The late Georgia-based collector William Arnett famously described the art of the Black American South in the twentieth century as ‘the one great thing America has ever had to give to the history of visual arts’. He was speaking, of course, about his collection the Souls Grown Deep Foundation, some 1,300 works that constitute a precious fraction of this ‘vernacular art’ tradition – of works produced away from the exclusive environs of traditional art schools, galleries and museums, then displayed and sold in the region’s yard shows. One such work, loaned to the Royal Academy for last year’s Souls Grown Deep Like the Rivers, was Keeping a Record of It (Harmful Music) (1986) by the Alabama born artist and musician Lonnie Holley.
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