Youve said that Gettin Religion is your favorite painting by Archibald Motley. Motley enrolled in the prestigious School of the Art Institute of Chicago, where he learned academic art techniques. Jontyle Theresa Robinson and Wendy Greenhouse (Chicago: Chicago Historical Society, 1991), [5] Oral history interview with Dennis Barrie, 1978, Archives of American Art, Smithsonian Institution: https://www.aaa.si.edu/collections/interviews/oral-history-interview-archibald-motley-11466, [6] Baldwin, Beyond Documentation: Davarian Baldwin on Archibald Motleys Gettin Religion, 2016. The childs head is cocked back, paying attention to him, which begs us to wonder, does the child see the light too? The Whitney purchased the work directly . Students will know how a work of reflects the society in which the artist lives. Mortley, in turn, gives us a comprehensive image of the African American communitys elegance, strength, and majesty during his tenure. Motley's paintings grapple with, sometimes subtly, sometimes overtly, the issues of racial injustice and stereotypes that plague America. ""Gettin Religion" by Archibald Motley Jr. Gettin' Religion is a Harlem Renaissance Oil on Canvas Painting created by Archibald Motley in 1948. The image has a slight imbalance, focusing on the man in prayer, which is slightly offset by the street light on his right. Even as a young boy Motley realized that his neighborhood was racially homogenous. El espectador no sabe con certeza si se trata de una persona real o de una estatua de tamao natural. It made me feel better. 16 October. A smartly dressed couple in the bottom left stare into each others eyes. Thats my interpretation of who he is. Is it an orthodox Jew? So I hope they grow to want to find out more about these traditions that shaped Motleys vibrant color palette, his profound use of irony, and fine grain visualization of urban sound and movement.Gettin Religion is on view on floor seven as part of The Whitneys Collection. His use of color to portray various skin tones as well as night scenes was masterful. . Arta afro-american - African-American art . I didn't know them, they didn't know me; I didn't say anything to them and they didn't say anything to me." A central focal point of the foreground scene is a tall Black man, so tall as to be out of scale with the rest of the figures, who has exaggerated features including unnaturally red lips, and stands on a pedestal that reads Jesus Saves. This caricature draws on the racist stereotype of the minstrel, and Motley gave no straightforward reason for its inclusion. 1929 and Gettin' Religion, 1948. Gettin' Religion is again about playfulnessthat blurry line between sin and salvation. 2023 The Art Story Foundation. Archibald J. Motley Jr., Gettin' Religion, 1948. Critic John Yau wonders if the demeanor of the man in Black Belt "indicate[s] that no one sees him, or that he doesn't want to be seen, or that he doesn't see, but instead perceives everything through his skin?" Archibald John Motley received much acclaim as an African-American painter of the early 20th century in an era called the Harlem Renaissance. The viewer's eye is in constant motion, and there is a slight sense of giddy disorientation. It lives at the Whitney Museum of American Art in the United States. Read more. His paternal grandmother had been a slave, but now the family enjoyed a high standard of living due to their social class and their light-colored skin (the family background included French and Creole). This week includes Archibald Motley at the Whitney, a Balanchine double-bill, and Deep South photographs accompanied by original music. You are free to use it for research and reference purposes in order to write your own paper; however, you Oil on Canvas - Hampton University Museum, Hampton, Virginia, In this mesmerizing night scene, an evangelical black preacher fervently shouts his message to a crowded street of people against a backdrop of a market, a house (modeled on Motley's own), and an apartment building. He is kind of Motleys doppelganger. "Archibald Motley: Jazz Age Modernist," on exhibition through Feb. 1 at the Los Angeles County Museum of Art, is the first wide-ranging survey of his vivid work since a 1991show at the Chicago . But in certain ways, it doesn't matter that this is the actual Stroll or the actual Promenade. This figure is taller, bigger than anyone else in the piece. Other figures and objects, sometimes inherently ominous and sometimes made so by juxtaposition, include a human skull, a devil, a broken church window, the three crosses of the Crucifixion, a rabid dog, a lynching victim, and the Statue of Liberty. Their surroundings consist of a house and an apartment building. Photograph by Jason Wycke. In the face of restrictions, it became a mecca of black businesses, black institutionsa black world, a city within a city. The newly acquired painting, "Gettin' Religion," from 1948, is an angular . The crowd is interspersed and figures overlap, resulting in a dynamic, vibrant depiction of a night scene. Social and class differences and visual indicators of racial identity fascinated him and led to unflinching, particularized depictions. (2022, October 16). ", "But I never in all my life have I felt that I was a finished artist. Any image contains a narrative. I kept looking at the painting, from the strange light bulb in the center of the street to the people gazing out their windows at those playing music and dancing. Most orders will be delivered in 1-3 weeks depending on the complexity of the painting. (81.3 x 100.2 cm). Organizer and curator of the exhibition, Richard J. Powell, acknowledged that there had been a similar exhibition in 1991, but "as we have moved beyond that moment and into the 21st century and as we have moved into the era of post-modernism, particularly that category post-black, I really felt that it would be worth revisiting Archibald Motley to look more critically at his work, to investigate his wry sense of humor, his use of irony in his paintings, his interrogations of issues around race and identity.". Browne also alluded to a forthcoming museum acquisition that she was not at liberty to discuss until the official announcement. He reminisced to an interviewer that after school he used to take his lunch and go to a nearby poolroom "so I could study all those characters in there. The story, which is set in the late 1960s, begins in Jamaica, where we meet Miss Gomez, an 11-year-old orphan whose parents perished in "the Adeline Street disaster" in which 91 people were burnt alive. Stand in the center of the Black Belt - at Chicago's 47 th St. and South Parkway. Gettin Religion (1948) mesmerizes with a busy street in starlit indigo and a similar assortment of characters, plus a street preacher with comically exaggerated facial features and an old man hobbling with his cane. (81.3 100.2 cm). must. When he was a young boy, Motley's family moved from Louisiana and eventually . Whats interesting to me about this piece is that you have to be able to move from a documentary analysis to a more surreal one to really get at what Motley is doing here. Motley was 70 years old when he painted the oil on canvas, Hot Rhythm, in 1961. The last work he painted and one that took almost a decade to complete, it is a terrifying and somber condemnation of race relations in America in the hundred years following the end of the Civil War. A 30-second online art project: ensure the integrity of our platform while keeping your private information safe. But the same time, you see some caricature here. Archibald John Motley, Jr. (October 7, 1891 - January 16, 1981), was an American visual artist. The wildly gesturing churchgoers in Tongues (Holy Rollers), 1929, demonstrate Motleys satirical view of Pentecostal fervor. A woman with long wavy hair, wearing a green dress and strikingly red stilettos walks a small white dog past a stooped, elderly, bearded man with a cane in the bottom right, among other figures. archibald motley gettin' religion. His sometimes folksy, sometimes sophisticated depictions of black bodies dancing, lounging, laughing, and ruminating are also discernible in the works of Kerry James Marshall and Henry Taylor. Though the Great Depression was ravaging America, Motley and his wife were cushioned by savings and ownership of their home, and the decade was a fertile one for Motley. Create New Wish List; Frequently bought together: . Archibald J. Motley, Jr. was born in New Orleans, Louisiana in 1891 to upper-middle class African American parents; his father was a porter for the Pullman railway cars and his mother was a teacher. Today, the painting has a permanent home at Hampton University Art Gallery, an historically black university and the nations oldest collection of artworks by black artists. She wears a red shawl over her thin shoulders, a brooch, and wire-rimmed glasses. Motley has this 1934 piece called Black Belt. Upon Motley's return from Paris in 1930, he began teaching at Howard University in Washington, D.C. and working for the Federal Arts Project (part of the New Deal's Works Projects Administration). At the same time, the painting defies easy classification. As art critic Steve Moyer points out, perhaps the most "disarming and endearing" thing about the painting is that the woman is not looking at her own image but confidently returning the viewer's gaze - thus quietly and emphatically challenging conventions of women needing to be diffident and demure, and as art historian Dennis Raverty notes, "The peculiar mood of intimacy and psychological distance is created largely through the viewer's indirect gaze through the mirror and the discovery that his view of her may be from her bed." You could literally see a sound like that, a form of worship, coming out of this space, and I think that Motley is so magical in the way he captures that. Circa: 1948. So thats historical record; we know that's what it was called by the outside world. Rating Required. On view currently in the exhibition Archibald Motley: Jazz Age Modernist, which will close its highly successful run at the Museum on Sunday, January 17, Gettin' Religion, one of the . I believe that when you see this piece, you have to come to terms with the aesthetic intent beyond documentary.Did Motley put himself in this painting, as the figure that's just off center, wearing a hat? All of my life I have sincerely tried to depict the soul, the very heart of the colored people by using them almost exclusively in my work. Gettin' Religion, by Archibald J. Motley, Jr. today joined the collection of the Whitney Museum of American Art. They act differently; they don't act like Americans.". His religion being an obstacle to his advancement, the regent promised, if he would publicly conform to the Catholic faith, to make him comptroller-general of the finances. Oil on linen, overall: 32 39 7/16in. Critics have strived, and failed, to place the painting in a single genre. Comments Required. After Edith died of heart failure in 1948, Motley spent time with his nephew Willard in Mexico. But the same time, you see some caricature here. A scruff of messy black hair covers his head, perpetually messy despite the best efforts of some of the finest in the land at such things. [Theres a feeling of] not knowing what to do with him. Motleys last work, made over the course of nine years (1963-72) and serving as the final painting in the show, reflects a startling change in the artists outlook on African-American life by the 1960s, at the height of the civil rights movement. Fusing psychology, a philosophy of race, upheavals of class demarcations, and unconventional optics, Motley's art wedged itself between, on the one hand, a Jazz Age set of . The gleaming gold crucifix on the wall is a testament to her devout Catholicism. The figures are highly stylized and flattened, rendered in strong, curved lines. Some individuals have asked me why I like the piece so much, because they have a hard time with what they consider to be the minstrel stereotypes embedded within it. He accomplishes the illusion of space by overlapping characters in the foreground with the house in the background creating a sense of depth in the composition. The background consists of a street intersection and several buildings, jazzily labeled as an inn, a drugstore, and a hotel. Whitney Museum of American Art, New York; purchase, Josephine N. Hopper Bequest, by exchange 2016.15. Required fields are marked *. If you are the copyright owner of this paper and no longer wish to have your work published on IvyPanda. Archibald J. Motley Jr., Gettin Religion, 1948. "Archibald Motley offers a fascinating glimpse into a modernity filtered through the colored lens and foci of a subjective African American urban perspective. The image is used according to Educational Fair Use, and tagged Dancers and This essay on Gettin Religion by Archibald Motley Jr. 1, Video Postcard: Archibald Motley, Jr.'s Saturday Night. Whitney Members enjoy admission at any time, no ticket required, and exclusive access Saturday and Sunday morning. He was especially intrigued by the jazz scene, and Black neighborhoods like Bronzeville in Chicago, which is the inspiration for this scene and many of his other works. ", "I think that every picture should tell a story and if it doesn't tell a story then it's not a picture. Motley's portraits are almost universally known for the artist's desire to portray his black sitters in a dignified, intelligent fashion. Davarian Baldwin:Toda la pieza est baada por una suerte de azul profundo y llega al punto mximo de la gama de lo que considero que es la posibilidad del Negro democrtico, de lo sagrado a lo profano. Archibald Motley, Gettin' Religion, 1948. Parte dintr- o serie pe Afro-americani (2022, October 16). By representing influential classes of individuals in his works, he depicts blackness as multidimensional. The Whitney Museum of American Art is pleased to announce the acquisition of Archibald Motley 's Gettin' Religion (1948), the first work by the great American modernist to enter the Whitney's collection. The bright blue hues welcomed me in. It is telling that she is surrounded by the accouterments of a middle-class existence, and Motley paints them in the same exact, serene fashion of the Dutch masters he admired. Send us a tip using our anonymous form. This work is not documenting the Stroll, but rendering that experience. Browse the Art Print Gallery. Brings together the articles B28of twenty-two prestigious international experts in different fields of thought. Oil on canvas, 32 x 39 7/16 in. The World's Premier Art Magazine since 1913. Motley spent the years 1963-1972 working on a single painting: The First Hundred Years: He Amongst You Who Is Without Sin Shall Cast the First Stone; Forgive Them Father For They Know Not What They Do. document.getElementById( "ak_js_1" ).setAttribute( "value", ( new Date() ).getTime() ); Your email address will not be published. In the middle of a commercial district, you have a residential home in the back with a light post above it, and then in the foreground, you have a couple in the bottom left-hand corner. ", "I have tried to paint the Negro as I have seen him, in myself without adding or detracting, just being frankly honest. The space she inhabits is a sitting room, complete with a table and patterned blue-and-white tablecloth; a lamp, bowl of fruit, books, candle, and second sock sit atop the table, and an old-fashioned portrait of a woman hanging in a heavy oval frame on the wall. Cocktails (ca. A child is a the feet of the man, looking up at him. He studied painting at the School of the Art Institute of Chicago during the 1910s, graduating in 1918. We will write a custom Essay on Gettin Religion by Archibald Motley Jr. She approaches this topic through the work of one of the New Negro era's most celebrated yet highly elusive . It can't be constrained by social realist frame. NEW YORK, NY.- The Whitney Museum of American Art announces the acquisition of Archibald Motley's Gettin' Religion (1948), the first work by the great American modernist to enter the Whitney's collection. Gettin Religion is one of the most enthralling works of modernist literature. He may have chosen to portray the stereotype to skewer assumptions about urban Black life and communities, by creating a contrast with the varied, more realistic, figures surrounding the preacher. Analysis." Motley had studied painting at the School of the Art Institute of Chicago. ", Ackland Art Museum, The University of North Carolina at Chapel Hill - Oil on Canvas, For most people, Blues is an iconic Harlem Renaissance painting; though, Motley never lived in Harlem, and it in fact dates from his Paris days and is thus of a Parisian nightclub. Analysis." You can use them for inspiration, an insight into a particular topic, a handy source of reference, or even just as a template of a certain type of paper. At the time when writers and other artists were portraying African American life in new, positive ways, Motley depicted the complexities and subtleties of racial identity, giving his subjects a voice they had not previously had in art before. Museum quality reproduction of "Gettin Religion". I locked my gaze on the drawing, Gettin Religion by Archibald Motley Jr. Fast Service: All Artwork Ships Worldwide via UPS Ground, 2ND, NDA. ""Gettin Religion" by Archibald Motley Jr. Motley elevates this brown-skinned woman to the level of the great nudes in the canon of Western Art - Titian, Manet, Velazquez - and imbues her with dignity and autonomy. It is nightmarish and surreal, especially when one discerns the spectral figure in the center of the canvas, his shirt blending into the blue of the twilight and his facial features obfuscated like one of Francis Bacon's screaming wraiths. Gettin' Religion Archibald Motley, 1948 Girl Interrupted at Her Music Johannes Vermeer, 1658 - 1661 Luigi Russolo, Ugo Piatti and the Intonarumori Luigi Russolo, 1913 Melody Mai Trung Th, 1956 Music for J.S. I see these pieces as a collection of portraits, and as a collective portrait. Motley befriended both white and black artists at SAIC, though his work would almost solely depict the latter. When Archibald Campbell, Earl of Islay, and afterwards Duke of Argyle, called upon him in the Place Vendme, he had to pass through an ante-chamber crowded with persons . This is IvyPanda's free database of academic paper samples. In this interview, Baldwin discusses the work in detail, and considers Motleys lasting legacy. . There is always a sense of movement, of mobility, of force in these pieces, which is very powerful in the face of a reality of constraint that makes these worlds what they are. He studied painting at the School of the Art Institute of Chicago during the 1910s, graduating in 1918. What gives the painting even more gravitas is the knowledge that Motley's grandmother was a former slave, and the painting on the wall is of her former mistress. Analysis specifically for you for only $11.00 $9.35/page. "Gettin Religion" by Archibald Motley Jr. Blues, critic Holland Cotter suggests, "attempts to find visual correlatives for the sounds of black music and colloquial black speech. Archibald Motley: Gettin Religion, 1948, oil on canvas, 40 by 48 inches; at the Whitney Museum of American Art. Around you swirls a continuous eddy of faces - black, brown, olive, yellow, and white. Diplomacy: 6+2+1+1=10. IvyPanda. [The Bronzeville] community is extremely important because on one side it becomes this expression of segregation, and because of this segregation you find the physical containment of black people across class and other social differences in ways that other immigrant or migrant communities were not forced to do. ", "Criticism has had absolutely no effect on my work although I well enjoy and sincerely appreciate the opinions of others. Archibald J Jr Motley Item ID:28366. Le Whitney Museum of American Art, New York, vient d'annoncer l'acquisition de Gettin' Religion (1948) de l'artiste moderniste afro-amricain Archibald Motley (1891-1981), l'un des plus importants peintres de la vie quotidienne des tats-Unis du XXe sicle. Photograph by Jason Wycke. The artwork has an exquisite sense of design and balance. The impression is one of movement, as people saunter (or hobble, as in the case of the old bearded man) in every direction. En verdad plasma las calles de Chicago como incubadoras de las que podran considerarse formas culturales hbridas, tal y como la msica gspel surge de la mezcla de sonidos del blues con letras sagradas. Visual Description. The actual buildings and activities don't speak to the present. Artist:Archibald Motley. The Harlem Renaissance was primarily between 1920 and 1930, and it was a time in which African Americans particularly flourished and became well known in all forms of art. Motley uses simple colors to capture and maintain visual balance. Midnight was like day. . Painting during the time of the Harlem Renaissance, Motley infused his genre scenes with the rhythms of jazz and the boisterousness of city life, and his portraits sensitively reveal his sitters' inner lives. Were not a race, but TheRace. Gettin Religion Print from Print Masterpieces. Gettin' Religion (1948), acquired by the Whitney in January, is the first work by Archibald Motley to become part of the Museum's permanent collection. Oil on Canvas - Columbus Museum of Art, Columbus, Ohio. Turn your photos into beautiful portrait paintings. The Treasury Department's mural program commissioned him to paint a mural of Frederick Douglass at Howard's new Frederick Douglass Memorial Hall in 1935 (it has since been painted over), and the following year he won a competition to paint a large work on canvas for the Wood River, Illinois postal office. Gettin' Religion was in the artist's possession at the time of his death in 1981 and has since remained with his family, according to the museum. The Octoroon Girl by Archibald Motley $59.00 $39.00-34% Portrait Of Grandmother by Archibald Motley $59.00 $39.00-26% Nightlife by Archibald Motley [7] How I Solve My Painting Problems, n.d. [8] Alain Locke, Negro Art Past and Present, 1933, [9] Foreword to Contemporary Negro Art, 1939. She holds a small tin in her hand and has already put on her earrings and shoes. Thus, in this simple portrait Motley "weaves together centuries of history -family, national, and international. . His paintings do not illustrate so much as exude the pleasures and sorrows of urban, Northern blacks from the 1920s to the 1940s. (August 2, 2022 - Hour One) 9:14pm - Opening the 2nd month of Q3 is regular guest and creator of How To BBQ Right, Malcom Reed. Gettin Religion Archibald Motley. The locals include well-dressed men and women on their way to dinner or parties; a burly, bald man who slouches with his hands in his pants pockets (perhaps lacking the money for leisure activities); a black police officer directing traffic (and representing the positions of authority that blacks held in their own communities at the time); a heavy, plainly dressed, middle-aged woman seen from behind crossing the street and heading away from the young people in the foreground; and brightly dressed young women by the bar and hotel who could be looking to meet men or clients for sex. Installation view of Archibald John Motley, Jr. Gettin Religion (1948) in The Whitneys Collection (September 28, 2015April 4, 2016). On view currently in the exhibition Archibald Motley: Jazz Age Modernist, which will close its highly successful run at the Museum on Sunday, January 17, Gettin' Religion, one of the . Whitney Museum of American . Sometimes it is possible to bring the subject from the sublime to the ridiculous but always in a spirit of trying to be truthful.1, Black Belt is Motleys first painting in his signature series about Chicagos historically black Bronzeville neighborhood. How do you think Motleys work might transcend generations?These paintings come to not just represent a specific place, but to stand in for a visual expression of black urbanity. Motley scholar Davarian Brown calls the artist "the painter laureate of the black modern cityscape," a label that especially works well in the context of this painting. The gentleman on the left side, on top of a platform that says, "Jesus saves," he has exaggerated red lips, and a bald, black head, and bright white eyes, and you're not quite sure if he's a minstrel figure, or Sambo figure, or what, or if Motley is offering a subtle critique on more sanctified, or spiritualist, or Pentecostal religious forms. Then in the bottom right-hand corner, you have an older gentleman, not sure if he's a Jewish rabbi or a light-skinned African American. Here Motley has abandoned the curved lines, bright colors, syncopated structure, and mostly naturalistic narrative focus of his earlier work, instead crafting a painting that can only be read as an allegory or a vision. [3] Motley, How I Solve My Painting Problems, n.d. Harmon Foundation Archives, 2. Motley is as lauded for his genre scenes as he is for his portraits, particularly those depicting the black neighborhoods of Chicago. Gettin' Religion depicts the bustling rhythms of the African American community. Aqu, el artista representa una escena nocturna bulliciosa en la ciudad: Davarian Baldwin:En verdad plasma las calles de Chicago como incubadoras de las que podran considerarse formas culturales hbridas, tal y como la msica gspel surge de la mezcla de sonidos del blues con letras sagradas. Every single character has a role to play. Davarian Baldwin: It really gets at Chicago's streets as being those incubators for what could be considered to be hybrid cultural forms, like gospel music that came out of the mixture of blues sound with sacred lyrics. It's also possible that Motley, as a black Catholic whose family had been in Chicago for several decades, was critiquing this Southern, Pentecostal-style of religion and perhaps even suggesting a class dimension was in play. The platform hes standing on says Jesus Saves. Its a phrase that we also find in his piece Holy Rollers. Archibald J. Motley Jr., Gettin' Religion, 1948. In 1980 the School of the Art Institute of Chicago presented Motley with an honorary doctorate, and President Jimmy Carter honored him and a group of nine other black artists at a White House reception that same year. Collection of Mara Motley, MD, and Valerie Gerrard Browne. Archibald Motley, in full Archibald John Motley, Jr., (born October 7, 1891, New Orleans, Louisiana, U.S.died January 16, 1981, Chicago, Illinois), American painter identified with the Harlem Renaissance and probably best known for his depictions of black social life and jazz culture in vibrant city scenes. Archibald . liverpool v nottingham forest 1989 team line ups; best crews to join in gta 5. jay chaudhry house; bimbo bakeries buying back routes; pauline taylor seeley cause of death professional specifically for you? [The painting] allows for blackness to breathe, even in the density. In Black Belt, which refers to the commercial strip of the Bronzeville neighborhood, there are roughly two delineated sections. Oil on canvas, 31.875 x 39.25 inches (81 x 99.7 cm). And in his beautifully depicted scenes of black urban life, his work sometimes contained elements of racial caricature. Preface. Phoebe Wolfskill's Archibald Motley Jr. and Racial Reinvention: The Old Negro in New Negro Art offers a compelling account of the artistic difficulties inherent in the task of creating innovative models of racialized representation within a culture saturated with racist stereotypes. First One Hundred Years offers no hope and no mitigation of the bleak message that the road to racial harmony is one littered with violence, murder, hate, ignorance, and irony. Classification (2022) '"Gettin Religion" by Archibald Motley Jr. Aug 14, 2017 - Posts about MOTLEY jr. Archibald written by M.R.N. Like I said this diversity of color tones, of behaviors, of movement, of activity, the black woman in the background of the home, she could easily be a brothel mother or just simply a mother of the home with the child on the steps. Add to album {{::album.Title}} + Create new Name is required . After fourteen years of courtship, Motley married Edith Granzo, a white woman from his family neighborhood. Archibald Motley: Gettin' Religion, 1948, oil on canvas, 40 by 48 inches; at the Whitney Museum of American Art. Oil on canvas, 40 48.375 in. [The painting is] rendering a sentiment of cohabitation, of activity, of black density, of black diversity that we find in those spacesand thats where I want to stay. The Harmon Foundation purchased Black Belt in the 1930s, and sent it to Baltimore for the 1939 Contemporary Negro Art exhibition. He sold twenty-two out of twenty-six paintings in the show - an impressive feat -but he worried that only "a few colored people came in. It forces us to come to terms with this older aesthetic history, and challenges the ways in which we approach black art; to see it as simply documentary would miss so many of its other layers. The Whitney Museum of American Art is pleased to announce the acquisition of Archibald Motley 's Gettin' Religion (1948), the first work by the great American modernist to enter the Whitney's collection. In this composition, Motley explained, he cast a great variety of Negro characters.3 The scene unfolds as a stylized distribution of shapes and gestures, with people from across the social and economic spectrum: a white-gloved policeman and friend of Motleys father;4 a newsboy; fashionable women escorted by dapper men; a curvaceous woman carrying groceries.