"[2][3], James Hampton was born in 1909 in Elloree, South Carolina as one of four children to James Sr. and Sarah (Johnson) Hampton. Exhibition Label, Smithsonian American Art Museum, 2006. The Smithsonian American Art Museum is home to an extraordinary collection of artworks by African Americans with more than 2,000 objects by more than 200 artists. He studied acting with Michael Howard in New York and Leonard Nimoy in Los Angeles. When Hampton's sister refused to take the artwork, the landlord placed an advertisement in local newspapers.
He never married, lived alone in a small apartment in a row house in northwest Washington, and was described as a small, bespectacled, soft-spoken recluse with few friends. "[5], Hampton also created wall plaques with Roman numerals one through ten and his undecipherable script suggesting commandment-bearing tablets. In November 1964, Hampton died of cancer in Washington at the age of fifty-three. He had few close friends and spent most of his personal time working on his shrine. Hampton built a small, shrine-like object during his time in Guam that he later incorporated into his larger artwork. In 1970, Hampton's work was donated to the Smithsonian American Art Museum, where it has been on display ever since. Two reporters came to view the display but did not deem it worthy of news coverage.
The indie music group Le Loup named their 2007 debut album The Throne of the Third Heaven of the Nations' Millennium General Assembly. Hampton wrote that God visited him often, that Moses appeared to him in 1931, the Virgin Mary in 1946, and Adam on the day of President Truman's inauguration in 1949. Hampton created his masterpiece in a rented carriage house, transforming its drab interior into a resplendent world. [18] Hampton hoped to develop a storefront ministry but never achieved that goal.[2].
It is most likely Hampton’s monument to his faith was never completely finished. Objects on the right refer to the New Testament and Jesus; those on the left to the Old Testament and Moses. Additional facts concerning Hampton’s life are scarce.
Hampton made the array based on several religious visions that prompted him to prepare for Christ’s return to earth. He knew that Hampton had been building something in the garage. Hampton's work is an example of outsider or naïve art – art made by people who are self-taught, who have not studied art techniques, art history or art theory. Raised in Dallas, Texas, James Hampton attended John H. Reagan Elementary, N.R.
[19], Hampton died of stomach cancer on November 4, 1964, at the Veteran's Hospital in Washington. [2] It was made based on several religious visions that prompted him to prepare for Christ's return to earth. [7], Hampton approached local churches about using his creation as a teaching tool but none were interested.
"[16][17] Hampton had also written texts, some of which refer to religious visions, on various pieces of paper and cardboard and on a few pages in each of seven other notebooks. His father, a gospel singer and self-ordained Baptist minister, left his wife and four children to pursue his itinerant calling. Although Hampton did not live to initiate a public ministry, his commanding phrase — “FEAR NOT” — summarizes his project’s powerful message. He is interred at the Warren Chapel Baptist Church in Elloree, South Carolina.[4]. Hampton was born in the small rural community of Elloree, South Carolina. [15], Hampton altered the seventh dispensation so that he became not only the author of The Book of the 7 Dispensation but also a prophetic counselor of the Millennium. [4] His father, who had abandoned the family, was a gospel singer and a traveling Baptist preacher who was also a known criminal who had worked on chain gangs.
The art was not discovered until after Hampton's death in 1964, when the owner of the garage, Meyer Wertlieb, came to find out why the rent had not been paid.
In November 1964, Hampton died of cancer in Washington at the age of fifty-three. All were scavenged from secondhand shops, the streets, or the federal office buildings in which Hampton worked as a janitor. Hampton had kept his project secret from most of his friends and family. [6], In 1950, Hampton rented a garage on 7th street in northwest Washington. The Smithsonian’s American Art Museum in Washington, DC, now houses the Throne of the Third Heaven of the Nations’ Millennium General Assembly, the life work of James Hampton - a.k.a. Johnson, Denis (1996). He remained in that position until his death. Hampton built his masterpiece from a very select collection of junk, including old furniture, burned-out light bulbs, jelly jars, carpet cylinders, desk blotters, cardboard, and foil. Although he expressed interest in finding “a holy woman,” to assist with his life’s work he never married and had few close friends. The museum has long championed self-taught art as an embodiment of the democratic spirit. ... James H. Howard, a former slave owner, donated a parcel of land on the corner of Osceola and Third Streets for the first African American school in Ocala. [1] Art critic Robert Hughes of Time magazine wrote that the Throne "may well be the finest work of visionary religious art produced by an American. [13] The text is available online[14] and has been the subject of research. "[12], The work is associated with the American Millenarian and Dispensationalist movements of the 19th and 20th centuries. In the notebook, Hampton referred to himself as St. James with the title "Director, Special Projects for the State of Eternity" and ended each page with the word "Revelation. [20], In 2007, composer Jefferson Friedman premiered a musical piece inspired by Hampton's artwork titled "The Throne of the Third Heaven," commissioned jointly by the National Symphony Orchestra and the ASCAP Foundation.[7]. [8] The term "third heaven" is based on scriptures that refer to it as the "heaven of heavens" or God's realm. To complete each element, Hampton used shimmering metallic foils and brilliant purple paper (now faded to tan) to evoke spiritual awe and splendor. Hampton worked as a short-order cook until 1943 when he was drafted into the United States Army Air Forces. [10] The work also has an affiliation with African-American yard shows as well as altars used in African-derived New World religions such as Vodou, Santería and Candomblé. These movements divided the history of God's interactions with humanity into seven phases or dispensations, the last of which would be the "Millennium. The segregated unit[2] was noncombatant and duties included carpentry and maintenance of airstrips. Little is known about James Hampton, despite the grandeur of his self-chosen title, “Director, Special Projects for the State of Eternity.” He was born in 1909 in Elloree, South Carolina, a small community of predominantly African-American sharecroppers and tenant farmers. [5] Harry Lowe, the assistant director of the Smithsonian Art Museum, told the Washington Post that walking into the garage "was like opening Tut's tomb. [5] In 1928, Hampton moved to Washington, D.C. and shared an apartment with his older brother Lee. Medium.
His relatives first heard about it when his sister came to claim his body. Most of the text was written in an unknown script that remains undeciphered. It is a particular material, along with its accompanying technique. James Hampton’s entire artistic output is this single work, which he constructed for more than fourteen years in a rented garage, transforming its drab interior into a heavenly vision. This piece became part of his larger work, and is now placed in front of the center pulpit. James.” He may have considered himself a prophet like John, the author of The Book of Revelation, the biblical writing that inspired Hampton’s belief in the Second Coming of Christ and his desire to build The Throne as a monument to the return of Christ to earth. When Hampton was around nineteen years old he moved to Washington, D.C., to join an older brother. These works by untrained artists are powerfully evocative of a personal vision. The story was an excerpted chapter from Orange’s 2018 novel There There. [9], The work is based on biblical prophecies of the millennium, including St. John's vision of God seated on a silver and gold throne surrounded by angels, references to Judgment Day, the crowns to be worn by the saved and other events described in Revelation. The Throne of the Third Heaven of the Nations Millennium General Assembly: Poems Collected and New. The Smithsonian American Art Museum and its Renwick Gallery are now open, with timed-entry passes required for the main building. [1] He was awarded the Bronze Star and was honorably discharged in 1945, after which he returned to Washington.
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