Noah Davis painted scenes of Black life, blending figuration and abstraction and using colour to establish emotion and to create three-dimensional worlds on flat canvases. He was also a curator: the Underground Museum brought art out of elitist galleries and into a diverse LA neighbourhood.
Noah Davis was born in Seattle in 1983—by the age of 17, he had already established a studio and a painting practice. He studied at the Cooper Union in New York City, but did not graduate, moving to Los Angeles in 2004. His work was featured in the huge touring exhibition 30 Americans from the Rubell Family Collection, which travelled the United States from 2008 to 2022. He married fellow artist Karon Davis in 2008.
Noah Davis created scenes of Black life, taking inspiration from literature, pop culture, real life and old photographs. While he painted many human figures, his artwork also embraced abstraction: people with no mouths; blurred or roughly painted figures alongside complete bodies. Although he used a limited colour palette, his work evoked mood and feeling highly effectively. During his too-brief career (he died of a rare cancer in 2015), Davis produced almost 400 paintings.
Noah and Karon Davis founded the Underground Museum in 2012 in Arlington Heights, Los Angeles, with the aim of bringing the art experiences usually reserved for institutions and galleries to diverse audiences and promoting the importance of local Black leadership. The institution’s mission statement was: “To ensure that no one has to travel outside the neighbourhood to see world-class art, or learn from leading thinkers, educators, chefs, and artists.” The UM worked with cultural figures including Arthur Jafa, Catherine Opie and Angela Davis, but shuttered in 2022.
Noah Davis was inspired by sources varying from found and family photographs to Richard Brautigan’s 1968 book In Watermelon Sugar. Artistically, his work is reminiscent of Lucy Tuymans, Marlene Dumas, Mark Rothko and Fairfield Porter.
Davis’ 2007 work 40 Acres and a Unicorn depicted a male figure riding a unicorn (a mule with a horn on its forehead) in a dark, dreamlike landscape with just the hint of a horizon. The title of the artwork comes from the famously unrealised pledge in an 1865 military order from General Sherman that freed families would be entitled to land.
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