Jesse Lott

Jesse Lott (1943 – July 24, 2023) was an American visual artist known for his wire and wood sculptures, papier mâché figures, and collages made from found materials within a style he called "urban frontier art".

Jesse Lott was born in Simmesport, Louisiana, in 1943. He was African American. During the 1950s, his family relocated to Texas, eventually settling in Houston's Fifth Ward. He attended E.O. Smith Elementary School and Kashmere Gardens High School. In 1957, at the age of 14, he sold his first artwork, a painting. Lott said that this event marked the beginning of his professional art career.

At the time, people of color were only allowed to visit Houston's Fine Arts Museum on one specified day each week. Galleries, too, generally prohibited viewings. The exhibition of black artists' work was virtually unheard of.

Muralist John Biggers was an early mentor. Biggers was founding chairman of the art department at Texas Southern University (formerly Texas State University for Negroes). Following a trip to Africa, he visited area high schools, including Lott's, and expounded on art, specifically the role of the black artist. Biggers taught that African American artists should turn to the motherland rather than Europe for inspirational models.

On Biggers recommendation, Lott enrolled in the historically black college Hampton Institute. He studied there during 1963 and 1964. From Virginia, he moved across the country to California State University (1965) and then Otis Art Institute in Los Angeles. During his time at Otis, 1967 to 1969, social realist Charles White was his drawing teacher and personal advisor. Lott fell in with the Black Arts Movement, a group of conceptual artists and collagists which included White, David Hammons, and Joe Overstreet.

While Lott was skilled at painting and drawing, he soon discovered his true gift, turning trash to treasure and combining it with the spirit of activism. In Collision: The Contemporary Art Scene in Houston, 1972–1985, author Pete Gershon writes, "Very much in line with the Black Arts Movement, Lott's work involved a kind of community-building social practice. It was common for him to hire a pack of loitering kids to dismantle a castoff bedspring and sort out its components. As Lott says, 'There's one kid that didn't become a juvenile delinquent that day...'"

In 1974, Lott returned to the Fifth Ward. In the summer of 1977, Robinson Galleries held a major exhibition of his work, Relics of the Future, the first large solo show for Lott. It included 40 works, including 14 sculptures, 5 paintings, and a 30-minute video tape by Andy Mann that documented the original installation and opening. The gallery also produced a 19-page catalog that accompanied the exhibit. Robinson Galleries presented Relics of the Future, Part Two the following year.

In 1979, Lott's 9-foot, 200-pound figurative wire and rebar sculpture Zoroastera: Fire Spitter was included in Fire, a show of 100 Texas artists curated by James Surls for Contemporary Arts Museum Houston. At Surls' invitation Art in America editor Lucy Lippard covered the exhibit for the international magazine. Her review was measured, but would be instrumental in bringing nationwide attention to Texas artists.