"Lean On Me" has become a staple in churches, children's choirs and even prison choirs. In 1987, Bill received his ninth Grammy nomination and third Grammy as a songwriter for the re-recording of the 1972 hit "Lean On Me" by Club Nouveau. He was awarded Grammy Awards as a songwriter for "Ain't No Sunshine" in 1971 and for "Just The Two Of Us" in 1981.
In 1971, signed to Sussex Records, came such memorable hits as "Ain't No Sunshine," "Grandma's Hands" and in 1972, "Lean One Me" and "Use Me." Later would come the striking "Lovely Day," co-written with Skip Scarborough and "Just The Two Of Us," co-written with Ralph MacDonald and William Salter. Songwriting came as a result of futile searches for original songs that expressed what he felt.Īfter his discharge from the Navy, he moved to Los Angeles and recorded demos of his tunes in hopes of landing a recording contract. During a nine year term in the Navy, which carried him throughout the Far East, Withers was inspired to try his hand at singing. Born in West Virginia, the youngest of six children in a small coal-mining town, his youthful musical experiences were mainly in gospel quartets in small churches. Bill attributes this to his own universality-as he describes it, a rural childhood and an urban-international adulthood. His music and lyrics have a universal appeal, simple yet sophisticated. He has an uncanny ability to say with profound honesty and great sensitivity, what so many of us feel in our hearts, but are unable to express in words. Combining soulful warmth, a folksy, genuine feel, and an immediately recognizable voice, Withers has sung his way into the hearts of millions. This exhibition is curated by Andria Hickey.Bill Withers is one of America's premier singer/songwriters. Veiled with Grosse’s diaphanous paint, they erupt in color as the boundaries of each plane are obliterated, transforming the plaza into an otherworldly landscape of vivid hues and undulating forms. In contrast to their monumental scale and brutal shape, the ridges and valleys of each object create a delicate interplay of depth, movement and light.
Like cosmic siblings, these craggy peaks call to mind unearthly forms: a jagged Technicolor quarry or piles of meteor debris. Grosse’s painting has transformed objects and environments as familiar and unexpected as building facades, piles of earth, domestic spaces, and abstract forms.įor Just Two of Us, Grosse has placed eighteen large, irregularly shaped sculptures in two separate clusters between the trees of the plaza. Interested in the spatial dimension of paint, Grosse wields a spray gun rather than a paintbrush, creating abstract and illusionistic layers of color and texture on unconventional surfaces. 1961, Germany) has pushed the limits of painting, expanding the traditional notion of the canvas in both form and content. For the past two decades, Katharina Grosse (b.
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