Connecting People with Art since 1985
Explore the MFA’s rich collection of works by African American artists from the early 19th century to today. When you visit, rent the multimedia guide at Museum ticket desks and pick up a brochure for a self-guided tour. Sample the tour here or download onto your own handheld device for viewing in the galleries.
Hosted by Edmund Barry Gaither, Director of the Museum of the National Center of Afro-American Artists and curator of several past exhibitions at the Museum of Fine Arts, Boston.
Cheyney University of Pennsylvania will host celebrated musicians and artists in its 2011-2012 Arts and Lecture Series.
Included in the Arts and Lecture Series is an exhibition of paintings by artist Chidi Ozieh at the Biddle Hall Gallery at Cheyney University. A reception will be held Thursday, March 8, 4 – 6 PM. The display continues through March 30. Gallery Hours are Monday and Wednesday 10:30 – 1:30 and by appointment by calling 610-399-2334.
As an artist Chidi Ozieh has focused on music and drawing since his childhood. Initially painting with acrylics on linen canvas, he has since progressed to oils. Each of Ozieh’s paintings are part of a theme and tell a story. His painting styles include the Neo Mannerist style pioneered by the late Ernie Barnes.
Ozieh’s goal is to paint the world as he sees it, and to paint timeless pieces that speak to people on a human level and give them a different perspective. His love of music inspired the use of movement and vivid colors and each piece draws the viewer in and forces them to analyze what is in front of them.
Chidi Ozieh holds dual bachelor degrees in Music and Art from Thames Valley University, England. He was raised in both Nigeria and England, and has travelled extensively. He began his art career in 2006 in London, and has since moved his studio to the United States. A world traveler, Ozieh’s work is represented in prominent art collections in Europe and North America.
The Arts and Lecture Series provides an array of programs for the Cheyney University community and campus guests. The series is intended to further enrich the cultural experience on campus. The Arts and Lecture Series is sponsored by a grant Strengthening Historically Black Colleges and Universities (Title III).
All Cheyney University faculty, staff, and students have free admission with ID to all of the events. Please click on the Calendar to see the many exciting events.
Underlying Cheyney University’s 175-year history is Richard Humphreys, a Philadelphia Quaker. Due to his $10,000 bequest – one tenth of his estate – in 1837, and his charge to 13 fellow Quakers to design “an institution … (which would) have for its object the benevolent design of instructing the descendants of the African Race in school learning…” Cheyney University exists to this day. Furthermore, Humphreys initial bequest continues to support that institution which had originally been named “The Institute for Colored Youth.”
Each Founder’s Day members of the Richard Humphreys Distribution Committee recognizes the Humphreys scholars. Students honored this year included Whitney Davis, Adrese Hicks, Krystyna Lockley, Simeone Waters, Class of 2012; Kenneth Allen, Monica Effi, Dariana Vilorio, Erica Williams, Brittney Young; Class of 2013; Richard Coleman, Sha’Tique Martin, Danielle Milnes, Mikael Rahim-Nero, Christopher Stewart, Class of 2014; and Jasmyne Boggs, Nicholas Carter, Annemarie Gallagher, Class of 2015.
Several years ago, someone gave me a plaque that stated “A Good Woman.” While I was extremely appreciative, I find myself wondering often—What is a “good woman,” and what should I be doing to maintain my status as one?
When I think of the good women in my life, my thoughts drift to my mother—the first good woman I knew. She was the one who worked the night shift, so that she could be there for her children. Mom was also the person who made sure we looked good for Easter, special occasions, and proms, and she would frequently stay up all night designing and sewing our dresses, gowns, and finery for those special occasions. To me, she is still the ultimate good woman.
Bisa Butler is one of a few dozen artists who will be a part of the exhibit Wonderfully Made: African-American Fine Art in the Atrium at 6 Court St. in Morristown. On view Jan. 29-March 18, the other artists include Romare Bearden and Curlee Raven Holton, among others.
Ms. Butler has a wonderful, to-the-point artist statement:
“I want to make portraits of people that speak to the viewer on different levels. I want to be able to communicate who my subject is, their personality, and their lifestyle-not just what they look like. Using fiber as a medium allows me to say much more about my subjects. We respond to fiber differently than we do other mediums. When people see my work their first instinct is to touch it. Not only are their eyes getting a message, but their tactile senses are intrigued. Some of my work looks luxurious-you want to feel that smooth cool satin. Others are warm and make you feel comforted-you want to feel their softness. Still others are sturdy and worn, translating the roughness of the subject.
“I find people infinitely interesting, and I am always challenged to try and represent the multi-layers of the human psyche in an artistic medium.
“I made a quilt for my grandmother on her deathbed and I have been quilting ever since. With fiber art, I feel that I have finally tapped into a way to communicate emotion, art, heritage, tradition, and beauty to those who view my work.”
A painting major at Howard University, Ms. Butler started adding fabric to paintings “because Romare Bearden did that in some of his collages. Little by little the fabric took over the canvas.”
The Urban Cubist from Brooklyn New york.
Graduate of Parsons School of Design.
New York City Art teacher.
“My paintings combine the drama inherent in seventeenth century Dutch painting with the brush work and the economy of the Impressionists. However, I look to the jazz idiom more so than to other contemporary visual artists for guidance and inspiration. I tend to measure the success of my pieces by how they stand up technically, emotionally and innovatively to a Coltrane solo or whether I’ve captured the spirit of the occasion, a la Ellington. The subject matter, sometimes nostalgic recollections of my days as a young tough, covers a myriad of common folk activities. The setting usually my native Chester, is a beehive of creative stimulation or a deteriorating ghetto depending on my state of mind. At the very least, hopefully, these vignettes of experience will help to provide insight into some African American lifestyles and serve as an inspiration to my students and others to continue the legacy of African American participation in the arts.”
DETROIT, MI.- Two Figures and Landscape, a 1954 painting from renowned artist Hughie Lee-Smith (1915–1999), recently joined six other works by Lee-Smith in the Detroit Institute of Arts’ (DIA) “New Art for a New Self-Awareness” gallery in its suite of African American art galleries. The painting, which shows a couple on a rocky shore with a calm sea beyond them, is on loan from Warren’s Fitzgerald Public Schools, and its route to the DIA is an unusual one.
Faith Ringgold was born in 1930 in Harlem, where she was influenced by the artists of the Harlem Renaissance. After receiving a degree in art from the City College of New York, she taught art in the New York City Public School system for 18 years.
Ringgold is best known for her vibrant story quilts, where she paints a complex scene on a quilt, then surrounds the action with words to tell the story, such as in her “Tar Beach” and “Tar Beach II” quilts, or to add meaning, like in her “Freedom of Speech.” Her first book, Tar Beach was a Caldecott Honor Book and winner of the Coretta Scott King Award for Illustration. Ms. Ringgold currently works as a Professor of Art at the University of California in San Diego.
This self taught artist from Philadelphia has been well accepted in the art community in his first year. Expressing his acceptance in Christ and some political issues has taken many by surprise wondering what is to be expected in 2004.
When ask if he considered himself a spiritual or concept artist he replied, “I paint images which are a part of my everyday life. God, love, simply living trying to be the best I can at what ever I am trying to accomplish that day. I just love what I do and when I walk out into the world each day, there is so much to see, so much to paint. For tomorrow is not promised. So today I will say what I can, do as I must and paint what I can even if it’s just one stroke.”
Varnette Honeywood is a nationally recognized artist who has successfully owned and managed a mail order art business “Black Lifestyles” for 15 years, marketing her paintings, limited and open edition prints and note cards and several other African American artists. She has illustrated several books and provided artwork for book covers. Her work has been used in numerous television sets, most notably “The Bill Cosby Show”. She is collected by established art collectors in North America and was a much sought after speaker, as she inspired a new generation of artists. Honeywood held a Masters of Education from the University of Southern California.
Pay Me Like You Pay for New Shoes – “It is not bad to be rewarded for your efforts. You need money to buy new shoes! It is also about respect. Respect for the time and effort it takes to produce art. Respect for the money artists spend to purchase materials. Respect for the thousands of dollars some artists pay to get their training in traditional, and other art programs. Artists travel to learn, go to workshops and art centers that cost money. Why shouldn’t we expect a return on our investment to develop our skills as a doctor or a chef would?”
Joyce Owens, artist
I believe in hard work and play!
Specifically transforming unlikely materials and art media to produce my art, and employing a variety of techniques including assemblage that requires basic wood working, jewelry making, printing and stamping, collage, sgraffito, etc., makes every new work a new investigation and puzzles I have to solve. As with a Google search, the elements I use can change the responses, sometimes dramatically. I like to work in series tending more towards 20 expressions on one visual or theoretical idea, but rarely isolated one-of-a-kind works.
I take, seemingly, unrelated expeditions that lead me to other ideas. I choose a chaos-to-order approach when I work, mostly enjoying not anticipating the exact results. Landscape is a re-occurring part of my paintings. I observe and photograph the land extensively; so far I have not shown the photos as stand alone art works.
Race issues are critical to my work; I measure my responses so the conversation does not accuse, but rather reminds and informs. Teaching is a natural instinct for me, lecturing about how artists addressed beauty, personal pain and injustice, religious beliefs and love.
I don’t have the luxury to not address race, an issue that constantly touches my life and the lives of my family and friends, and is still a national dilemma. Gender issues are significant and are addressed in my art and in writing on my blog.
I never wonder what is next when it comes to my art practice. I never run out of ideas. I never feel that art making is a chore. It is my enduring passion and, my family aside, the love of my life.
The list of artists who have influenced my work is extensive.
visit www.joyceowens.com
