The Advocate by Ernie Barnes

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Barnes-The_Advocate-1

Price: $700  NOW $599
The Advocate
by Ernie Barnes
Limited Edition Giclee
Estate Stamped  / Edition 100
Authenticated by the Ernie Barnes Family Trust
Size 23″ x 33″ Approx

Ernest “Ernie” Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

Ernie Barnes’ involvement with art began at an early age, like most gifted adult artists. However, when he reached high school his creative endeavors were temporarily detoured in his determination to become a successful athlete. In part this was a response to the demands of peer pressure which can be so strong at that age. He graduated from his high school a hero and star football player, and with 26 full athletic scholarships to choose from. He chose North Carolina Central University and a major in art. After college he continued in an illustrious professional athletic career, but never let his love for football overshadow his love for art. Football gave him an enormous satisfaction of achievement, of being able to do something extremely difficult, and do it well. Art, however, allowed him the privilege to interpret for the public his concepts of the relationship between art and life.

In 1966 Ernie Barnes retired from football to commit himself to his art. His athletic career made a special contribution to his sensibility and his art, and he often weds physical with artistic expression. Many of his subjects are satirical and he uses exaggeration, and even caricature, to enhance their mood, humor and physical vitality. Seen through Barnes’ dramatic-comic vision, human figures play out their roles in a contemporary scenario in a manner that is both entertaining and finely executed. It can easily be said that Barnes has more than established himself as one among America’s leading contemporary painters.

Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”
All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”
Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones’ home.
Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement – because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.

Sports Art

In 1984 Barnes was appointed the Official Sports Artist for the Games of the XXIII Olympiad. Los Angeles Olympic Organizing Committee President Peter V. Ueberroth said Barnes “captured the essence of the Olympics” and “portray the city’s ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over.” Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

In 1985 Barnes was named the first Sports Artist of the Year by the United States Sports Academy.

In 1987 Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

In 1996 Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes’ former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team’s inaugural season and hangs permanently in the stadium owner’s suite.

To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, “Where we were, where we are, and where we are going.” The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA’s 50th Anniversary All-Time Team.

In 2004 Barnes was named America’s Best Painter of Sports by the American Sport Art Museum & Archives.

Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.

Sugar Shack

According to Barnes, he created the original version of Sugar Shack after reflecting upon his childhood, during which he was not “able to go to a dance.” In a 2008 interview, Barnes said, “Sugar Shack is a recall of a childhood experience. It was the first time my innocence met with the sins of dance. The painting transmits rhythm so the experience is re-created in the person viewing it. To show that African-Americans utilize rhythm as a way of resolving physical tension.”[27] The Sugar Shack has been known to art critics for embodying the style of art composition known as “Black Romantic,” which, according to Natalie Hopkinson of The Washington Post, is the “visual-art equivalent of the Chitlin’ circuit.”

On the original Sugar Shack, Barnes included his hometown Durham, North Carolina radio station WSRC on a banner. He incorrectly listed the frequency at 620. It was actually 1410. Barnes confused what he used to hear WSRC’s on-air personality Norfley Whitted saying “620 on your dial” when Whitted was at his former station WDNC in the early 1950s.

After Marvin Gaye asked him for permission to use the painting as an album cover, Barnes then augmented the painting by adding references that allude to Gaye’s album, including banners hanging from the ceiling to promote the album’s singles.

During the Motown 25: Yesterday, Today, Forever anniversary television special on March 25, 1983, tribute was paid to Sugar Shack with a dance interpretation of the painting.

Offered at $700  NOW $599

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    Rising Expectations by Ernie Barnes

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    Price: $50 NOW $19
    Rising Expectations
    by Ernie Barnes
    Open Edition Print
    Size 24″ x 30″ Approx

    Ernest “Ernie” Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

    Ernie Barnes’ involvement with art began at an early age, like most gifted adult artists. However, when he reached high school his creative endeavors were temporarily detoured in his determination to become a successful athlete. In part this was a response to the demands of peer pressure which can be so strong at that age. He graduated from his high school a hero and star football player, and with 26 full athletic scholarships to choose from. He chose North Carolina Central University and a major in art. After college he continued in an illustrious professional athletic career, but never let his love for football overshadow his love for art. Football gave him an enormous satisfaction of achievement, of being able to do something extremely difficult, and do it well. Art, however, allowed him the privilege to interpret for the public his concepts of the relationship between art and life.

    In 1966 Ernie Barnes retired from football to commit himself to his art. His athletic career made a special contribution to his sensibility and his art, and he often weds physical with artistic expression. Many of his subjects are satirical and he uses exaggeration, and even caricature, to enhance their mood, humor and physical vitality. Seen through Barnes’ dramatic-comic vision, human figures play out their roles in a contemporary scenario in a manner that is both entertaining and finely executed. It can easily be said that Barnes has more than established himself as one among America’s leading contemporary painters.

    Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”
    All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”
    Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones’ home.
    Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement – because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

    Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

    Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.

    Sports Art

    In 1984 Barnes was appointed the Official Sports Artist for the Games of the XXIII Olympiad. Los Angeles Olympic Organizing Committee President Peter V. Ueberroth said Barnes “captured the essence of the Olympics” and “portray the city’s ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over.” Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

    In 1985 Barnes was named the first Sports Artist of the Year by the United States Sports Academy.

    In 1987 Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

    In 1996 Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes’ former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team’s inaugural season and hangs permanently in the stadium owner’s suite.

    To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, “Where we were, where we are, and where we are going.” The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA’s 50th Anniversary All-Time Team.

    In 2004 Barnes was named America’s Best Painter of Sports by the American Sport Art Museum & Archives.

    Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.

    Offered at $50 NOW $19


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      Equal Rights by Anthony Armstrong

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      Price: $245  NOW $175
      Equal Rights
      by Anthony Armstrong
      Signed Serigraph / Edition 950
      Size 27″ x 24″ Approx

      “As a child I was encouraged to make pictures. My imagery comes from life experiences, from recollections of my past, stories my mother told, religious inspiration and my rich cultural heritage. For better or worse these aspects of my life have become the foundation of my art. The cultural inheritance brings a diverse richness to my art and provides me with an instinctive working process. I then translate these experiences and diversity into visual expression. My interest is not only in conveying to the viewer my personal feelings, but also our common humanity. 

      Over the past years I have painted with a flurry of excitement experimenting in all phases and styles of art. I have endeavored to express through my art, those things in life which represent who I am … my faith in God, pride in my race, and my love of beauty. As I continue to grow, my art will explore form, shape, color and texture”.

      Offered at $245  NOW $175

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        Springboard by Ernie Barnes

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        OUT STOCK
        Springboard
        by Ernie Barnes
        Open Edition Print
        Size 15″ x 18″ Image / 18″ x 21″ Paper  Approx

        Ernest “Ernie” Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

        Ernie Barnes’ involvement with art began at an early age, like most gifted adult artists. However, when he reached high school his creative endeavors were temporarily detoured in his determination to become a successful athlete. In part this was a response to the demands of peer pressure which can be so strong at that age. He graduated from his high school a hero and star football player, and with 26 full athletic scholarships to choose from. He chose North Carolina Central University and a major in art. After college he continued in an illustrious professional athletic career, but never let his love for football overshadow his love for art. Football gave him an enormous satisfaction of achievement, of being able to do something extremely difficult, and do it well. Art, however, allowed him the privilege to interpret for the public his concepts of the relationship between art and life.

        In 1966 Ernie Barnes retired from football to commit himself to his art. His athletic career made a special contribution to his sensibility and his art, and he often weds physical with artistic expression. Many of his subjects are satirical and he uses exaggeration, and even caricature, to enhance their mood, humor and physical vitality. Seen through Barnes’ dramatic-comic vision, human figures play out their roles in a contemporary scenario in a manner that is both entertaining and finely executed. It can easily be said that Barnes has more than established himself as one among America’s leading contemporary painters.

        Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”
        All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”
        Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones’ home.
        Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement – because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

        Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

        Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.

        Sports Art

        In 1984 Barnes was appointed the Official Sports Artist for the Games of the XXIII Olympiad. Los Angeles Olympic Organizing Committee President Peter V. Ueberroth said Barnes “captured the essence of the Olympics” and “portray the city’s ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over.” Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

        In 1985 Barnes was named the first Sports Artist of the Year by the United States Sports Academy.

        In 1987 Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

        In 1996 Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes’ former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team’s inaugural season and hangs permanently in the stadium owner’s suite.

        To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, “Where we were, where we are, and where we are going.” The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA’s 50th Anniversary All-Time Team.

        In 2004 Barnes was named America’s Best Painter of Sports by the American Sport Art Museum & Archives.

        Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.


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        High Aspirations by Ernie Barnes

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        OUT STOCK
        High Aspirations
        by Ernie Barnes
        Open Edition Print
        Size 11″ x 22″ Image / 16″ x 27″ Paper  Approx

        Ernest “Ernie” Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

        Ernie Barnes’ involvement with art began at an early age, like most gifted adult artists. However, when he reached high school his creative endeavors were temporarily detoured in his determination to become a successful athlete. In part this was a response to the demands of peer pressure which can be so strong at that age. He graduated from his high school a hero and star football player, and with 26 full athletic scholarships to choose from. He chose North Carolina Central University and a major in art. After college he continued in an illustrious professional athletic career, but never let his love for football overshadow his love for art. Football gave him an enormous satisfaction of achievement, of being able to do something extremely difficult, and do it well. Art, however, allowed him the privilege to interpret for the public his concepts of the relationship between art and life.

        In 1966 Ernie Barnes retired from football to commit himself to his art. His athletic career made a special contribution to his sensibility and his art, and he often weds physical with artistic expression. Many of his subjects are satirical and he uses exaggeration, and even caricature, to enhance their mood, humor and physical vitality. Seen through Barnes’ dramatic-comic vision, human figures play out their roles in a contemporary scenario in a manner that is both entertaining and finely executed. It can easily be said that Barnes has more than established himself as one among America’s leading contemporary painters.

        Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”
        All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”
        Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones’ home.
        Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement – because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

        Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

        Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.

        Sports Art

        In 1984 Barnes was appointed the Official Sports Artist for the Games of the XXIII Olympiad. Los Angeles Olympic Organizing Committee President Peter V. Ueberroth said Barnes “captured the essence of the Olympics” and “portray the city’s ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over.” Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

        In 1985 Barnes was named the first Sports Artist of the Year by the United States Sports Academy.

        In 1987 Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

        In 1996 Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes’ former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team’s inaugural season and hangs permanently in the stadium owner’s suite.

        To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, “Where we were, where we are, and where we are going.” The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA’s 50th Anniversary All-Time Team.

        In 2004 Barnes was named America’s Best Painter of Sports by the American Sport Art Museum & Archives.

        Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.


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        Winner by Samuel R. Byrd

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        byrd-oldmanOUT STOCK
        Winner
        by Samuel R. Byrd
        Limited Edition Offset Print
        A/P Signed by Artist
        Size 15″ x 22″

        Samuel is a realistic artist whose work expresses his personal experiences and encounters in the inner city, as well as in his travels. He translates the impact of his vision into his artwork, which depicts the tender, innocent and emotional side of children, women and elderly. Abstracts are also a large part of Samuel’s artistic endeavors. Recently, he has undertaken the task of combining realism and abstract into one creation to obtain the proper mood in his drawings and paintings. Since childhood, Samuel has loved and created art. Inspired by his family to pursue his dreams, Samuel’s art has become renown. His works have traveled throughout the United States, Europe, the Caribbean, and even Brazil. Samuel has won many awards and prizes for his art. His artwork has appeared on TV shows such as “Generations,” “Different World,” and “The Cosby Show.”


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        Homecoming by Ernie Barnes

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        OUT STOCK
        Homecoming
        by Ernie Barnes
        Open Edition Print
        Size 38″ x 19″ Approx

        Ernest “Ernie” Eugene Barnes, Jr. (July 15, 1938 – April 27, 2009) was an African-American painter, well known for his unique style of elongation and movement. He was also a professional football player, actor and author.

        Ernie Barnes’ involvement with art began at an early age, like most gifted adult artists. However, when he reached high school his creative endeavors were temporarily detoured in his determination to become a successful athlete. In part this was a response to the demands of peer pressure which can be so strong at that age. He graduated from his high school a hero and star football player, and with 26 full athletic scholarships to choose from. He chose North Carolina Central University and a major in art. After college he continued in an illustrious professional athletic career, but never let his love for football overshadow his love for art. Football gave him an enormous satisfaction of achievement, of being able to do something extremely difficult, and do it well. Art, however, allowed him the privilege to interpret for the public his concepts of the relationship between art and life.

        In 1966 Ernie Barnes retired from football to commit himself to his art. His athletic career made a special contribution to his sensibility and his art, and he often weds physical with artistic expression. Many of his subjects are satirical and he uses exaggeration, and even caricature, to enhance their mood, humor and physical vitality. Seen through Barnes’ dramatic-comic vision, human figures play out their roles in a contemporary scenario in a manner that is both entertaining and finely executed. It can easily be said that Barnes has more than established himself as one among America’s leading contemporary painters.

        Barnes credits his college art instructor Ed Wilson for laying the foundation for his development as an artist. Wilson was a sculptor who instructed Barnes to paint from his own life experiences. “He made me conscious of the fact that the artist who is useful to America is one who studies his own life and records it through the medium of art, manners and customs of his own experiences.”
        All his life, Barnes was ambivalent about his football experience. In interviews and in personal appearances, Barnes said he hated the violence and the physical torment of the sport. However, his years as an athlete gave him unique, in-depth observations. “(Wilson) told me to pay attention to what my body felt like in movement. Within that elongation, there’s a feeling. And attitude and expression. I hate to think had I not played sports what my work would look like.”
        Barnes’ first painting sale was in 1959 for $90 to Boston Celtic Sam Jones for a painting called Slow Dance. It was subsequently lost in a fire at Jones’ home.
        Critics have defined Barnes’ work as neo-mannerist. Based on his signature use of serpentine lines, elongation of the human figure, clarity of line, unusual spatial relationships, painted frames, and distinctive color palettes, art critic Frank Getlein credited Barnes as the founder of the neo-Mannerism movement – because of the similarity of technique and composition prevalent during the 16th century, as practiced by such masters as Michelangelo and Raphael.

        Numerous artists have been influenced by Barnes’ art and unique style. Accordingly, several copyright infringement lawsuits have been settled and are currently pending.

        Barnes created the painting Sugar Shack in the early 1970s. It gained international exposure when it was used on the Good Times television series and on a 1976 Marvin Gaye album.

        Sports Art

        In 1984 Barnes was appointed the Official Sports Artist for the Games of the XXIII Olympiad. Los Angeles Olympic Organizing Committee President Peter V. Ueberroth said Barnes “captured the essence of the Olympics” and “portray the city’s ethnic diversity, the power and emotion of sports competition, the singleness of purpose and hopes that go into the making of athletes the world over.” Barnes was commissioned to create five Olympic-themed paintings and serve as an official Olympic spokesman to encourage inner city youth.

        In 1985 Barnes was named the first Sports Artist of the Year by the United States Sports Academy.

        In 1987 Barnes created Fastbreak, a commissioned painting of the World Champion Los Angeles Lakers basketball team that included Magic Johnson, Kareem Abdul-Jabbar, James Worthy, Kurt Rambis and Michael Cooper.

        In 1996 Carolina Panthers football team owners Rosalind and Jerry Richardson (Barnes’ former Colts teammate) commissioned Barnes to create the large painting Victory in Overtime (approximately 7 ft. x 14 ft.). It was unveiled before the team’s inaugural season and hangs permanently in the stadium owner’s suite.

        To commemorate their 50th anniversary in 1996, the National Basketball Association commissioned Barnes to create a painting with the theme, “Where we were, where we are, and where we are going.” The painting, The Dream Unfolds hangs in the Naismith Memorial Basketball Hall of Fame in Springfield, Massachusetts. A limited edition of lithographs were made, with the first 50 prints going to each of the NBA’s 50th Anniversary All-Time Team.

        In 2004 Barnes was named America’s Best Painter of Sports by the American Sport Art Museum & Archives.

        Other notable sports commissions include paintings for the New Orleans Saints, Oakland Raiders and Boston Patriots football team owners.


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        Tamika by Sam Byrd

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        tamika
        Price: $385 NOW $99
        Tamika
        by Samuel R. Byrd
        Limited Edition Offset Print
        Size 21″ x 27″ Approx

         

        Samuel is a realistic artist whose work expresses his personal experiences and encounters in the inner city, as well as in his travels. He translates the impact of his vision into his artwork, which depicts the tender, innocent and emotional side of children, women and elderly. Abstracts are also a large part of Samuel’s artistic endeavors. Recently, he has undertaken the task of combining realism and abstract into one creation to obtain the proper mood in his drawings and paintings. Since childhood, Samuel has loved and created art. Inspired by his family to pursue his dreams, Samuel’s art has become renown. His works have traveled throughout the United States, Europe, the Caribbean, and even Brazil. Samuel has won many awards and prizes for his art. His artwork has appeared on TV shows such as “Generations,” “Different World,” and “The Cosby Show.”

        Offered at  $385   NOW $99

        Make-Offer

        Make Offer – Ask Question
        Extremely low offers will not be considered. Please do not make offers if you are not serious about buying this item.
        An October Gallery ArtPro will respond to you as soon as possible.
        If you prefer a telephone follow up, please leave your phone number.

          Your Name (required)

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          First Cut by Samuel Byrd

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          IMG_0962

          OUT STOCK
          First Cut
          by Samuel R. Byrd
          Limited Edition Offset Print
          Size 19″ x 25″ Approx

          Samuel is a realistic artist whose work expresses his personal experiences and encounters in the inner city, as well as in his travels. He translates the impact of his vision into his artwork, which depicts the tender, innocent and emotional side of children, women and elderly. Abstracts are also a large part of Samuel’s artistic endeavors. Recently, he has undertaken the task of combining realism and abstract into one creation to obtain the proper mood in his drawings and paintings. Since childhood, Samuel has loved and created art. Inspired by his family to pursue his dreams, Samuel’s art has become renown. His works have traveled throughout the United States, Europe, the Caribbean, and even Brazil. Samuel has won many awards and prizes for his art. His artwork has appeared on TV shows such as “Generations,” “Different World,” and “The Cosby Show.”


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          Taje Thoughts by Samuel R. Byrd

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          OUT STOCK
          Taje Thoughts
          by Samuel R. Byrd
          Limited Edition Offset Lithography Signed and  Numbered 
          Edition 500
          Size 23″ x 30″ Approx

          Samuel is a realistic artist whose work expresses his personal experiences and encounters in the inner city, as well as in his travels. He translates the impact of his vision into his artwork, which depicts the tender, innocent and emotional side of children, women and elderly. Abstracts are also a large part of Samuel’s artistic endeavors. Recently, he has undertaken the task of combining realism and abstract into one creation to obtain the proper mood in his drawings and paintings. Since childhood, Samuel has loved and created art. Inspired by his family to pursue his dreams, Samuel’s art has become renown. His works have traveled throughout the United States, Europe, the Caribbean, and even Brazil. Samuel has won many awards and prizes for his art. His artwork has appeared on TV shows such as “Generations,” “Different World,” and “The Cosby Show.”


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          Stained by WAK – Kevin A. Williams

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          wakstained

          Price: $395
          Stained
          by WAK – Kevin A. Williams
          Signed and Numbered Offset Lithograph
          Edition 850
          Size: 28″ x 27″ Approx

          Kevin A. Williams’ art is widely circulated fine art. Diverse in its themes, the art is painted by Williams in mixed mediums, and then produced in limited edition quantities. Williams also creates a number of commissioned works annually.

          As the best-selling artist in the African-American print market, Williams is a popular personality at national art shows, conferences of African-American groups and major international events, including the Essence Music Festival. His art has been featured on television’s Law & Order (NBC) and Soul Food (Showtime).

          Kevin A. Williams recent years have included commissioned work for celebrities, such as televisions host and movie producer Oprah Winfrey and comedian Bernie Mac, as well as corporate clients. He formed SoulVisions in May 2003.

          Offered at $395 

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            Conservative group that Ginni Thomas once led received nearly $600K from unnamed donors

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            The wife of Supreme Court Justice Clarence Thomas has spearheaded several battles against the left and “cultural Marxism.”
            Virginia “Ginni” Thomas, the wife of Supreme Court Justice Clarence Thomas, once led a conservative group that received just under $600,000 from a list of unnamed donors.
            In a practice that is completely legal, the funds were funneled through a conservative think tank, Capital Research Center (CRC), which counts among its trustees Edwin Meese III, a former attorney general under President Ronald Reagan. Scott Walker, a former aide to President George W. Bush, is its president.
            The clandestine nature of the donations, however, shed new light on the culture war against the left that Thomas has waged on behalf of other conservatives, a revelation that many observers viewed as troublesome given her proximity to the highest court in the land by way of her husband.
            According to The Washington Post, the tax records of CRC show that as its fiscal sponsor the think tank collected $596,000 in donations in 2019 on behalf of the Crowdsourcers for Culture and Liberty. A significant portion of the donations, $400,000, was then sent through another nonprofit, Donors Trust. It is not clear why this was done. It is also not known whether Thomas personally received any of these funds.
            Fiscal sponsorship “offers a way for a cause to attract donors even when it is not yet recognized as tax-exempt under Internal Revenue Code Section 501(c)(3),” according to the Council of Nonprofits.
            In simple terms, these arrangements help fledgling nonprofits — particularly under-resourced start-ups — with financial management, fiduciary oversight and other administrative tasks that help them to grow. While fiscal sponsorships are largely enacted in good faith, these arrangements can also provide cover for those with impure motives — for instance, to anonymously donate to causes that are aligned with individuals who have influence with people in high places. They can also hide the source of funds earmarked for unlawful activities.
            The Post reported that Crowdsourcers for Culture and Liberty was established to uphold longstanding conservative values and to galvanize others in the space in order to push back against liberal politicians and liberal ideology as a whole. Beyond that, little else is known about it.
            Thomas’ lawyer Mark Paoletta issued a statement to The Post that read in part that Thomas is “proud of the work she did with Crowdsourcers, which brought together conservative leaders to discuss amplifying conservative values with respect to the battle over culture.”
            As The Post reported, there could exist deeper implications for Thomas, considering the identity of her husband. Her link to Crowdsourcers is far from the first time her associations have come under scrutiny, though.
            Dating to the appointment of her husband to the Supreme Court in 1991, Thomas has been questioned about issues around propriety. During Justice Thomas’ confirmation hearings, Democratic senators grilled Ginni Thomas about her employment with the Labor Department and whether it presented a conflict of interest. At the time, she argued against equal-pay legislation, which stoked fears about the issue coming before the Court.
            Thomas established the nonprofit Liberty Central in 2009, which also had anonymous donors. With the rise of the Tea Party movement during a contentious period during the presidency of Barack Obama, Liberty Central aimed its efforts at striking down policies from Democrats and the left. In 2010, she was questioned about her involvement in Liberty Central, prompting her to step away from the nonprofit that year and began the for-profit firm Liberty Consulting, which has fewer reporting requirements.
            Well into the presidency of Donald Trump, Thomas became a member of the conservative Groundswell group, which she helped establish with the assistance of former Trump adviser, Steven Bannon. As The New York Times noted, Thomas had Trump’s trust to the point that she advised him on individuals he should eliminate from his inner circle.
            In 2020, The Post uncovered details about Thomas privately asking former White House Chief of Staff Mark Meadows to examine pathways to overturn the presidential election. Further, Thomas sent emails to swing-state lawmakers to sway the election results in favor of Donald Trump by urging them to award the defeated presidential candidate electoral votes over President-elect Joe Biden. Thomas’ glaring actions caused some to question whether Justice Thomas should recuse himself from any Court cases involving the election.
            Paoletta said of his client, “she believes Crowdsourcers identified the left’s dominance in most cultural lanes, while conservatives were mostly funding political organizations. In her work, she has complied with all reporting and disclosure requirements.”
            In conclusion, Paoletta stated that there is no existing conflict of interest as it relates to Justice Thomas.
            TheGrio freelance reporter D.L. Chandler contributed to this article.
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            Handmade blankets welcome refugees, immigrants to US

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            The blankets were made as gifts for refugees to welcome them to the community as part of the national Welcome Blanket project.
            BURLINGTON, Vt. (AP) — “Welcome to the USA,” says a note attached to a hand-crocheted blanket of purple, white and gray stripes.
            Hollie Shaner-McRae, of Burlington, who made the blanket as a gift for a refugee, wrote of her great-grandparents coming to the United States from Ukraine, Russia and Poland.
            One great-grandfather was a tailor and the other was a barrel maker, she wrote. “Both were so brave and came to America as teenagers,” she wrote in the note. “I hope you make friends and feel safe here,” Shaner-McRae wrote to whomever would receive the blanket. “Vermont is blessed to have new families arrive and enrich our world.”
            The quilt was one of at least 86 artistic blankets that crafters sewed, crocheted and knitted as gifts for refugees and immigrants to make them feel welcomed in their new community in Vermont. The handmade creations were on display at the Heritage Mill Museum in Winooski, Vermont, before they were given away to refugees last week.
            The effort is part of the national Welcome Blanket project, which describes itself as a crowd-sourced artistic action supporting refugees settling in the U.S. Los Angeles activist Jayna Zweiman started Welcome Blanket in 2017 in opposition to Donald Trump’s candidacy speeches about building a wall between the United State and Mexico.
            As a grandchild of refugees, she grew up with family stories of her grandfather seeing the Statue of Liberty. That monument decades later still made him feel welcomed, she said.
            Just as the Statue of Liberty was seen as an inviting symbol for immigrants in the late 19th and early 20th centuries, Zweiman thought at the time: “What can we do in the 21st century as people are coming through these different ports to welcome them?”
            To date, thousands of blankets and notes have been created around the country for exhibits including in Atlanta, Chicago, Los Angeles and Winooski, Vermont. The blankets, accompanied with the personal notes from their creators, were then gifted to refugees at events, in welcome boxes, at their new housing or through charity groups.
            The project is geared toward refugees — people forced to leave their home or country to escape war, persecution or natural disaster — including Ukrainians who escaped the Russian invasion of their home country. But the blankets have also gone to immigrants.
            In Vermont, Aisha Bitini, who is originally from Congo, said that she loves the blanket she chose — a soft, crocheted piece made up of large squares of gold, maroon, off-white and gray.
            “I’m so blessed to have one of them,” she said, draping it over her shoulder. She picked it out at the blanket giveaway held last week at the Association of Africans Living in Vermont, or AALV.
            The note that came with the blanket “feels so special,” Bitini said, adding that she thanks the person who made “this beautiful blanket” and that she will “cherish it forever.”
            Kalyan Adhikari, who’s originally from Nepal, said the Vermont project was “such a kind and warm initiative.” He said it makes refugees feel welcome and little bit more like they’re home.
            “This makes my heart warm. I can’t thank them enough,” he said of the blanket-makers.
            The immigrant-refugee story resonated with Sonia Savoulian, of Los Angeles, when in 2017 then-President Donald Trump imposed a ban on travelers from certain majority-Muslim countries. Her ancestry is Armenian, and her family includes refugees and immigrants. She herself is an immigrant — and she also happens to make things with yarn.
            The Welcome Blanket project combines a creative outlet with a product that would help newcomers to the U.S. “feel an embrace, a welcome and an aspiration,” she said. Since making her first Welcome Blankets for an exhibit in Atlanta in 2018, she has made a total of about 50 such blankets.
            Zweiman said she hopes the blanket-making for refugees will become an American tradition.
            “I want this happening 50 years from now,” she said. “And I want a kid who took part in this, … when the next wave of xenophobia comes, to remember that he had actually physically made something for someone who was coming.”
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            Questions remain about the fate of Wounded Knee Massacre objects repatriated to Lakota and Sioux nations

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            A sign on of the Oglala Sioux Pine Ridge Reservation commemorating the Wounded Knee Massacre in 1890 Photo by Adam Singer, via Flickr
            Last November the Founders Museum, a small institution housed in a library in Barre, Massachusetts, repatriated 150 ill-gotten artefacts to the Laktoa and Sioux nations of Wounded Knee, South Dakota, the site of one of the deadliest massacres initiated by the US military against the Indigenous Americans.
            Many of the items in question—ranging from ritual clothing to moccasins—were believed to have been plucked from the battlefield in the wake of the carnage in 1890. Their return marked an important coda to a century-long struggle for members of the nations affected by that massacre, in which around 300 Lakota are believed to have been killed. But it also raised complicated questions about the next step in the recovery process, foremost among them: what happens after the artefacts go home?
            There isn’t yet consensus regarding the ultimate fate of the objects returned by the Founders Museum, according to a recent report by The New York Times. Some tribe members want to bury or burn the funerary items in accordance with religious practices, while others would like to see them displayed in museums run by tribal councils. Still others believe that the objects should be returned to the descendants of those who originally owned them.
            “It’s the tribe’s prerogative however they wish to utilise or reinvigorate the item,” Shannon O’Loughlin, the chief executive for the Association on American Indian Afairs and a citizen of the Choctaw Nation of Oklahoma, told the Times.
            Last year it was reveal that less than half of the institutions subject to the Native American Graves Protection and Repatriation Act of 1990 (NAGPRA)—which requires government-funded institutions to acknowledge their ownership of Native human remains and sacred objects—had returned those items to the groups to which they belong. In October 2022, the Department of the Interior proposed to overhaul regulations to speed up implementation of the act and repatriation of sacred cultural and burial objects, as well as human remains.
            The Founders Museum did not repatriate objects in its collection for decades, claiming it was not covered by NAGPRA because it didn’t receive federal funding. Last November’s repatriation occurred more 130 years after the Wounded Knee Massacre and a decade after an agreement was reached between the tribes and institution.
            Marlis Afraid of Hawk, whose grandfather survived the massacre, told the Times she supported burning the artefacts. “When your relative died, you burn their belongings”, she said.
            Ivan Looking Horse, whose ancestors were killed at Wounded Knee, advocated for a more varied approach. “Some things are for burning, some are for burying and some things are for educating,” he told the Times. “Others can be used for praying with generations to come”.
            For now, the objects are being housed at Oglala Lakota College in Kyle, South Dakota, where a caretaker will continue to pray over them daily.

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