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Beverly Buchanan, Untitled (Spirit Jar), c. 2000. Tin can, license plate, shells, bottle caps, wood, hot glue, decorative trim, costume jewelry, plastic holiday bulbs, metal fragments, ball bubble hair ties, printed cloth, and glass, 6.5 x 7 x 6 in. Collection of Art Galleries at Black Studies, The University of Texas at Austin, Purchase, 2024.006. Photo courtesy of Andrew Edlin Gallery.

Additional Artworks

From AGBS at The University of Texas at Austin

  1. Haiti En Peril by Frantz Zephirin, Image 1.

    Frantz Zephirin

    Haiti En Peril, 2002

    20 x 24 in

  2. Doings and Undoings (Church Pew Girl) by Tonya Engel, Image 1.

    Tonya Engel

    Doings and Undoings (Church Pew Girl), 2002

    Oil On Canvas

    32 x 41.875 in

  3. Anansy-Trickster by Tonya Engel, Image 1.

    Tonya Engel

    Anansy-Trickster, 2002

    Oil On Canvas

    42.125 x 32 in

  4. 12" square mirror by Reji Thomas, Image 2.

    Reji Thomas

    12" square mirror, c. 2002

    mirror, metal, and paint

    15.875 x 14.5 in

  5. Framed Glass by Reji Thomas, Image 6.

    Reji Thomas

    Framed Glass, 2002

    wood, glass, acrylic paint

    17.3 x 18 in

  6. Untitled by Bert Long Jr, Image 1.

    Bert Long Jr

    Untitled, 2001

    charcoal/acrylic on stonehenge paper

    30.5 x 22.75 in

  7. Yemonja by Carla Nickerson, Image 1.

    Carla Nickerson

    Yemonja, 2000

    acrylic on canvas

    35 x 47 in

  8. Opened Cut and Paste Exhibition Catalog, Michael Ray Charles, 1989-1997 : an American artist's work by Michael Ray Charles, Image 1.

    Michael Ray Charles

    Opened Cut and Paste Exhibition Catalog, Michael Ray Charles, 1989-1997 : an American artist's work, 1997

    Exhibition catalogue

    26 x 19.5 in

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About the artist

Beverly Buchanan

Beverly Buchanan was born in North Carolina in 1940 and raised in South Carolina. She studied and worked in science and medicine until 1971, when she enrolled in the Arts Students League and began exploring themes of architectural decay. She began to install sculptures made up of natural materials in Georgia landscapes from 1979, thus recalling histories of enslavement and segregation among African-Americans. The decaying of the outdoor sculptures over time refer to “ruins,” thus challenging methods of memory and commemoration in the U.S. Buchanan began creating indoor sculptures shortly after, made primarily of found objects. She died in Ann Arbor, Michigan in 2015.