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Beverly Buchanan (PRACTICE EXERCISE)
Buchanan was born in Fuquay, North Carolina, and was raised by her great-aunt and uncle in Orangeburg, South Carolina, where her adoptive father was dean of the School of Agriculture at South Carolina State College—then the only state school for African Americans in South Carolina.

Early life and education
Buchanan was born in Fuquay, North Carolina, and was raised by her great-aunt and uncle in Orangeburg, South Carolina, where her adoptive father was dean of the School of Agriculture at South Carolina State College—then the only state school for African Americans in South Carolina.

Buchanan spent a considerable amount of time with her father on his trips where he would work with rural farmers, advising them in their farming processes. It was through visiting these rural farmers with her father that first piqued Buchanan's interest in not only architecture, but also the unique and intricate relationships between people and the structures that they inhabit. Buchanan recollects her thoughts and experiences while visiting the farmers as a child:


 * "I thought it was neat because at home, I had an indoor toilet. And so going to an outdoor toilet you didn’t have to flush. I thought that was great. Seeing the sky through the ceiling? I said, ‘look at that!’ You can really see the sky! I think at some point I made a comment like, ‘why can’t we have, why can’t we see the sky [at home]?’ Being able to see the ground from between the boards. Well, look at that. I had to go outside to see it."

In 1962, Buchanan graduated from Bennett College, in Greensboro, North Carolina, a historically black women's college, with a Bachelor of Science degree in medical technology. She went on to attend Columbia University, where she received a master's degree in parasitology in 1968, and a master's degree in public health in 1969. While working in New Jersey, Buchanan applied to medical school; although she was accepted to medical school as an alternate at Mt. Sinai, Buchanan decided not to go due to her desire to dedicate more time to her art. Part of this choice consisted of her decision to "express the images, stories, and architecture of her African American childhood". Before Buchanan fully committed to art, she split her time between being employed as a public health educator in East Orange, New Jersey and being a student in the Art Students League in New York. Buchanan showcased several of her paintings there that she created under her mentor Norman Lewis, many of which were inspired by New York City architecture

Career
In 1971, Buchanan enrolled in a class taught by Norman Lewis at the Art Students League in New York City. Lewis, along with artist Romare Bearden, became friends and mentors to Buchanan. This relationship with Bearden happened after an accidental incident at a concert where Bearden designed a poster for the event. Buchanan bumped into Norman Lewis backstage while trying to get the Bearden poster signed, and Lewis took Buchanan back stage to meet Bearden. Buchanan later wrote a letter to Bearden reminding him of that event and Bearden became her mentor and had her display her art at the Cinque Gallery. Buchanan decided to become a full-time artist in 1977 after exhibiting her work in a new talent show at Betty Parsons Gallery. In the same year, she moved to Macon, Georgia.

In 1976 and 1977, Buchanan drew "black walls" on paper. She "wanted to see what the wall looked like on the other side" and put four walls together in three dimensions. She then began to sculpt in cement. An example of a three-dimensional work from her early career is the sculpture "Ruins and Rituals" at the Museum of Arts and Sciences in Macon, Georgia, part of a series of concrete structures that recall ancient tombs.

Buchanan is best known for her many paintings and sculptures on the "shack," a rudimentary dwelling associated with the poor. Scholar Janet T. Marquardt argues that Buchanan treats shacks not as documentary elements but as "images of endurance and personal history"; often using bright colors and a style of childlike simplicity, the works "evoke the warmth and happiness that can be found even in the meanest dwelling, representing the faith and caring that is not reserved for privileged classes." Her art takes the form of stone pedestals, bric-a brac assemblages, funny poems, self portraits and sculptural shacks. But potent themes of identity, place and collective memory unite the works uncovering the animus that runs through them: to connect with those around her and reckon with the history that shaped her communities. Because many of Buchanan's sculptures were often not to scale and miniature in size, this presented the opportunity for viewers to create their own interpretations of her structures that were unable to physically navigate from the inside out. Furthermore, Buchanan's sculptures represented far more than materialism, but instead were depictions of the structures that she viewed in real life, along with their enriched histories and meanings that she learned with intention from their inhabitants. It is for this reason that Buchanan is often regarded as having a "loving ability" to accurately and articulately capture the true essence of an individual's influence on a particular home or structure.

Buchanan is noted to have seen viewers sitting on her stone art piece Unity Stones, but let the men remain seated because she did not mind people sitting on her pieces as they contemplated the work and it represented. "The piece serves as a communal place to sit and talk, and do the other things that we do."

Scholar Alex Campbell notes in an essay how Buchanan worked in a studio on College Street in Macon, GA which served as an unofficial racial dividing line for the town. It "separated the working- and middle-class black part of town from the middle-class and affluent white part of town".

In 1981, Buchanan created Marsh Ruins, a temporal land art sculpture in coastal Georgia near a commentated site known as "The Marshes of Glenn." To the east of the work was Saint Simons Island, where a group of Igbo people sold into slavery collectively drowned themselves in 1803. This work bears witness to the unmarked histories of enslaved peoples. There she planted three concrete forms and covered them with layers of tabby, a mixture used in slave living quarters. Marsh Ruins gradually disintegrated into the marsh. Buchanan captured that erosion process on video. Buchanan identified Marsh Ruins as an 'environmental sculpture,' meaning that its appearance was entirely dependent upon the climate and weather changes occurring around it. She felt that it was especially important to showcase the sculpture's vulnerability in a variety of different ways, from additions that were added to the sculpture by local wildlife to the gradual subtraction of the sculpture's elements by local climate conditions.

Buchanan was also dedicated to using her art to address the ways in which natural disasters were increasingly and negatively affecting the global homeless and displaced populations. This mission is particularly addressed in her 2008 collection Hurricane House Series, South Florida, in which her sculptures depict her first-hand account of the storm-torn homes throughout lower-income rural Florida. Her sculptured homes show chipped paint, broken windows, misshapen roofs, and barely hinged doors, yet they are all depicted to be still valiantly standing against all odds.

Buchanan said of her work, "My work is a logical progression of my early interest in textures and surfaces and walls. The early "walls" were lonely, freestanding, fragmented things. When I lived in New York I was looking for things that were demolished. That gave them character. I liked to imagine who might have lived in the apartment, and whose home it might have been. Each family that moved in repainted the walls their color. When a building is torn down the various layers of color are exposed. It is almost surgical--like looking through a microscope and looking at different layers of tissue and media."

In an interview with Angela Son, Son asked Buchanan what her concept of home was and Buchanan responded with, "[Home] means what I've stablished and where I am, wherever that is. And it means South Carolina, where I grew up... I consider home as where I grew up."

On July 4, 2015, Buchanan died in Ann Arbor, Michigan at the age of seventy-four. In the fall of 2016 a comprehensive exhibition of her work opened at the Brooklyn Museum in the Elizabeth A. Sackler Center for Feminist Art. Beverly Buchanan - Ruins and Rituals featured painting, sculptures, drawings, as well as the artist's notebooks and photographs form her personal archive.

Buchanan's work was featured at the Independent Art Fair 2017 at Andrew Edlin Gallery's booth.[20] Buchanan has remarked, "A lot of my pieces have the word ‘ruins’ in their titles because I think that tells you this object has been through a lot and survived — that’s the idea behind the sculptures ... it’s like, ‘Here I am; I’m still here!'"

Buchanan's work featured among that of twenty African-American artists in an exhibition at the Turner Contemporary, Margate, Kent, UK in February 2020, entitled 'We Will Walk-Art and Resistance in the American South'.

Buchanan's work is in the collection of the Addison Art Gallery of American Art at Phillips Academy in Andover, Massachusetts, Georgia Museum of Art, the Metropolitan Museum of Art, the Whitney Museum of American Art, and the High Museum of Art in Atlanta, Georgia.