ARTIST: Laura Miles Spong (South Carolina, 1926 - 2018)
NAME: The Rodeo
MEDIUM: mixed media on paper
CONDITION: Excellent. Framed under glass.
SIGHT SIZE: 10 x 14 inches / 25 x 35 cm
FRAME SIZE: 17 x 21 inches / 43 x 53 cm
SIGNATURE: Lower right
CATEGORY: antique vintage painting
SKU#: 116572
WARRANTY: 7 days returns accepted if item doesn't match description

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Laura Miles Spong (South Carolina, 1926 - 2018)
Laura Alice Miles was born in Nashville, Tennessee, one of three daughters of Thomas Edwin Miles, Sr. and Mary Jared Bryan.
She graduated cum laude from Vanderbilt University, where she majored in English and first took drawing classes, in 1948, married later that year, and moved with her husband to Columbia, South Carolina. Between 1949 and 1959 Spong had six children.
Beginning in the mid-1950s Spong took art classes at the Richland Art School of the Columbia Museum of Art. Among her instructors there were J. Bardin and Gil Petroff, two of the modern artists who introduced New York School paradigms to mid-century Columbia. Spong became a member of the Columbia
Artists' Guild and in 1957 was one of three winners of the guild's spring exhibition at the Columbia Museum of Art. From that year Spong was an active member of the Columbia art community, her work often recognized by inclusion in juried exhibitions and awards in the region. After her husband's death in
1973, Spong worked for the Columbia Department of Parks and Recreation for ten years, but continued to paint and exhibit. It was not until the mid to late-1980s, however, that Spong became a full-time artist. She took a studio space at Vista Studios in downtown Columbia in 1991. She was enormously
productive thereafter, with her work seen in many solo and group exhibitions, receiving awards, and being acquired for public and private collections. She was active to the end of her life, completing works shortly before her death.
From the beginning of her career, Spong worked mostly in a vernacular associated with Abstract Expressionism. Her mature style developed gradually, moving away from geometric to more organic gesture in the late 1980s and early 1990s. According to Mary Bentz Gilkerson, Spong's mature work has more
affinity with the paintings of Robert Motherwell and Joan Mitchell, than with Jackson Pollock. "Line in her work," according to Gilkerson, "moves between calligraphic and pictographic, alluding to, without ever specifying, representational images.