. At the center of the composition, a blonde figure sits in a yellow chair, surrounded by green foliage. A golden sun shines in the upper right corner, while a light blue background fills the top two-thirds of the canvas, reminiscent of a clear sky. Below, a yellow and orange grid stands out against a white background. The French title, "Une Langue Perdue" (The Lost Language), is written in dark red along the bottom center, hinting at themes of forgotten or lost communication. Signed"T.W." in the lower right corner. The back of the painting contains a tag and a handwritten note confirming its sale. The tag reads"4312 / 100/2". In the top right corner, it is signed"Oil & Pencil / Tennessee Williams / 76". A note on the right side reads"March 2, 1976 / To: Richard T. Johnson / For: one original oil - work of art - by Tennessee Williams - - - - - - 1000.00 / Tax 40.00 / Total 1040.00 / Painting called -"La Langue Perdue" / [Marion Stevens signature] / Marion Stevens / Artists Unlimited / Key West, Fla."
The Southwestern Review 2024
Received from Amy Benson and Caki Wilkinson and uploaded to Dlynx during fall 2024.For more than fifty years, the Southwestern Review has strived to bring together the diverse voices of the Rhodes College Student Body. The Southwestern Review publishes work that inspires original thought, community-building, and support for creative expression
Assignment #5: Obstructions
This artwork was photographed and cataloged by Echo O'Connor (class of 2025) during the fall of 2024.Assignment #5: Obstructions was painted by Olivia Knauss, who graduated from Rhodes College with a BA in Art and Art History in 2015. Her artist statement reads: "I explore the physicality of paint through pours, brushed on patterns and other additive materials. Each painting provides an uninhibited opportunity to play with mark making and color with no start or outcome in mind. It grows outwards from the first compositional mark, always being cognizant of the edges and the overall balance of forms. Through the work, I investigate the development of tension both in the formal making and the product.