#KATE CAPSHAW SERIES#
#KATE CAPSHAW FREE#

She's had one Academy Award nomination herself, for the 1996 short film Duke of Groove.

#KATE CAPSHAW SERIES#

McFalls invited Capshaw to show the series at the gallery.Kathleen 'Kate' Capshaw Spielberg (born Kathleen Sue Nail on Novemin Fort Worth, Texas) is an American actor most famous for starring in Indiana Jones and the Temple of Doom as Willie Scott, or for attending pretty much every Oscars ceremony since the 90s despite not actually having acted in anything since 2001. The competition winners and finalists’ work went on tour, during which Capshaw’s portraits caught the eye of Michael McFalls, the director of the Bo Bartlett Center.

The portraits were seen by Dorothy Moss, a curator of painting and sculpture at the Smithsonian Institution’s National Portrait Gallery, and gallery director Kim Sajet who encouraged Capshaw to enter the prestigious Outwin Boochever Portrait Competition in 2019. Soon, Capshaw began working on more formal versions with the help of iPhone images that she asked if each subject if she could take during their session.

#KATE CAPSHAW FREE#

The works were hung free of charge at the newly-opened youth center. Sessions took place over an hour, at most two, in whatever space was available, usually an unused office or storage area with no natural light.

Some chose to wear clothing that represents their culture. Some appear in t-shirts, others with button-downs. They were told to wear whatever they felt comfortable in and given food and drink. Subjects, all of which Capshaw calls by name as she walks around the gallery telling their stories, were found in shelters or youth homes, and chosen by professionals in the field. The studies were done with the help of social workers and youth organization. After a chance encounter in 2016 with Astrid Heppenstall Heger, a pediatrician and the founder of the Violence Intervention Program, Capshaw found that she’d discovered a place to focus her artistic energy. Unaccompanied began as a series of alla prima studies that hung in the Hope Center in Los Angeles. Of course, that doesn’t explain why Capshaw, who lives between Los Angeles and New York, has a show in a small campus town in Georgia. More importantly, she’s familiar with “the system,” slang for the foster care system in the US that often swallows children whole. In 1989, two years before Capshaw and Spielberg married, she became a foster parent and adopted a son. She earned a bachelor’s degree in education and a master’s in special education and spent time early in her career setting up individualized education programs for students with learning disabilities in rural Missouri. Behind the actress who starred in Indiana Jones and the Temple of Doom is a woman born in Fort Worth and raised in Ferguson, Missouri. Kourtney (2019) COPYRIGHT:JOSHUA WHITE/JWPictures.COMīut the subject matter is dear to Capshaw and for good reason. They’ll wonder, fairly, is this rich 69-year-old woman taking advantage of those less fortunate to ramp up her profile? And, yes, there are those who will cast judgement because Capshaw is famous, married to Spielberg, and has only been painting for a little over a decade, because this is her first show. This is her first show, and she only began studying drawing, painting, and portraiture in 2009. Capshaw during the four years it took to make the works on view was growing as a painter. Up close, Capshaw’s paintings reveal themselves as dramatically different - some splotchy, some smooth, others with a pixelated nature. I couldn’t have done this work without the help of a wonderful community and there are thousands of kids out there that just want somewhere they can feel safe.” “Rich people always ask, ‘what can I do to help? Where do I send money?’” Capshaw told ARTnews. “And I always tell them. T-shirts disintegrate and melt into their logos. Not into the void behind them but into runny drips of fading color. Towards the bottom of the frame, their clothes slowly fade away.

Behind them is a great mass of dark, near-black negative space, as if they are stepping out of a shadowy place, but haven’t decided if they are able to move all the way forward, to be completely seen. In each of the paintings, typically, a young boy or girl gazes directly at the viewer or slightly to the size. Capshaw’s works then are an act of noticing, of registering these forgotten children as worthy of depiction.

Kate capshaw