HORACE PIPPIN Painter (1888-1946)

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Horace Pippin, a self-made creative artist, was born in West Chester, Pennsylvania, in the year of 1888. His early boyhood was spent in Goshen, New York, where his father was a laborer and his mother a domestic. Pippin always enjoyed drawing, particularly of objects or images he saw in his surroundings. Pippin’s father died when he was fifteen, therefore, he quit school to take care of his mother who was in ill health. When she died in 1911, Pippin moved to Paterson, New Jersey, as a moving and storage company worker. He later took a job as a shoe molder for the American Brakeshoe Company. By 1917, America was engaged in the EUROPEAN WAR (World War I). Pippin volunteered for the Army unit and was assigned to the 15TH ALL BLACK INFANTRY REGIMENT, after receiving his army training at FORT DIX in New Jersey. Pippin’s unit was transferred to served under the FRENCH FORCES in 1918 as part of the 369th Infantry. Corporal Pippin was a squad leader, and, during one of the heavy German artillery barrages, he was seriously wounded in his right shoulder. His entire Regiment received the French Croix de Guerre for honorable distinction for their war efforts. Pippin was hospitalized in France for five months. Rehabilitation therapy did little to restore Pippin’s use of his injured shoulder, but it made him focus more on strengthening the use of his right hand.

On his return to America in 1920, Pippin moved to Westchester, New York, where he married Jennie O. Featherstone, a widow with a small son. Pippin was full of memories about his life in the military and his living as an African-American in the 1920’s. He desperately wanted to develop his interest in the area of painting, but his weak shoulder only allowed certain mobility. By 1929, Pippin devised a method of using a hot iron poker for gouging out composed creations into wood panels. He then filled in the panels with colorful paints. As shown in the photograph, he held his right hand in place with the use of his left hand. By 1931, his first major work, THE END OF THE WAR: STARTING HOME, was completed. Pippin continued to work on his paintings for eight years. In 1938, Holger Cahill, curator of the New York Museum of Modern Art, was alerted to Pippin’s unusual talent by Dr. Christian Brenton of the Westchester Art Center and the notable illustrator, N.C. Wyeth. Four of Pippin’s works were immediately accepted by Cahill and shown at the New York Museum’s 1938 exhibition called the MASTERS OF POPULAR ART.

This important acceptance lead to a call for several One Man Shows featuring his works. Several museums and foundations also wanted to acquire the works of HORACE PIPPIN. How could this be happening? Art critics called this “new find” the work of an “AUTHENTIC” American voice. Because Pippin had no specialized training, such as those African-American artists trained in the academic or European influences, he was regarded as a purest in his creations. Later curator, Judith Stein of the Pennsylvania Academy of Fine Arts, called his works a “SPIRITUAL SELF-PORTRAIT.” Before his death in 1946, Pippin had produced 137 known paintings, including his burnt wood panel paintings. His works encompassed: war scenes, events of people in different genre, small town typical scenes, animal scenes, and religious images. Pippin once said, “PICTURES JUST COME TO MY MIND; I THINK THEM OUT WITH MY BRAIN, AND THEN I TELL MY HEART TO GO AHEAD.” Horace Pippin was offered free training by several art institutions, but his zeal to produce art creations his way shied him away from formal training.

In 1944, Horace Pippin’s wife, Jennie, was committed to the state mental hospital at Norristown, Pennsylvania, and his only son entered the military for active duty during the next great war, World War II. For the next two years of his life, Horace Pippin kept busy and produced an enormous collection of paintings. It is said that they are “autobiographical,” for they came from his vision of what his world was like. Horace Pippin died of a stroke on July 6, 1946. His wife died at Norristown ten days later. In 1994, The Museum of American Art of the Pennsylvania Academy of Fine Arts in Philadelphia organized a touring exhibit entitled, I TELL MY HEART: THE ART OF HORACE PIPPIN, which toured from January 21, 1994 – April 30, 1995.

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GREAT DEPRESSION OF 1929 – THE WORKS PROGRESS ADMINISTRATION WPA

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The GREAT DEPRESSION OF 1929 brought to the ARTS a slow demise of artistic backings such as the HARMON FOUNDATION. Even though the FOUNDATION ended its support in 1967, the important Annual Awards Competition ended earlier in 1933. Visual artists such as SELMA BURKE, AUGUSTA SAVAGE, JOSEPH DELANEY, ROMARE BEARDEN, BEAUFORD DELANEY, LOIS MAILOU JONES, HORACE PIPPIN, ALAN ROHAN CRITE, JACOB LAWRENCE, ELDZIER CORTOR, NORMAN LEWIS, and HUGIE LEE-SMITH blossomed in the heart of these hard times of the 1930’s. Support and recognition for the visual artists was forthcoming and grew via the United States government under FRANKLIN D. ROOSEVELT and the NEW DEAL. He established, in December of 1933, the first federal PUBLIC WORKS OF ART PROJECT (PWAP) under the division of the U.S. TREASURY DEPARTMENT. This created Arts work project was ineffective, and only a few artists received commissions, mostly as MURALISTS for State and Federal buildings. After four and a half months, the PWAP ceased to function. It was later, in 1935, that President Roosevelt created the WORKS PROGRESS ADMINISTRATION (WPA).

The WPA provided a less restrictive environment for all American artists, but this helped the African-American visual artists to surge to newer heights. Art took on a new meaning. HUMAN and SOCIAL CONDITIONS could be expressed. POLITICS and ART fused, and historical and current social injustices were allowable manifestations in the creation of art pieces. PHILADELPHIA, BOSTON, WASHINGTON, D.C., and SAN FRANCISCO became meccas for a large number of African-American visual artists. The WPA of 1935 gave these artists the necessary time to develop their acclaimed skills. The first in a series of experienced African-American visual artists under the WPA went on to become the first university professors of ART. The WPA also helped in the creation of less restrictive art forms coming from African-American artists. MIXED MEDIA, ABSTRACT ART, CUBISM, and SOCIAL REALISM were now acceptable and desirable creative expressions.

When the artists of the WPA began to swell in numbers, they united and formed the HARLEM ARTISTS GUILD in 1935. This beginning helped to organize groups of artists into unions which allowed them to share in available places for exhibiting their works. Churches, storefront, and community-based fundraising efforts came on the scene, and finally it became in vogue to celebrate the creations of the African-American Visual Artists. The Harlem Artists Guild therefore became a catalyst and model for the support and development of other COMMUNITY ART CENTERS in larger cities across America. These centers now provided studio space plus free classes in a variety of expanded visual art forms. DRAWING, SCULPTING, PRINTMAKING, PAINTING, POTTERY, QUILTING, WEAVING, and PHOTOGRAPHY were some of the skills developed by promising visual artists. But, by 1938, the WPA was in trouble, and the HOUSE SUBCOMMITTEE ON APPROPRIATIONS called it costly and that the art projects were “fraught and subversive.” By the end of 1939, the entire WPA and arts projects division were terminated, and many African-American artists had to give up on the labor of producing creative pieces of art.

The 1940’s and 1950’s were not easy times for the African-American visual artists. Only the acceptable, critically acclaimed few were able to work and produce lucrative pieces of art. Patrons of the arts were still mostly white and wealthy. Good reviews and widespread exhibitions were the only avenues for survival for the African-American visual artists. The ART GALLERIES during this period were extremely selective as to WHO and WHAT were going to be shown in their galleries. In the beginning, only the selected acceptable works of JACOB LAWRENCE, ROMARE BEARDEN, and HORACE PIPPIN entered the exclusive world of THE GALLERY SCENE. Very few African-Americans before 1960 received the invitational embrace to show their works in well known galleries.

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America’s first African American Astronaut Candidate & Visual Artist

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A man whose resume reads: former Air Force Test Pilot, America’s first African American Astronaut Candidate, Computer Systems Engineer, Aviation Consultant, restauranteur, real estate developer, and construction entrepreneur can best be described as a true renaissance man. Ed Dwight has succeeded in all these areas. However, for the last 3o years, Ed has focused his direction on fine art and sculpture, large scale memorial, and public art projects. Since his art career began in 1978, after attaining his MFA in Sculpture from the University of Denver, Ed Dwight has become one of most prolific and insightful sculptors in America.

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Alan Dean is an admired African American artist

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I respect the artists involved in abstract art, but personally, I prefer to
present life without distortion,” says Alan Dean. “Along with aesthetics, I
would rather have a message, too.”

Alan Dean is an admired African American artist, known more for his Black
art prints and reproduction. Portraits of Mohammed Ali, Malcolm X, Martin
Luther King, and many more.

” Being an Afro-American myself, I am comfortable with presenting my
perspective on Afro-Americanna.”Alan has participated in the
International Conference of Artists Art Show that took place in Dakar
Senegal, West Africa.

Four of his Black Art prints were used by Spike Lee in his movie, School
Daze.

A portrait of Mohammed Ali, by Alan Dean, hung at Ali’s training camp.

Alan’s most recent works of art were produced while traveling to several
of the Caribbean Islands.

Born July 15, 1953 in Baltimore, Maryland, Alan started drawing around the
age of four.

Alan attended Mergenthaler Vocational Technical High School in Baltimore
for Commercial Art and took additional training at Schuler’s School of the
Fine Art, that is also located in Baltimore.

Several of Alan’s works are in private collections around the United
States. Alan says, ” I was really surprised when I received a letter from
Patti Laballe expressing how pleased she and her husband were with
their Stymie art print and that it made a nice addition to their living room.

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Market Day by Alan Dean

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$3500

Alan’s most recent works of art were produced while traveling to several of the Caribbean Islands.

Born July 15, 1953 in Baltimore, Maryland, Alan started drawing around the age of four.
Alan attended Mergenthaler Vocational Technical High School in Baltimore for Commercial Art and took additional training at Schuler’s School of the Fine Art, that is also located in Baltimore. Several of Alan’s works are in private collections around the United States. Alan says, ” I was really surprised when I received a letter from Patti Laballe expressing how pleased she and her husband were with their Stymie art print and that it made a nice addition to their living room.

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Artist’s stature rises over century

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Christ appears as a blurry form in Tanner’s “The Disciples See Christ Walking on the Water.”

IMAGES COURTESY OF THE DES MOINES ART CENTER

Artist’s stature rises over century
by MICHAEL MORAIN • mmorain@dmreg.com

Over the years, the Des Moines Art Center’s acquisition committee has had a pretty good track record of buying work by artists on their way up. Some artists’ stars rise quickly, while others take years to be recognized beyond the relatively tight orbit of the art world.

In the case of Henry Ossawa Tanner, whose shimmering dream-like landscapes and religious paintings are part of a small show that went up Friday just off the main gallery, his fame is still expanding almost 90 years after the Art Center scooped up the first of four of his works in its collection. One of the museum’s founders, a local bridge builder named J.S. “Sanny” Carpenter, spotted Tanner’s talent in the 1910s – decades before scholars recognized him as one of the 19th century’s best African-American artists, whose work belongs next to more famous (white) contemporaries such as James Whistler and John Singer Sargent.

“Tanner’s an artist whose stature has continued to grow over time because of the quality of the work,” said the Art Center’s Laura Burkhalter, who curated the show. “It’s really amazing that we have four of his pieces.”

Those four – plus a Tanner portrait of Booker T. Washington that the Iowa Federation of Colored Women’s Clubs commissioned for what is now the State Historical Society of Iowa – anchor the new exhibition, which was prompted in part by an upcoming retrospective at the Pennsylvania Academy of the Fine Arts, where Tanner was the first black student to attend. After the Des Moines show closes at the end of February, the five Iowa paintings will be sent to Philadelphia before they travel to museums in Atlanta and Houston.

“It was the perfect time to highlight them before they’re seen by the whole country,” Burkhalter said.

Born to an African Methodist Episcopal bishop in 1859, Tanner spent his early years on the East Coast. He struggled as an artist until his early 30s, when he sold enough paintings to move to Paris, where racial discrimination wasn’t as widespread. (The American painter Mary Cassatt, whose work is displayed with that of Auguste Rodin and Paul Gaugin in the new show, moved to France around the same time to escape American sexism.)

Tanner’s career took off in Paris. He traveled widely through Europe and as far east as Egypt and Palestine and painted scenes from the Bible stories he remembered from childhood. His luminous visions of Jesus Christ’s walk on water (1907) and reading lesson (1910-1914) are the two stronger works in the Art Center’s collection, glowing with soft light and swirling blues and greens.

“His use of color was just amazing,” Burkhalter said. “You can see how he wove together Impressionism, Realism and other styles from the time.”

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Chocolatecity.cc Interviews Painter Dana Todd

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Born and raised in Chicago, IL., Dana struck the artistic nerve early on. Having never taken a single painting lesson, her gifts, she proclaims, are a testament from God that reminds her to remain humble. She proudly states, “It’s the first thing I knew I could do well and I know it’s what God made me to do.” The focus of her ingenuity is African-American children and families.

Aiming to build and articulate pride in one self, she proclaims is her foremost inspiration.While distinctively displaying her thoughts and emotions on canvas, Dana Todd becomes the flare that guides any brush she embraces. Dana is sure to be the next big thing in the art world. Creatively affirming the African- American family and its age old tradition at its best, she has proven that she can be versatile in any genre of her craft. From modeling, to acting, to designing, this rising young artist is the perfect quadruple threat.

Some of Dana’s current clients include artist, songwriter, and producer AnthonyHamilton and patrons of prominent art gallery in the historical Bronzeville neighborhood of Chicago, Gallery Guichard. In early 2007, Ms. Todd had the privilege of showcasing and selling in the National Black Fine Arts Show (NBFAS) in New York City. From the five thousand works in NBFAS, she had the honor of her painting, “Knowin’ Where I Come From,” be one of twenty pieces selected by Macy’s New York. She was featured in an exhibit amongst the works of acclaimed artists Charles White, Barkley Hendrix, and Robert Graham Carter in Macy’s Herald Square store. This Summer Ms. Todd debuted and sold at another major show, “Embrace,” held at the Mason Murer Gallery in Atlanta, Georgia.

On November 18, 2007, Dana was named Grand Prize Winner of the A.R.I.S.E. (To Actively Raise and Inspire People to Successfully Build Businesses with Excellence) Business Plan Writing Competition held by The Salem Baptist Church Of Chicago partnered with The Chicago Urban League. She won $5000 seed money for her book publishing company, a business consultant and a one year membership to the Chicago Urban League.

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ChocolateCity.cc Interviews contemporary artist Daria Amerik

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By: Charles Mombo on Twitter @CharlesSMombo,
www.ChocolateCity.cc on Twitter @burnedbrass

The Academy Award does not have an award category for, “Artist who brings diversity to the Arts.” If they did have such a category, the beautiful and talented Daria Amerik of Chicago, Illinois will win, hands down.

This hardworking and fine art major from the School of the Art Institute in Chicago has made a name for herself in the fashion and art industries. Daria’s artistic portfolio is not only pretty widely spread, she also maintains a unique style. She has exhibited her work in galleries, art centers and museums nationally and has also created a jewelry line called ICANDI. She currently operates a showroom for her jewelry line in the Chicago’s South loop area, and coordinates special events to feature other artists. According to Daria, “I started drawing as early as 3rd grade…. I came here from Russia as a child. I didn’t know English so drawing was my only way to communicate with my fellow classmates…. it all started there and I have been doing art professionally now for over ten years.”

Thanks to Facebook; because Daria is a friend of a friend, I sent her a friend request. In her Facebook profile picture at the time, she was standing in front of two beautiful artworks that immediately caught my attention. The intent of my friend request was for one reason and that was to ask couple of question – “What is the name of the artist that did the work you are standing in front and where was the picture take? To make a long story short, Daria’s picture was taken while she was at the Gallery Guichard Fine Art Gallery on 3521 South King Drive, Chicago and she was standing in front of works that were created by those gifted hands of hers.


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Beauty and race mix in artist Ewing’s work – Wanda Ewing

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By RICK BROWN Hub Staff Writer |

KEARNEY — Wanda Ewing wants to focus her paintings on the idea of feminine beauty.

“It’s coming from the voice of being black and female,” the Omaha artist said of her work. “I’m living in an area where I don’t possess the conventional beauty standard. And I don’t see that reflected back in the media.”

Black feminine beauty standards send a confusing signal, she noted. In her artist statement Ewing writes: “This work was just the beginning of an exploration into how we as a society define feminine beauty and how race factors into this evaluation and conclusion, where they have been made, whether spoken or implied.”

Two large paintings, both part of the artist’s series “The Great Garden,” are part of “A Greater Spectrum: African American Artists of Nebraska 1912-2010” now on display at the Museum of Nebraska Art through April 3. The show features 91 pieces of art by 22 African American artists with ties to Nebraska.

WHEN AND WHERE

“A Greater Spectrum: African American Artists of Nebraska 1912-2010,” curated by Teliza Rodriguez, now on display through April 3 at the Museum of Nebraska Art, 2401 Central Ave. 865-8559; www.mona.unk.edu. Open 11 a.m. to 5 p.m. Tuesday through Saturday and 1-5 p.m. Sunday. Free admission. The show includes paintings, drawings, prints, photography, sculpture, ceramics and glass work.

e-mail to:

rick.brown@kearneyhub.com

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The Problem We All Live With

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Published on 12 December 2010 by JClowe in Current Exhibitions

November 13, 2010 through January 31, 2011 in the Museum Library
(open Tuesdays, Thursdays, and Saturdays, from 1 to 4 p.m.)
Norman Rockwell Museum 9 Route 183 Stockbridge, MA 01262 413-298-4100 x 221

“I guess that my philosophical approach to life is that I am fascinated with the human individual and his complicated environment. . . ”
—Norman Rockwell, 1967

Norman Rockwell’s first work for Look magazine was published in early 1964. A dramatic two-page spread of a young girl desegregating an all-white school, The Problem We All Live With acknowledged the ten years that had passed since the United States Supreme Court outlawed segregation in public schools. Rockwell drew inspiration from the experience of Ruby Bridges, whose November 14, 1960 entrance into the Williams Frantz Public School was met with racist jeers and picket signs. His poignant piece was a departure from the idealized narratives he had become known for, and it was only his first of many illustrations motivated by real-world concerns.

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And Still We Rise: Our Journey Through African American History and Culture

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Ongoing Exhibition

This long-term exhibition serves as the central experience of the museum. The 22,000 square-foot exhibition space contains more than 20 galleries that allow patrons to travel over time and across geographic boundaries.

The journey begins in prehistoric Africa, the cradle of human life. Witness several ancient and early modern civilizations that evolved on the continent. Cross the Atlantic Ocean, experience the tragedy of the middle passage and encounter those who resisted the horrors of bondage, emancipated themselves and sometimes took flight by way of the Underground Railroad. Throughout this trip, the efforts of everyday men and women who built families, businesses, educational institutions, spiritual traditions, civic organizations and a legacy of freedom and justice in past and present-day Detroit are hailed. What an awesome journey!

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Restaurant Decor Ideas: Serve Unusual Framed Art with the Meal of the Day!

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If you feel your restaurant decor is drab, spruce it up with unusual framed art. Every wall can tell a story from the past, reflect a certain theme, or create the dining atmosphere you want for your patrons. There are paintings and posters to reflect almost any theme. From African-American art to Latin art, and even Native art – there’s something for every type of restaurant! Here are some great ways to enhance the look and feel of your restaurant with unique framed art.

Jazzy Theme for the Musical Atmosphere

If you want to create a “jazzy” theme, choose framed art that reflects musicians and musical instruments in action. There are several amazing African-American paintings by Bearden that bring the jazz or blues scenes to life with saxophones, guitars, drums and other instruments. Diners will be in the mood for some relaxing live music once they catch a glimpse of your attractive framed art of musicians!

1950s Theme – A Walk in the Past

For a “malt shop” style restaurant, there’s nothing better than some great framed prints or posters from the past. Create a nifty atmosphere with framed art or posters of Elvis Presley, classic automobiles, or 1950s-style cafes.

Classical Elegance

Use classical framed art to create an elegant dining experience for your customers. Try gorgeous prints such as Diego’s “The Infanta Margarita Teresa in a White Dress” or “Museo del Prado” to illuminate each wall in your restaurant or cafe. Classical framed art can be matched with your restaurant colors or table colors, and you can choose from many styles of elegant wooden frames to complete your decor.

Give your Restaurant Personality with Cultural Themes

If you want to portray a cultural theme in your restaurant, you can choose from a variety of Latin art, African-American art, Native art or other cultural themes to suit your tastes. These come in all different colors, themes and frames so you can easily match paintings to your restaurant decor.

More Framed Art Tips

Don’t stop with paintings! Add a touch of individuality to your “walls of art” with other unique home decor items such as wall sconces, wall mirrors, wall fountains and wall plants or flowers. These will attract attention to your framed art so customers will take notice as soon as they enter your restaurant. You can even use small spotlights above or beneath the paintings to illuminate them and add soft lighting to every wall.

Place matching flowers or candles on each table to create a romantic atmosphere. Or, use your table centerpieces to complement the theme of your paintings – no matter what the theme. The possibilities are endless!

Using framed art to decorate your restaurant is easier today than ever before. There are almost unlimited resources online to find all the framed art you need!

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North Carolina Central University Art Department

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The NCCU Department of Art offers students the opportunity to earn their Bachelor of Art degree in Art. Students may choose to concentrate in Visual Communications, Studio, Art Education, or General Art Studies.

Each concentration provides challenging instruction in an intellectually stimulating environment where students become informed and well-rounded artist, designers, and teachers. In their first year all students must complete six foundation courses that are prerequisites for all upper level coursework.

The Art Department sponsors a number of free public events a year, ranging from student and faculty exhibitions in collaboration with the NCCU museum of Art, panel discussions, workshops and symposiums. Every year, there is a full array of art activities. All the artistic media taught in the Art Department are represented. Art faculty, staff, students, and alumni often give lectures or exhibit their work locally, regionally and internationally. This page will bring such information as frequently as possible.

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Naomi Sims

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Naomi Sims: March 30, 1948 – Aug. 1 — Sims is widely credited as being the first African American supermodel. Her key breakthrough came when she was selected for a national television campaign for AT&T, which showed her and two other models — one white and one Asian — wearing fashions by Bill Blass. After modeling, she expanded into a multimillion-dollar beauty empire and at least five book on modeling and beauty. She died of cancer.

African-Native Americans focus of Aurora U exhibit

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By al benson

“IndiVisible: African-Native American Lives in the Americas,” a Smithsonian Institution traveling display focusing on African-Native American people, will be exhibited at the Schingoethe Center for Native American Cultures at Aurora University from Dec. 17 to Feb. 27.

The 20-panel exhibit, part of the museum’s 20th anniversary celebration, is free to the public at the center in Dunham Hall at 1400 Marseillaise Place in Aurora.

Hours are 8 a.m. to 4:30 p.m. Monday, Wednesday, Thursday and Friday; 8 a.m. to 6:30 p.m. Tuesday and 1 to 4 p.m. Sunday. Free parking is available adjacent to Dunham Hall.

A reception for “IndiVisible” will be held from 4:30 to 6:30 p.m. Jan. 13 at the center. The public is invited. Call (630) 844-7843.

‘We are so pleased to be able to bring this exhibit to our campus and our community to shed light on an area of Native and African American studies that is not known to most Americans,” said Meg Bero, Schingoethe Center executive director,

The exhibit was produced by the National Museum of the American Indian in collaboration with the National Museum of African American History and Culture and the Smithsonian Institution Traveling Exhibition Service.

Generous support came from Akaloa Resource Foundation and the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Through the themes of policy, community, creative resistance and lifestyles, the display includes stories of cultural integration and the struggle to define and preserve identity.

The daily cultural practices that define the African-Native American experience through food, language, writing, music, dance and the visual arts, are also highlighted.

The exhibition was curated by leading scholars, educators, and community leaders. The display addresses the racially motivated laws that have been forced upon Native, African American and mixed-heritage peoples since the time of Christopher Columbus.

Since precolonial times, Native and African American peoples have built strong communities through intermarriage, unified efforts to preserve their land and by taking part in creative resistance.

These communities developed constructive survival strategies over time, and several have regained economic sustainability through gaming in the 1980s.

A 10-minute media piece is featured with interviews obtained during research and work on the exhibition with tribal communities across North America.

The museum’s 20th anniversary celebration continues Feb. 8 at 6:30 p.m. with the lecture “Black, Red and Deadly: The Cherokee Frontier Police of the Indian Territory Cherokee Slave Revolt of 1842” by author Art Burton.

The museum opened in 1990 as a place to display some of the 6,000 artifacts donated by collectors Herb and Martha Schingoethe.

The late Aurora couple also funded the construction of Dunham Hall and the museum on its lower level.

Call (630) 844-7843, e-mail museum@aurora.edu or visit aurora.edu/museum.
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