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Clarence Morgan and Juan Logan are representative of the New South. They are a study in contrasts on one hand and participants in a profound unity on the other. Clarence Morgan resides in Greenville, North Carolina, and Juan Logan lives in Belmont North Carolina. Morgan is a transplanted Northerner, of ten years: Logan, on the other hand, has roots that run seven generations deep in North Carolina soil. Both artists create works that achieve a transcendance, but remain rooted in content, characterized by a disciplined improvisation. Logan says: "When I am painting, into the flow of things, there are no verbal thoughts at all." Morgan writes of his concern "to focus on the uncertainty and anxiety of the unknown; which incidentally, is the other side of discovery." Robert Henry Graham, a transplanted Chicagoan living in Blacksburg, Virginia, has developed a narrative, uncanny, Neo-Expressionist idiom that can be seen in Opening The City (1986) a series of works that alluded to the socio-political changes that have taken place in Virginia and other areas of the South. John Scott, a native of New Orleans, an uncommonly talented sculptor, printmaker and painter, is like the innovative Jazz musician.  He is able to move deftly from an apparently politically engaged art to cool and aesthetically tough welded steel constructions that have oblique but important connections to traditional African art. Landscape With Dream Widow (1988) is about memory and positioning oneself in relation to the unknown, the unpredictable-- Ralph Ellison's notion of world view as Tar Baby.

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