Pam Black


1979 MFA, Pratt Institute, Brooklyn, NY
1976 BFA, Washington University, St. Louis, MO

Teaching Experience
1999-2020 University of Virginia, School of Architecture and Department of Drama, Charlottesville VA
1997-99 UVA McIntire Department of Art, Drawing I and II
1985-2008 Piedmont Virginia Community College, Charlottesville, VA
1986-92 Albemarle High School, Charlottesville, VA

Related Experience
2012 Movement and the Human Body, a workshop given in support of the Creature Project (a cross-disciplinary event between Department of Drama, School of Architecture, Studio Art, University of Virginia, Charlottesville, VA
2012+2014 Finding Accuracy Through Expression Workshop, Beverley Street Studio School, Staunton, VA
2010+2013 New Work by Laura Edwards Wooten Invited Curator, Art Center in Orange, Orange VA
1998-99 Annual Art Exhibitions Curator, University of Virginia School of Law, Charlottesville VA
1998 Fellow Artist in Residence, Virginia Center for the Creative Arts, Sweet Briar, VA
1997-98 PVCC Student Book Designs Presenter, Virginia Festival of the Book, Charlottesville, VA
1992-93 Sawhill Gallery Regional Art Advisor, James Madison University, Harrisonburg, VA
1992 Emerging Artists Curator, Piedmont Council of the Arts, Charlottesville, VA
1991 Leadership Charlottesville, The Arts Connection, Charlottesville/Albemarle County Chamber of Commerce, Executive Seminar Series, Charlottesville, VA

Invited Lectures
2011 Beverley Street Studio School, Staunton VA
2011+2013 Charlottesville Watercolor Guild, Charlottesville VA
2011 School of Architecture, Common Course, University of Virginia, Charlottesville, VA
2006 Drawing and the Creative Process, Woodberry Forest School, Orange, VA
2002 Conversation with the Artists, Les Yeux du Monde, Charlottesville, VA
2001 Lessons in Making, School of Architecture, University of Virginia, Charlottesville VA
1997 The Evolution of Eve, Babcock Fine Arts Center, Sweet Briar College, Sweet Briar VA
1987 Creative Process, Department of Sociology, University of Virginia, Charlottesville VA

Solo Exhibitions
2012 Alchemy, Chroma Project Arts Laboratory, Charlottesville VA
2010 Theory and Ethereal, School of Architecture, University of Virginia, Charlottesville VA
2006 Sugar, Walker Fine Arts Center, Woodberry Forest School, Orange VA
2000 New Work, Hunt Gallery, Mary Baldwin College, Staunton VA
1999 Recent Work, New Harmony Gallery of Contemporary Art, New Harmony IN
1999 Free Play, Piedmont Virginia Community College Gallery, Charlottesville VA
1999 Supported in Exposure, Kate Spade, New York NY
1997 Eden Revived, Babcock Fine Arts Center Gallery, Sweet Briar College, Sweet Briar VA
1996 Eden Revived, Fayerweather Gallery, University of Virginia, Charlottesville VA
1988 Fact of Life, McGuffey Art Center, Charlottesville VA

Selected Group Exhibitions

2020-21 Demystify, Exploring the Way Artists Work,  The Orange Arts Center, Orange, VA
2016 Manger, Chroma Project Arts Laboratory, Charlottesville VA
2016 Summer Light, Les Yeux du Monde, Charlottesville VA
2015 Select 2015, Les Yeux du Monde, Charlottesville VA
2015 Twenty, Les Yeux du Monde, Charlottesville VA
2011, 2014, 2017 Benefit Art Auction, Second Street Gallery, Charlottesville VA
2008 Art of the Piedmont, Walker Fine Arts Center, Woodberry Forest School, Orange VA
2007 Celebrating Women in the Arts, Les Yeux du Monde, Charlottesville VA
2005 New Art, Second Street Gallery Invitational Auction, Charlottesville, VA
2002 Winter Garden, Les Yeux du Monde, Charlottesville VA
2000 Snapshot Contemporary Museum, Baltimore MD
1992 Refiguring, Gallery 10, Washington DC
1992 Animal Revival Peninsula Fine Arts Center, Newport News VA
1985 New Work McGuffey Art Center, Charlottesville VA
1979 Ford Foundation Winners, Atlantic Gallery, Brooklyn NY

Competitive Exhibitions
2000 Under/Under, Muse Gallery, Philadelphia PA
1998 34th Irene Leach Memorial Exhibition Award Winner, Chrysler Museum of Fine Arts, Norfolk VA
1996 Annual Exhibition, 1708 Gallery, Richmond VA
1995 Annual Juried Exhibition, Peninsula Fine Arts Museum, Newport News VA
1995 Select 95, Sawhill Gallery, James Madison University, Harrisonburg VA
1995 Paintings from the Piedmont 2nd Place, Daily Progress Annual Juried Exhibition, Charlottesville VA
1993 Select 93, Honorable Mention, Sawhill Gallery, James Madison University, Harrisonburg VA
1993 Annual Juried Exhibition, G.R.A.C.E., Reston VA
1992 10th Annual Bay Days, Charles Taylor Arts Center, Hampton VA
1991 Annual Juried Exhibition, Merit Award, Peninsula Fine Arts Center, Newport News VA

Charlottesville City Hall, Virginia Public Art Commission
Capitol One, Richmond VA
Owens Collection, New Harmony IN
Martha Jefferson Hospital VA
University of Virginia, Childrens Hospital

My work in the exhibit Three Voices is the continuation of the series titled Architecture of the Field, a play on the phrase field of architecture. I teach free-hand drawing the School of Architecture where I am surrounded by displays of diagrams, plans and sections of structures and spaces and terms like constructionguidelinesperspective and palimpsest are commonly heard. Over time, these images and language have crept into my creative process, in my studio and in the classroom, as well.

Measuring, analyzing, diagramming and constructing figures in space underlies the compositions of my paintings and drawings of horses in their natural environment. This environment is one I walk through and observe, daily, mingling with a herd of twenty horses. I make note of the relationship of the herd to remnants of architectural features such as fences, pens, structures and troughs that once functioned in the field, but are only partly assembled. I am drawn to this landscape that doesn’t hide its history of use and the wear and tear of time. Stitched lines on my canvases refer to this.

I have found finger painting to be the best way to express the merging of the analytical with the organic. Fingering the painted forms in space on the canvas help me feel the proportions of the figures in the field without being hindered by brush or knife. This process also brings to mind the tactile experience of owning and caring for an equine partner.

2014 These finger paintings evolved from the work I do with horses. As I feed, groom, water, bridle, saddle and stroke, I am highly aware of my hands as tools for communicating. More often that not they replace words for praise, well-being, safety, trust, and discipline. In the studio, as I try to capture my experience with the horse, my hands, again, serve to communicate. With my fingers, I try to capture tactile sensations and accuracy, relying on my many years of observing and drawing horses in their habitat.

December 2003 Oakland Heights Farm – Stable Contemplations It was a quiet day at the stable. No dogs came out to greet me as I drove up to the barn. The big horse trailer was gone, which usually meant that Sally was out foxhunting and there was no sign of David. Since I have been coming out to the Lambs’ to ride, I have learned how to read the signals that suggest what is happening on any given day. For instance, one can usually tell where the Lambs are by observing their dogs. If the dogs are resting by the back door, most likely Sally and David are inside the house. Otherwise, the dogs are milling around the barn, making everyone feel welcome or at least noticed. If David’s chaps and saddle are missing in the tack room, that is a pretty good indication that he is already out trail riding. Today, I spotted their housekeeper’s car in the driveway, which meant that she would be on the premise for a few hours.

I actually enjoy these kinds of days where there is no planned trail ride, and I am free to meander through the fields at my own pace. I went to the back pasture to get my horse, Louie, a fuzzy steed this time of year. Since the weather had grown colder, it didn’t take much coaxing to get him into the barn. All I had to do was call his name and he would slowly make his way down the hill and through the herd. I loved the way he would pass through the other horses with his ears back, focused on a treat he would receive at the end of his trek. He was a small horse, but he made his statement clear. It was always good to see him and I expressed this with a pat on his neck and a gentle massage on his forehead and ears. Over the past few years, I had learned what it meant to trust my horse. Louie had carried me up and down the mountain countless times without mishap. And he had become more trusting of me. Four years ago, when I bought Louie, David said that we would grow together, and he was right. David also said that I would be learning patience while learning to become a horseman. He was right about that too.

After saddling Louie, I headed out to the front field with my dog, Sugar, to my favorite path that leads to the mountain. The scenery consisted of beautiful fields full of horses, geese, deer, and an occasional fox. When I am alone, I like to play simple games with my horse, like weaving through the trees, crossing fallen logs, and riding off trail. This keeps the otherwise routine ride interesting. Sometimes, I like to pretend that this land is mine and that I am out surveying it on horseback.

Today, I spied a herd of horses, about 15 of them, keeping Louie and me in their sight. They were across the large pasture, but acting very curious even at a distance. It felt a little odd because the horses in this particular field are usually grazing or resting. I had never seen them so animated and in a mass. I sensed that I should urge Louie onward to the hedgerow and wire fence that would act as a barrier if I needed it. Just as we were on the other side, the herd began to charge at full speed. They were heading directly towards us and would be able to reach us in a moment. I sat very calmly on Louie until the herd slowed to a trot as they negotiated the opening in the fence. As they approached, I tried to wave them off, but they acted as an entity, kicking, biting, and being provocative. Louie was cool and collected at first, but then began throwing his head from side to side, pawing the ground. He clearly wanted to be free of his reins and rider. I recalled the advice of David and rode him forward, finding some protection and escape through the brush. The other horses followed and even circled while we moved. I continued to look for ways through the woods that would offer some distraction. Louie’s excitement grew as he whinnied and pulled, trying to join the others. He was quite beautiful to watch as his nostrils flared and his eyes widened. I could fee his power beneath me. All I could think of was perhaps a mare was in heat.

We finally made it to the gate that separated the fields from the trails and went through without incident. Louie gave one final call as I closed the gate behind us and headed up the mountain.

Stable Contemplations, 2011 Reflections on a day at Oakland Heights The anticipation of looking into the eyes of my horse, of ritualistically going into the tack room, grabbing my halter, walking to the gate, opening it, and listening to the chain jingle as I replace it on the post – then looking yonder into the field for a particular gray horse – one with a dark mane – when I spot him, I walk toward him, sensing his gentle spirit in his large body – as I come closer, he lifts his head and turns to look at me – in a few seconds, he shifts his front legs to face me – his first few steps are tentative, then he evens out into a rhythmic stride – as he approaches, I observe his motion, looking for any abnormalities – suddenly we are face to face and I automatically run the palm of my hands over his eyes, removing debris and flies – he stands while I give his whole body a quick inspection – then we begin our walk back to the barn.

“Artist Spotlight: Pam Black”, Demystify,  The Orange Arts Center, through Jan. 22, 2021
“Theory in practice: Black draws on her teaching,“ by Laura Parsons, The Hook [2010]
“Practice, Don’t Preach,“ by Emily Smith, C‘Ville [2002]
Art Papers, Volume 1, Issue 1 [January/February 1998]
“…Letting go of a painful past,“ Charlottesville Daily Progress [Fall 1997]
“Painting from the Piedmont dazzle,“ Charlottesville Daily Progress [Summer 1995]
“Simple beauty abounds in Virginia art,“ The Virginia Pilot [Summer 1990]
“City’s new Art Policy takes form,“ Charlottesville Daily Progress [Spring 1989]