South is beckoning blacks back home

Between 1900 and 1940, some 2 million black Americans left their native South to escape racial oppression and seek opportunities in the North. It was called the Great Migration. Now many blacks are coming back – not only because of Sun Belt opportunities, but also because our region has become a better place.

New laws, generational change, an influx of newcomers and the courage and commitment of native blacks and whites combined to break white supremacy’s grip on our region.

A recent front-page story in the New York Times told of one family that is part of this trend. The headline said “Seeking New Life, New York Blacks Heed South’s Tug.” A photo showed 27-year-old Candace Wilkins, her mother and grandmother, who were planning to move to Charlotte.

Here they will find a black mayor and black police chief, plus a new African-American art museum named for architect Harvey Gantt, Charlotte’s first black mayor. In North Carolina, where a violent white supremacist takeover disfranchised blacks at the beginning of the 20th century, the legislature has acknowledged and apologized for that injustice. Barack Obama carried the state in 2008.

While African-Americans’ percentage of the U.S. population hasn’t changed much over the years – it was about 14 percent at the time of the Civil War and 12.6 percent in 2010 – their location has. Before 1900 some 90 percent of blacks lived in the South; today just over 50 percent do. But demographer William Frey of the Brookings Institution notes that since the 1990s, 75 percent of the growth of the U.S. black population has taken place in the South.

The 2010 Census found that since 2000 North Carolina’s population increased 18.5 percent to 9.5 million, and its black population increased 17.9 percent to 2 million – the sixth-largest black population of any state. North Carolina in 2010 was 21.5 percent black, and Charlotte was 35 percent, up from 32.7 percent in 2000. (Among the other largest N.C. cities, Raleigh had 29 percent black population, Greensboro 40, Winston-Salem 34, Durham 38 and Cary 8.)

Isabel Wilkerson examined the Great Migration in her 2010 book, “The Warmth of Other Suns.” The title is from a poem by Richard Wright, who left Mississippi for Chicago in 1927. Wright wrote that he was taking part of the South to “transplant into alien soil.” He wanted to “see if it could grow differently, / If it could drink of new and cool rains, / Bend in strange winds, / Respond to the warmth of other suns, / And, perhaps, to bloom.”

Bloom it did, in so many ways and places that for years one of the South’s most costly exports was black talent.

Wilkerson, commenting on the 2010 Census, told the Associated Press, “African-Americans are acting as other Americans would – searching for better economic opportunity in the Sun Belt. But there is also a special connection. As the South becomes more in line with the rest of the country in social and political equality, many are wanting to connect with their ancestral homeland.”

Martin Luther King Jr. believed “The arc of the moral universe is long, but it bends toward justice.” As he envisioned, blacks who left the South, or their descendants, may now see their talents bloom in the warmth of the Southern sun.

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“Material Girls: Contemporary Black Women Artists,”

Dr. Donna Hollie will discuss the efforts of the African American community both enslaved and free to improve the economic, religious, educational and political climate in one of Baltimore’s oldest neighborhoods. Visitors may bring lunch or purchase lunch from the museum cafe. For more information, or to register, call 443-263-1816. Cost is $5, includes museum admission.

Thursday, July 14, 5-8 p.m. Thursdays at the Lewis. Tour the museum after work. Every Thursday this summer, the museum offers extended hours from 5-8 p.m. for a reduced admission price. Cost is $5; members are free.

Thursday, July 21, 5-8 p.m. Third Thursdays at The Lewis featuring Elliot Levine and Urban Groove.

Includes free appetizers and cash bar. Cost is $5; members are free.

Saturday, July 23, 11 a.m.- 2 p.m. Art Workshop: Mastering Beads with Joyce Scott. Learn the peyote stitch and create a beadwork project with renowned “Material Girls” artist Joyce J. Scott. This workshop is open to all. In conjunction with Material Girls: Contemporary Black Women Artists.

For more information or to register, call 443-263-1829. Cost is $20 for supplies and materials.

Thursday, July 28, 6:30 p.m. Lines Connect Book Club: “Money Can’t Buy Love” by New York Times best-selling author Connie Briscoe. For more information, call 443-263-1827.

The Maryland Zoo in BaltimoreWednesday, Saturday and Sunday, through Aug. 31, from 10:15 – 11:15 a.m., “Walk on the Wild Side,” for ages 5 and up. Join a zoo educator for a walk through a featured area of the zoo. Gather at Base Camp Discovery by 10:15. Free with regular Zoo admission.

July 23, 11 a.m. – 1 p.m., “Big Cat Awareness Day, at the Cheetah/Leopard Exhibits/Base Camp Discovery. Learn about the zoo’s cheetahs, lions, and leopards as they engage in special enrichment activities. Free with regular zoo admission.

Aug. 14, 11 a.m. – 1 p.m., s. Animal Enrichment Day, at Base Camp Discovery/ zoo grounds. Watch as the animals receive special treats, like “fishsicles” and papier maché toys, and zookeepers explain the importance of enrichment activities. Free with regular zoo admission.

For more information, go to www.marylandzoo.org, or www.facebook.com/marylandzoo, or follow on Twitter @MarylandZoo.

CASA – or Court Appointed Special Advocates – is recruiting participants for Team CASA at the Baltimore Running Festival in October. The organization speaks up for abused and neglected children to ensure they reach safe, permanent homes.

Race participants can run or walk in the Baltimore full marathon, half marathon, 5k or team relay. Runners will be asked to solicit sponsors, where all proceeds will support efforts to recruit more volunteers to serve as advocates. Prizes will be given to the biggest fundraisers. For more information, or to register before June 30, call 888-833-2272, or go to www.GoTeamCASA.org.

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Black artists show African-inspired comics can sell

Hyde Park native Turtel Onli said the comic book industry has come a long way since he decided to self publish “NOG” in the early 1980s. He said companies then were surprised to learn that he was black at face-to-face meetings.

“I can remember when I went to a mainstream comic company is the 1970s, the guy I went to meet with said to me, ‘Do black people read?’” Onli said. “And then I went back a couple of years later, and he was like ‘Do black people understand science fiction?’ ”

The answer? They sure do, and even have a whole comic book convention dedicated to their work. Last weekend, the Black Age of Comics held its 14th annual convention as part of the DuSable Museum of African American History’s Arts & Craft Festival. The event brought together comic book artists, illustrators and writers who create African-inspired images.

From a business standpoint, there has been a question about African-American superheroes — especially female ones — and whether or not their comic books will sell. Recent evidence points to yes, with “The Vampire Huntress” by L.A. Banks taking off, according to Eric Battle, a Philadelphia illustrator who has done work for Black Age of Comics and DC Comics. He says these conventions help the artists connect.

“During the year, we don’t get to see one another and see how many of us are in the field of illustration and comic books,” said Battle, who has participated for the last three years.

Battle added that the conventions help to inspire future illustrators. Take Lauren White Jackson, 13. She’s set to release her first comic book later this year, about teens who turn into wolves. Jackson said that her interest in comics started during the Pokemon craze.

“My goal in life is to have an anime movie and have it be famous,” Jackson said. “I’m really working on that. I want to start off with comic books now, and then turn them into animation.”

Next up for White is developing her 2D animation skills and creating the musical score for her movie.

Comic books were just one of the many things to check out at DuSable’s festival. There were musical performances, food, handmade jewelry and African-inspired art. Monique Pollard, who with her friends Judith Penn and Sandra Powell run a group called Chicago Good Social, posted an invite at Meetup.com to bring people out.

“I love festivals,” Pollard said. “It’s a good place to be.”

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Your guide to the National Black Arts Festival


“Unexpected Encounters” is the theme of the 2011 National Black Arts Festival, and, indeed, there are many acquaintances worth making (or renewing) as the popular event hits full stride this week. Centered in downtown and Midtown Atlanta, especially next weekend when Centennial Olympic Park becomes the festival’s nexus, the NBAF continues through July 17. Here’s a rundown:

Performances, programs

– Chuck Davis, creator of African dance celebrations in New York, Washington and Chicago, launches DanceAfrica! Atlanta, 8 p.m. Saturday and 3 p.m. July 17. The concerts will feature South African contemporary dancer-choreographer Vincent Mantsoe; traditional South African gumboot dancing from Lesoles Dance Project; Atlanta’s Giwayen Mata dance troupe; and master kora player and griot Diali Keba Cissokho. $25. Rialto Center for the Arts, 80 Forsyth St., Atlanta.

– “Interpretations: Black Visual Art – Past, Present and Future” pays tribute to five master artists (Elizabeth Catlett, Samella Lewis, Betye Saar, Richard Mayhew, Thornton Dial and David Driskell) and also celebrates the centennial of Romare Bearden birth, 8 p.m. July 14. $25-$45. Symphony Hall, 1280 Peachtree St., Atlanta.

– The O’Jays, standouts in last year’s multi-artist tribute concert to Curtis Mayfield, return for the 2011 Legends Celebration, 8 p.m. Friday in Symphony Hall. $35-$65. Symphony Hall.

– The Atlanta Symphony Orchestra plays its annual festival-closing concert at Ebenezer Baptist Church at 7 p.m. July 17. Free. 407 Auburn Ave., Atlanta.

In Centennial Olympic Park

  • The International Marketplace, July 14-17, will feature more than 100 vendors and artists peddling carved-wood sculptures, handmade jewelry, clothing and more. 5-9 p.m. Thursday, 10 a.m.-9 p.m. Friday-Saturday, noon-8 p.m. Sunday. Free.
  • On the NBAF Main Stage, July 15-17, the musical menu covers gospel, the blues, jazz, world music and more. Artists include Sandra Hall, Río Negro, Joyce Cândido, Nanny Assis, Orquesta MaCuba, Donnie, Kathleen Bertrand, Gregory Porter and Omar Sosa, and there will be a tribute to Gil Scott-Heron featuring Malcom Jamal-Warner, Joi and Jessica Care Moore (at 1:45 p.m. July 17). 5-9 p.m. Friday, 10 a.m.-9 p.m. Saturday, noon-8 p.m. July 17. Free.
  • The Children’s Education Village features a variety of hands-on experiences for ages 5-12, including a visit to a kid-sized version of Martin Luther King Jr.’s boyhood home, a hands-on African village and a family stage. Noon-4 p.m. Saturday and July 17. Free.

Exhibits

  • “Inside & Out,” sculptures by Melvin Edwards and works on paper by Peter Saul, opens Friday at Atlanta Contemporary Art Center. The artists make reference to the everyday world and socio-political realities: Edwards by using chain, bolts and tools in his compressed wall sculptures; Saul through the use of cartoon imagery depicting public figures, food and language. Reception 8-10 that night. Through Sept. 18. 535 Means St., Atlanta.
  • Atlanta photographer Sue Ross’ “Sankofa, Looking Back to Move Forward,” opening Friday at the Rialto Center for Performing Arts, explores the evolution of the NBAF from 1988 to 2010. Opening reception and artist talk, 6 that night. Through Aug. 26.
  • ZuCot Gallery in conjunction with Premier Art presents “Views, Moods, Attitudes: Life Perspectives from Acclaimed Atlanta Artists,” showcasing works by Aaron F. Henderson, Alfred Conteh, Charlotte Riley-Webb, Patricia Bohannon and Reginald Laurent. Opening reception, 6-10 p.m. Friday. Artists talk, 7 p.m. Through Aug. 14. 100 Centennial Olympic Park Drive South, Atlanta.
  • “Works on Paper: Freddie Styles and Lynn Marshall Linnemeier” opens Saturday at Avisca Fine Art. A reception for the two long-time Atlanta artists will be held at 6 that night. Through July 30. 507 Roswell St., Marietta.
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Fanizani Akuda – an Artist Par Excellence

Now that Fanizani is no more, the most intriguing question we need to ask ourselves is what did we learn from him? Surely, 50 years in any art genre carries with it some experience, wisdom and direction and whenever possible we should benefit from that.

Before we talk about that let’s quickly talk about vultures. Being birds of prey, vultures survive solely by anticipating death, so, in nature they wait for an animal to die before they devour it or they simply chase away other animals from their kill so that they become the masters of the kill.

Without doubt, vultures are very special birds because they take part in the ecosystem but it becomes very saddening and dangerous when humans take up their attributes.

When an artist dies vultures quickly appear on the scene. The death of Fanizani was no exception.

Vultures came along, mostly those with white feathers.

It was only at this moment that ‘the falcon failed to bear the falconer’.

Simply put, the demise of an artist brings two things. For others its deep mourning and recollection yet for others it’s time for business.

And it is the latter that makes others mere vultures.

There’s nothing wrong with having a collection of works by good artists like the late Fanizani but the question we need to ask ourselves is, why wait for the demise of the artist?

Yes, some vultures came but along came true friends. Needless to mention vultures by their names, but true friends always ring a bell. The National Gallery of Zimbabwe, National Arts Council and The Springstone Trust in Ruwa proved to be such.

Fanizani was such a colourful personality that if we are to talk about all of it we might end up talking about how he travelled most parts of Mashonaland and other places as a photographer before committing himself to stone art.

To avoid all of that lets stick to what he did in the last 50 years of his life as a stone artist.

His view of art

“Art should come from the heart” was one of the things we benefited from the 50 years of the 79 which Fanizani lived. Speaking during an interview carried in the book, Tengenenge Art-Sculpture and Paintings by

Celia Winter Irving, Fanizani says, “My art is not from the stone, it is from the heart.”

By that he meant that the purpose of art is to thrill others and to have a connection with the people.

He meant that art should not be governed by money or fame but it should be motivated by love.

He would say if someone looks at your work and says this is nice then you would have served the purpose of art.

This strongly reminds us of Nicholas Mukomberanwa who declared that his life sorely depended on working with the stone.

Many an artist went through metamorphosis to become creatures we have never seen and this is mainly so because their art did not stem from the heart.

During another interview with Artlife, a journal published by the National Gallery of Zimbabwe, Fanizani jokingly spoke about how Enos Gunja once left stone sculpturing for an office job.

Not suggesting anything to the fact that Enos’ art did not come from the heart but he was trying to bring out a point here, that you really cannot trade some things in life once you have found a true essence and connection with them.

In a way, Enos realised this and came back to his trade and today he still stands strong with his art.

Charity Work


Fanizani participated in many charitable organisations, events and exhibitions. In the 90s he was very much involved with the Child Survival and Development Foundation, the organisation which was the brain child of the late Amai Sally Mugabe. Together with artists like Tapfuma Gutsa, the late Nicholas Mukomberanwa, Bernard Matemera and Henry Munyaradzi they contributed immensely as participating artists. It was during this period in the 90s that his piece the – Mother and Child – became very prominent and became a must have for most collectors.

In 1993, he worked closely with CamFed (Cambridge Female Education Trust) and the noble idea was just to support girls’ education in Zimbabwe.

He was involved with the John Rogers Centre, an Institution that deals with the study of African American Culture.

Nurturing young talent

Fanizani helped a lot of young artists with ideas but he was very particular about originality and hard work.

At times he saw it fit to even give tools and raw stones to young artists whom he thought had potential. Some of the artists he nurtured, are today, standing tall and some are well travelled while others have even gone on to win the Kristen Diehl Sculpture Prize as in the case of Perlagia Mutyavaviri.

He was also invited to be a judge in different competitions around the country where different young artists participated.

Awards

Fanizani was a holder of many awards and accolades from ordinary certificates to diplomas of art from different institutions. In 1988, The National Art Gallery of Zimbabwe awarded him a certificate of Excellence in

Visual Arts.

He was awarded the Highest Honour given to visitors or artists by the then Mayor of Paris and was presented with a rare book that features France’s prominent artists and painters in 2000.

The whole world has only 750 of these books and his was number 374. In 1994 he was recognised by CITES for his depiction of nature in his art especially the ‘flying elephants.’

During that period Zimbabwe was at cross roads with the international community which wanted us to get rid of some of its elephants. The argument was that they had become unbearable for the environment and over-populated.

Zimbabwe won the right to keep its elephants.

In 2005 The Humana People to People a worldwide organisation also awarded him with a diploma for his contributions to the arts industry. Other awards came from the National Arts Council and many other different organisations.

From as early as 1967 he managed to drizzle through the market creating works that were sought by doctors, professors, scientists, banks, universities, embassies and many organisations. Prominent people around the globe became personal collectors of Fanizani’s art amongst them was Jorn Utzon, the architecture who designed Sydney Opera House.

The second question we now need to ask ourselves is, do we really have to wait for an artist to die for us to consider and discuss what we benefited from him/her?

Aren’t we making ourselves the proverbial vultures?

I tell you with confidence that we have many things that we benefited from great artists who died years ago and we don’t take time to appreciate them.

What did we learn from Nicholas Mukomberanwa, who perhaps, was the most versatile of all the first generation artists? What did we learn from Henry Munyaradzi who at one time, Michael Shepherd described as the equivalence of Brancusi? Or rather, we find it easy to embrace Henry Moore and leave our own. Do we have anything to benefit from Bernard Matemera? I strongly feel the best way to avoid being vultures at our own making is by benefiting from those who are still living. Not those who abuse their talent by excessive drinking, not those who are ever experiencing metamorphosis nor those who have been sculpting birds that are looking up for more than 10 years but, from those who have mastered the art of art, from those who have taken art to heart. Without doubt art should indeed come from the heart. Lest we forget, not all sculptors are artists and not all artists have talent.

Timothy Akuda is a freelance journalist and a stone artist.

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Fowler Museum Presents Retrospective Of Cuban American Artist José Bedia

The Fowler Museum at UCLA presents “Transcultural Pilgrim: Three Decades of Work by José Bedia,” an exhibition that brings together 28 large-scale figurative paintings and drawings and a newly commissioned, site-specific installation to offer a comprehensive retrospective on this acclaimed member of Cuba’s “Generation of the ’80s,” the pioneering young artists who incorporated Cuban vernacular and spiritual references into their work and experimented with eclectic visual forms.

The exhibition, which opens Sept. 17 with a conversation between Bedia and curators Judith Bettelheim and Janet Catherine Berlo, will be on display from Sept. 18 through Jan. 8, 2012.
Bedia’s “official” entree into the international art world came in 1989, with his installation in the exhibition “Magiciens de la terre” at the Centre Georges Pompidou in Paris. But several years prior, in 1985, Bedia had been included in a small group exhibition of Cuban artists at the State University of New York College at Old Westbury, on Long Island. While in New York, he attended a gallery opening in Soho and met artist Jimmie Durham, who introduced him to artists Claes Oldenburg and Coosje van Bruggen. Oldenburg and van Bruggen took an interest in Bedia’s work and, to cultivate Bedia’s interest in Native America, they provided the funds to send him and his colleague Ricardo Rodríguez Brey to the Rosebud Indian Reservation in South Dakota.
This chance meeting with Durham, Oldenburg and van Bruggen proved to be pivotal in forging an important direction in Bedia’s art; indigenous America continues to play a vital role in his production.
The 30 years’ of Bedia’s work on display in this exhibition can be understood in the context of conversations on “post-national” and “post-essentialist” art, especially as these concepts developed into discussions of the New Internationalism, cosmopolitanism and globalization. Bedia’s “global” is centered on an exploration of and participation in diverse spiritual worlds. He has consistently sought artistic and spiritual peers, whether in the Sonoran Desert of Mexico, the North American plains, the Amazonian rain forest, the Dominican countryside or the Central African savanna, in what amounts to his own take on cosmopolitanism and internationalism.
Bedia’s drawings are punctuated with collaged historical photographs, and he moves easily between black-and-white charcoal drawings and vibrant, colorful acrylic paintings, as well as between small- and large-scale canvases. His distinctive figural style is rendered in graceful yet powerful gestural lines, sometimes incorporating short, meaningful and often sacred texts in Spanish, Kikongo or Lakota.
His canvases are often packed tightly with portrait-like depictions, combining to produce pictorial narratives. At times, he paints with his hands in bold and dramatic strokes, yet he also creates precise drawings to depict his experiences. In his many large-scale environments, he combines seemingly banal objects — store-bought figures and materials associated with Arte Povera such as dirt, rope, stones or sticks — ideographic designs, and large-scale wall paintings.
Exhibition overview

The trajectory of Bedia’s work unfolds as a narrative of the transcultural journeys he has made. The first section of the exhibition includes eight works that deal with his involvement with the Afro-Cuban religion Palo Monte, which he has practiced since the early 1980s in Cuba. Bedia was initiated into Palo Monte in 1983 and immersed himself in the religion’s history and rituals.


For Bedia, the power of the central icon of Palo Monte, the nganga (a cauldron or pot), takes on iconic proportions and is a recurring motif in his work. A number of paintings in this section portray the nganga — first shown empty and then, on other canvases, filled with the sacred objects that signify the artist’s increasing knowledge and power attained through initiation and practice.


The works in the next section comment on and chronicle Bedia’s travels in Mexico, as well as his studies with Lakota peoples and visits to shamans in the Peruvian Amazon. Another grouping features four works that pay homage to Caribbean revolutionary figures who combined their religious beliefs with a strong sense of activism and social justice. Three final, large paintings, each approximately 15 feet wide, reflect Bedia’s longstanding interest in African art, as well as the pilgrimages he made to Zambia to work with diviners and view masquerades.
Three “Moments of Inspiration” present objects from Bedia’s personal collections that relate to the subjects of his paintings within the gallery. Bedia is an ardent collector: his Miami home contains hundreds of sculptures, textiles and drawings, principally from Africa and the indigenous Americas. Of this vast collection, he says, “I collect these objects to learn from them. For me, this is like a library. These are my books. That’s why I keep them in front of me every day.”
Fowler in Focus: ‘Bedia Selects’

The Fowler Museum has also invited Bedia to curate a concurrent small exhibition that draws on the museum’s permanent collections. In “Bedia Selects,” the artist offers intriguing new insights into the Fowler’s collections and into some of the artistic and intellectual interests that have driven his own practice. Highlighting works from Central Africa, Bedia’s selection brings more than 30 pieces out of storage for the first time, including a rare Sala Mpasu dance platform that is one of only three such known works in collections.

“I am truly grateful for the opportunity the Fowler is giving me to make a small selection of objects based on my aesthetic criteria in conjunction with my personal show,” Bedia said. “It is a great sign of trust for the Fowler to allow me to curate a group of African objects that have the peculiar aspect of not being the “classic” figures (or masks) most commonly known in relation with African art … These pieces cover a great margin, from simple and utilitarian to religious and ceremonial. They are also all extremely beautiful and possess a very sophisticated technical manner that also pervades their content.”

University of Delaware Art Conservationists Restore Historic African-American Mural

From outside the deserted Wilmington building, passersby would have no idea that an authentic, nearly 70-year-old Aaron Douglas painting dominates the living room inside.

Douglas, the forefather of African-American art and a major figure in the Harlem Renaissance, painted the mural in the home of Dr. William Goens in 1942.

The scene, with its shades of yellow, brown, blue and red, depicts Haitian women going to market, a man working in a field, foliage and an iconographic African sculpture. It is currently undergoing restoration efforts by Dr. Joyce Stoner and five student conservationists.

Stoner, a professor with the Winterthur/University of Delaware Program in Art Conservation, said the piece is “a wonderful example of Douglas’ work. It has his signature color palette and the use of the concentric circles.”

“That it exists in Wilmington is really incredible,” said Danielle Rice, director of the Delaware Art Museum, who calls the mural “an absolutely wonderful monument to African-American art history and a significant work of art in its own right.”

Haiti as a subject was of particular interest to Black artists at the time, because of the Haitian Revolution.

“Haiti was seen as the first independent Black nation in the Western Hemisphere, and that a nation of former slaves became free was a very important subject to African-American artists,” said Dr. Camara Holloway, a University of Delaware art history professor.

“The mural is very modernist, but also retains aspects characteristic to Haitian art. The women with baskets on their heads going to market were a characteristic Haitian vision.”

Holloway said the flattening of the figures, and the concentric circles, are aspects of modernism.

Harmon Carey, an advocate of the arts, considers the Haitian Mural possibly the most historic piece of African-American art in Delaware. He acquired the building, which is now owned by a nonprofit.

“I spoke to some people, including Dr. Stoner, who said it was well worth preserving and that we should use whatever means necessary to encourage that. Steven Jones, an African-American art scholar in Philadelphia, said basically that if I didn’t make an effort to save this mural it would be a crime against humanity,” Carey said.

Stoner estimates that the restoration will take four to six weeks to complete. The mural, painted around a fireplace in the living room, has been damaged by smoke as well as water leaks.

Carey previously owned a gallery at Howard Technical High School, but it was closed in October. He hopes that, after the mural is restored and the house renovated, he can turn the building into a museum for African-American art.

“The centerpiece will be this mural, but we would have changing exhibits by local artists. This is an historic painting in an historic place, and it really should be preserved for the public,” Carey said.

Although Rice and Stoner are both interested in opening up the building to the public, Stoner described the gallery as a “pipe dream” at the current time.

“The mural needs conservation, and the house needs to be fixed up,” she said.

“We would very much love if the mural were made available for the public to appreciate. I would love for people to learn more about Aaron Douglas and his connection to the area,” Rice said.

Dr. Goens was a pioneering Black physician in Delaware, and Douglas was related to his wife, Grace. Douglas also painted another mural for the couple’s house in Hockessin, which is currently privately owned. Stoner prefers the one in Wilmington because it has more action and color.

“In restoring the mural, the three main jobs are consolidation, cleaning and retouching,” she said. Three team members are working full-time on the restoration.

Kaitlin Andrews, 22, a UD graduate also working at Winterthur, is in charge of painting. She has been working on a section with Douglas’ signature.

“I learned about him in an American art history course, and it’s great to work on something you’re familiar with,” Andrews said.

Both she and Sydney Beall, 22, a Virginia Tech graduate, were looking for hands-on experience before applying to graduate schools.

“What you learn in class becomes more comprehensive when you’re actually working here,” Beall said, who is trying to consolidate the mural’s flaking. “You get to see the splatters and pencil lines, and the whole thing really comes alive.”

Marlene Yandrisevits, 22, an art conservation graduate student in the Winterthur/UD program, said: “I think it’s really great to see the difference cleaning makes, the changes the painting goes through. You discover something new to the painting while working.”

Douglas did print work but received many commissions for murals in civic buildings and Black colleges.

“This is one of the few works of private commission that Douglas did,” Holloway said. “To have the mural restored and made available to art historians would be a major contribution to the larger picture of Douglas’ work.”

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DeSouza essay ‘in response to’ Art Speak

Paying homage seems so reasonable, so modest, such an honorable thing to do. But like the long-winded toast that becomes an aria to me, me, me, or the oversized introduction that leaves the reader with little appetite to read the book itself, the homage can be perilously self-reflexive and solipsistic.

Perhaps that’s why artists today choose more neutral, spongy terms to describe how their work relates to famous precedents, terms like “inspired by” or “in response to.” Allan deSouza’s photographic essay, “The World Series,” is presented by the Phillips Collection with the generic and not very revealing latter term, as “in response to” Jacob Lawrence’s “The Great Migration.”

The two sets of images — Lawrence’s classic work of African American modernism and deSouza’s series of 30 color photographs — both treat issues of travel and displacement. But in deSouza’s well-made and often ironic collection of images there’s clearly no homage, no modest submission to Lawrence’s earlier work, begun in 1940 when the Harlem-based artist was still in his early 20s.

Indeed, as so often with “in response to” projects, the differences seem more salient than the similarities. Lawrence’s set of 60 paintings (30 of which are on permanent display at the Phillips, the other 30 at New York’s Museum of Modern Art) deals with a specific historical drama, the mass movement of African Americans from the agricultural South to the industrial North, which began around 1910 and continued until the rusting out of American factories set in around 1970.

Lawrence told his story with boldly colored but flatly rendered panels, responding to modernist trends but focusing with anachronistic intensity on the story itself. He accompanied his panels with captions that are simple and expository but also strangely reminiscent of the voice of God narration in documentaries from the 1930s and ’40s.

DeSouza’s photographs tell no single story and hang together not by a narrative thread, but by webs of visual association. In his first image, a sign reads, enigmatically: “If you know what you’re looking for the backward glance can be a glimpse into the future.” Next to it, an image of men standing together shows one figure pointing, perhaps backward. Visual associations (between birds and airplanes, between the word “Indian” and Mahatma Gandhi, between icons of welcome and exclusion) give the cycle moment-by-moment, frame-by-frame coherence. But not an overall sense of message, beyond a compelling feeling of dislocation and disorientation, rather like the feeling of “if it’s Tuesday it must be Abu Dhabi.”

The differences between de­Souza’s series and the work it is “in response to” set up an unfortunate series of contrasts: Between deSouza’s cleverness and Lawrence’s depth of feeling, between a string of one-liners and an organized narrative, between the polished surface of the photograph and the often clumsy organization of Lawrence’s intentionally primitive imagery. Even the titles of the two works emphasize a gulf between irony and sincerity. “The World Series” is an obvious play on games, while “The Great Migration” is almost painfully serious in its reference to a historical event that Lawrence eagerly sought to publicize.

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Telling the History of Black Percussion Through Art and Dance

Step Afrika! Hit the Mark

When the drum was banned during slavery in the United States, it was seen as a weapon, a powerful instrument that could send messages to incite the Africans in bondage to rise up and revolt against their enslavers. And so the drum was “taken away.” Intonations of this pivotal time in African American history became part of the script for Washington’s first and only Cultural Ambassadors, Step Afrika! during its amazing recent production, “The Migration: Reflections on Jacob Lawrence.” Dancers circled the rounded stage at the Atlas Performing Arts Center, telling the audience “they took the drums away.” But by no means did that put an end to the innovative use of percussion by African descendants in the Americas, and Step Afrika! eloquently illustrated the transformation of the drum to percussive dance steps which is now known as stepping.

Using the impetus of another Washington icon, the paintings by Jacob Lawrence known as the Migration Series, owned by the Phillips Collection, Step Afrika! added a narrative performance to enhance the story told in the 60 colorful panels Lawrence painted between 1940 and 1941 when the artist was only 23 and living in Harlem. The paintings follow the story of the Great Migration, when freed slaves traveled up north, mainly by railroad, to find a new home in the urban centers of the East Coast and Midwest providing manpower for the burgeoning industrial revolution and creating a culture that endures and is evident to this day. The entire series is owned jointly between the Phillips Collection and the Museum of Modern Art in New York.

Opening with “Go West: circa 1830” a rousing traditionally inspired dance to the beat of the West African Djembe drum, the dancers dressed appropriately in period costumes, and as noted by Frederick Douglass in his autobiography, danced and sang in a manner which “would make the dense old woods, for miles around, reverberate with their wild songs, revealing at once the highest joy and the deepest sadness.” Because the slave owners and overseers eventually realized that religious rituals were being practiced as well, the drum was banned and Africans had to discover new ways to continue an ancient tradition.

Against the backdrops of Lawrence’s simple but powerful paintings projected onto a half dozen screens, interspersed with historical photos, the dancers illustrated rhythmically, how the drum was replaced by hand clapping and stomping through the ring shouts, which often took place during or after a Christian prayer meetings or worship services. Men and women moved in a circle in a counterclockwise direction, shuffling their feet, clapping, and often spontaneously singing or praying aloud.

These ring shouts worked their way into the African American sanctified churches and eventually into secular dances like hambone and juba, eventually evolving into modern dancing such as tapping. From tapping, the modern dance style of stepping, made popular by Black fraternities and sororities on college campuses, evolved and became emblematic for the dance troupe, which was founded 17 years ago by C. Brian Williams, Executive Director and Founder of Step Afrika! Williams began stepping at Howard University as a member of Alpha Phi Alpha fraternity.

“The Phillips Collection has invested substantial resources in educating teachers and students alike, encouraging and bringing about a heightened awareness of the Great Migration of African Americans and its significant place in America’s history,” Williams said in a statement. “Coupled with our own research into the dance and music of the late 1800s along with the countless stories of Southern Migrants, Step Afrika! will produce a performance unlike in other in our history.” He added that The Migration Series is the biggest and most ambitious production the ground-breaking dance troupe has ever undertaken.

Although the Home Performance Series at the Atlas concluded on June 26 Step Afrika! will perform excerpts from the full-length performance on August 18 at the Phillips Collection, home to the Migration Series paintings, as part of the popular after hours series, Phillips after 5. The Phillips Collection has a detailed website dedicated to Jacob Lawrence’s Migration Series at www.phillipscollection.org/migration_series/flash/experience.cfm

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Black Expo Summer Celebration

Ecumenical Service

Light of the World Christian Church, 4646 Michigan Road. Speaker: The Rev. Dr. Kevin Cosby, senior pastor of St. Stephen Baptist Church. Host pastor: Bishop T. Garrott Benjamin Jr. Parking and shuttle service available from the International School, 4330 Michigan Road. 7 p.m. (317) 925-2702 or www.indianablackexpo.com.

SATURDAY

July 9

Film Festival

Indianapolis Museum of Art, 4000 Michigan Road. In Tobias Theater. “Maafa21: 21st Century Genocide,” documentary explores the long-term political agenda adopted to maintain an elite status quo, noon. “Zero Currency,” short documentary challenges us to give up money and examine how it affects our true nature, 2:25 p.m. “Walk of Redemption,” story of a reformed Bahamas gang leader and his influence on gang violence. (Meet filmmakers Jason North and Tim Sutherland), 2:35 p.m. “Wounded Healers,” short documentary showcases the extraordinary personal accounts of Rwanda’s genocide survivors facing the killers, 3:35 p.m. “Bilal’s Stand,” drama features a Muslim high school senior’s struggle to pursue his chance for a scholarship and social mobility (meet filmmaker Sultan Sharrief), 4:15 p.m. $5 all day. (317) 925-2702 or www.indianablackexpo.com.

SUNDAY

July 10

Film Festival

Indianapolis Museum of Art, 4000 Michigan Road. In Tobias Theater. “For Once in My Life,” documentary features special needs adults who dream to make music, 1 p.m.; “Boom Squad,” short documentary about at-risk students in Evansville discovering hope, 2:40 p.m.; “Wounded Healers,” short documentary showcases the extraordinary personal accounts of Rwanda’s genocide survivors facing the killers, 3:20 p.m.; “Zero Currency,” short documentary challenges us to give up money and examine how it affects our true nature, 3:45 p.m.; “The Wayman Tisdale Story,” documentary of the life and battle with cancer of the late NCAA Hall of Famer, NBA star, Indiana Pacers’ center and power forward and jazz musician (meet filmmaker Brian Schodorf), 4:10 p.m. 1 p.m. $5 all day. (317) 925-2702 or www.indianablackexpo.com.

MONDAY

July 11

Black Business Conference — Mayor’s Breakfast

Indiana Convention Center, 100 S. Capitol Ave. Keynote speaker, Indianapolis Mayor Gregory Ballard. Includes business development, diversity highlights, award recognition and networking. Check in begins at 7:30 a.m. In Sagamore Ballroom 1, 2 & 3. Online registration required. 8:30 to 10:15 a.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Children’s Day presented by Anthe

Indiana Convention Center, 100 S. Capitol Ave. Featuring the Anthem Farmer’s Market, Felege Hiywot Center Urban Gardening, Tamika Catchings’ “Catch The Stars” Fitness Clinic and St. Florian Center Market Day. In Halls A & B. 10 a.m. to 3 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Black Business Conference — Legal Issues for Small & Emerging Businesses, Part II

Indiana Convention Center, 100 S. Capitol Ave. Workshop highlights the challenges facing small and emerging businesses and answers common questions about the need for a business attorney, protecting a business when entering into contracts and what Intellectual Property is and how to protect ideas. It also discusses strategic partnerships and community resources available to strengthen one’s business. In Room 201. Registration required online. 10:30 a.m. to noon. Free. (317) 925-2702 or www.indianablackexpo.com.

Black Business Conference — Bridging the Information Gap: A Conversation Between Black Grantmakers and Community-Based Nonprofit Leaders

Indiana Convention Center, 100 S. Capitol Ave. Panel of nonprofit organizations that service Black communities in Indiana discuss issues in philanthropy with Black foundation program officers and trustees. Learn about the grant-making process, strategies for building funding relationships and the challenges experienced by nonprofit grant-seekers. In Room 205. Registration required online. 1 to 2:30 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Black Business Conference — Doing Business with Indiana State Education Institutions

Indiana Convention Center, 100 S. Capitol Ave. Panel of Indiana State Educational Institutions’ (SEI) purchasing and contracting officials share key information needed to successfully secure contracts for goods and services from SEIs. Bring questions for interactive discussion. In Room 202. Registration required online. 1 to 2:30 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Black Business Conference — Dynamically Growing Your Business with Keybank, a Preferred SBA Lender

Indiana Convention Center, 100 S. Capitol Ave. Panel discussion presented by Key Bank and the U.S. Small Business Administration includes short informative snippets followed by Q&A on topics including: What is SBA?; Who makes the loan?; SBA 7A Loan Size Parameters; General Guidelines/Eligibility and The 5Cs of Credit and Start Up Businesses: What to Include in a Business Plan. In Rooms 203-204. Registration required online. 2:30 to 4 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Black Business Conference — Exploring Asian Business Opportunities Through Local Connections

Indiana Convention Center, 100 S. Capitol Ave. Workshop highlights key opportunities currently being explored by the State of Indiana and City of Indianapolis. Learn secrets and successful tips from experts from China, Korea, India, Japan and Vietnam on how to do business with Asia and access local resources and connections. Presenters include local Asian business leaders and local economic development officials. In Rooms 206-207. Registration required online. 2:30 to 5:15 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Black Business Conference Opening Reception

Indiana Convention Center, 100 S. Capitol Ave. Conference for registered conference attendees only includes networking with business owners, light hors d’oeuvres and music. 5:15 to 7 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

TUESDAY

07.12.11

MWBE Central Indiana Resource Fair

Indiana Government Center South, 402 W. Washington St. The State of Indiana’s Minority & Women’s Business Enterprise (MWBE) Division presents “Framework for Building a Million Dollar Business,” offering workshops on bonding and assurance, capacity building for MWBEs, contracts that protect MWBEs legally and direct connections to industry leaders. Also, new individual, one-on-one assessments for MWBE owners that address their goals in social media, branding and general business acumen. 8 a.m. to 2:30 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Youth Entrepreneur Seminar (CEO Camp) Day 1

Indiana Convention Center, 100 S. Capitol Ave. Featuring the Marketing Plan Competition with prizes awarded to first, second and third place winners. In Rooms 109-110. Pre-registration required online. 9 a.m. to 5 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

Black Business Conference — Promising African Emerging Market: What You Must Know 1-2-3

Indiana Government Center South, 402 W. Washington St. Economic development officials, business development experts and business owners provide information on promising emerging market and business possibilities in Africa. Panelists discuss the challenges and barriers in doing business with/in Africa and explain where and how to gain access to related resources. Registration required online. 1 to 2:30 p.m. Free. (317) 925-2702 or www.indianablackexpo.com.

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Visual arts to dominate National Black Arts Festival’s opening weekend

The National Black Arts Festival officially launches July 7, but most of the performances fall over the closing July 15-17 weekend at Centennial Olympic Park, other downtown sites and at Midtown’s Woodruff Arts Center.

The main offerings the fest’s first weekend, scattered across the metro area, are in the visual arts, with an abundance of potent expressions to capture your attention. Here are some highlights:

  • Nationally noted artist Trenton Doyle Hancock is the subject of an ACA Gallery of SCAD exhibit “We Done All We Could and None of It’s Good.” The Houston multimedia artist is famed for works that pit good guys known as the “Mounds,” colorful half-animal-half plant creatures, against the evil black-and-white underground “Vegans.” Hancock and guest curator David Norr will speak in Rich Auditorium 5:30-6:30 p.m. July 7 with a reception following. Through Aug. 28. Woodruff Arts Center, 1280 Peachtree St., Atlanta.
  • Atlanta artist Lynn Marshall-Linnemeier’s “Douglass’ Douglasville: A Journey Project,” on view starting July7 at Mercer University’s Douglas County Regional Academic Center, is a site-specific art installation that explores the history of Douglas County and the legacy of diversity of Frederick Douglass, for whom the county was named. The work grew out of an artist’s residency, sponsored by Mercer’s College of Continuing and Professional Studies, in which Marshall-Linnemeier collaborated with assistant history professor Melanie Pavich, her students and Douglas County residents. Opening reception: 3-6 p.m. July 9. Gallery talk and celebration, 6:30 p.m. July 15. Through Aug. 12. 975 Blairs Bridge Road, Lithia Springs.
  • “Mike Schreiber: True Hip Hop,” at Hagedorn Foundation Gallery starting July 9, is an exhibit of mainly black-and-white photographs by the self-taught New York photographer that shuns cliched depictions of the hip-hop music world (the money, the honeys …) in favor of more naturalistic pictures of the artists. Panel discussion and opening reception: 6-9 p.m. July 9. Through Aug. 27. 425 Peachtree Hills Ave., Atlanta.
  • Atlanta artist Fahamu Pecou, curator of “Home” at City Gallery at Chastain, said his goal was “an exhibit that presents a new awareness of how politics, education and culture are coming to redefine life our home state of Georgia.” The featured artists are Kombo Chapfika, Ashley Reid, Terra Coles, Stephen Hayes and Cosymo Whyte. Artist talk and gallery tour: 1-3 p.m. July 9. Through July 23. 135 W. Wieuca Road, Atlanta.
  • “Equal Rites: The Art of Michael D. Harris,” opening July 10 at Hammonds House Museum, examines 15 years of the Atlanta artist’s highly personal explorations of social and historical roots within the cultures of the African Diaspora. Opening reception and artist talk: 2-5 p.m. July 10. Through Sept. 11. 503 Peeples St., Atlanta.
  • “A Diversity of Colors,” opening with a 7-10 p.m. reception July 8 at Catherine Kelleghan Gallery, features work in varied media by 12 artists, including Kamal Al Mansour, TWIN (Jerry Lynn and Terry Lynn) and Dante Yarbrough. Through Aug. 5. 309 E. Paces Ferry Road, Atlanta.
  • “Mixing Metaphors: The Aesthetic, the Social and the Political in African-American Art,” an exhibit of 90-plus paintings, prints, drawings, photographs, sculptures and mixed media works from the Bank of America collection opens July 7 at the Carter Presidential Library and Museum. Included are works by Jacob Lawrence, Romare Bearden, Gordon Parks, James Van Der Zee and Ernest Withers. Through July 31. Free with museum admission. 441 Freedom Parkway, Atlanta.
  • Starting July 8, Gems of Africa gallery shows contemporary African Art from South Africa, Zimbabwe and Swaziland, including hand-crafted ceramics, stone sculpture, recycled glass and beaded wire animals. Through July 17. 630 N. Highland Ave., Atlanta.
  • “Radcliffe Bailey: Memory as Medicine,” the acclaimed High Museum of Art exhibit, explores the influence of the African aesthetic on the Atlanta artist. Through Sept. 11. 1280 Peachtree St., Atlanta.

Notre Dame Culture Center Approved

The South Bend Redevelopment Commission has approved a plan to turn the Hansel Center on the city’s west side into the University of Notre Dame Center for Arts and Culture. The university says the centerpiece of the $2.5 million project will be a fine-art print studio.

The Hansel Center, an icon of South Bend’s West Side community that once served as the Children’s Dispensary and housed Head Start offices, will soon undergo physical transformation into the University of Notre Dame Center for Arts and Culture.

The historic structure, within South Bend’s museum district at 1045 W. Washington St., will undergo an adaptive reuse through a partnership involving the University of Notre Dame, South Bend Heritage Foundation and the City of South Bend. South Bend’s Redevelopment Commission today (Tuesday, June 28) approved a proposal, contingent on a forthcoming memorandum of understanding, by the City’s Department of Community and Economic Development to provide $930,000 toward the facility’s rehabilitation through a combination of Tax Increment Financing and federal Community Development Block Grants. The public funding is supplemented by funds from the University of Notre Dame in one of the largest investments to date from the University in off-campus community initiatives.

Pending Redevelopment Commission final approval, construction will begin under the management of South Bend Heritage Foundation, the South Bend Board of Public Works and Vanir Group Inc. (Vanir specializes in all aspects of commercial and institutional real-estate development. Vanir is headquartered in Sacramento, Calif., and its president currently serves as the chair of the University’s Institute for Latino Studies Advisory Council.) The renovation will include brick tuck-pointing, new roofing and waterproofing measures, interior demolition and reconstruction, new electrical and mechanical systems, parking and landscaping, and interior outfitting.

“This reuse of the Hansel Center not only creates a focal point for engagement by the University of Notre Dame with our African-American and Latino communities, but it also provides an opportunity to help transform our West Side,” said Mayor Stephen J. Luecke. “This effort continues a partnership that brought the two most prestigious national civic awards to South Bend for the revitalization of our Northeast Neighborhood and by creating a cultural landmark across the street from the Indiana University Civil Rights Heritage Center at the Natatorium, one of the award-winning projects featured in South Bend’s recent All-America City designation.”

The University of Notre Dame is in the latter stages of securing sufficient resources for the project to move forward. In addition to $930,000 from the City, the University of Notre Dame and members of the University family, local philanthropic organizations and businesses have collectively donated or pledged more than $1.5 million to the project. Principal donor organizations include members of the Institute for Latino Studies Advisory Council, the Community Foundation of St. Joseph County, the Florence V. Carroll Charitable Trust and the Saint Joseph Regional Medical Center.

“This facility will strengthen the community by celebrating cultural diversity through its provision of a common and accessible space for community programming, art and education,” according to a proposal for the Center prepared by Notre Dame’s Institute for Latino Studies. “The Center will provide a gathering space for the West Side community through its class and meeting rooms, gallery and outdoor spaces. We foresee that the result will be a local community center that will have national and international reach, one that will ultimately enable us to attract resources from outside the area that, in turn, can be used to help further strengthen the local community.”

A centerpiece of the Center is the relocation of the internationally renowned fine-art print studio, Segura Publishing, from Tempe, Ariz. “Segura’s continuous history of working with community on all levels of art education makes it a natural presence to anchor and shape a significant amount of the community programming, and will make the Center a national prominent print program with a strong focus on Latino and African-American art and Catholic religious iconography,” according to the proposal. “This relocation will provide an unprecedented opportunity to enhance the art and legacy of printmaking in the United States at the same time that we contribute to the revitalization of South Bend’s West Side.”

Besides the print studio, other offices of the University have plans to have a presence in the new Center. One of Notre Dame’s literary programs, Letras Latinas, also will find much-needed permanent space for its writer-in-residence initiative, and the Center also will provide space for gatherings of minority writers, publishers and editors from around the country with significant opportunities for community interaction.

The Center also will seek to:

· Provide West Side residents with a variety of high-quality, community-based education, arts and cultural programs.

· Create opportunities to bridge cultural backgrounds, encouraging a cross-section of residents to participate.

· Collaborate with the South Bend Community School Corp. to develop, implement and assess educational programs, activities, workshops and events that enhance and expand learning for children, adolescents and adult learners.

· Develop, present and support artistic programs of uncommon quality, which can attract a diverse audience.

· Allow local artists to develop and expand their skills in a supportive, collaborative environment.

· Strengthen religious education in the West Side through joint programs with faith-based institutions.

“The Notre Dame Center for Arts and Culture provides yet another anchor institution in this historic West Side neighborhood and will provide additional leverage to both public- and private-sector housing improvements in the neighborhood,” said Marco Mariani, executive director of South Bend Heritage Foundation.

Located within the West Washington National Historic Register District, Hansel Center was built in 1925 as the Children’s Dispensary, where free and reduced medical care was available to families who lacked the financial resources. (The Children’s Dispensary was founded in 1909 by Dr. Charles Hansel, whose name was later given to the facility.) The facility later served as a neighborhood center and as the administrative offices for Head Start. Vacant since August 2003, the building contains 10,118 square feet of space on two floors and an additional 3,834 square feet in the basement

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Sol Sax at The Why Emcee Ay!


Right now, through the end of June, the Bedford YMCA is not just a place to work out and stretch your body. Now, the Y is featuring an art exhibit that gives you a chance also to stretch your mind.

The center has started featuring, along its usually bare white walls, an art installation by local artist and sculpture Sol Sax entitled, “Yes, We Can. A Free Can, A Merry Can.”

who traditionally don’t see contemporary art work in their day-to-day.”

“I did this installation specifically for the YMCA,” said the 41-year-old artist. “ And one of the main reasons I chose the YMCA is to surprise people

In the downstairs corridor, Sol Sax’s work – small figurine characters made of food cans, resin, molasses, paint and paper – can be found hanging from the walls, nestled inside of empty milk crates.

Sound a little hard to envision? That’s because you should see it for yourself. As dissonant as the sculpting materials may sound is as dissonant as it looks on first glance. But nothing about Sol’s work is haphazard. In fact, everything is very intentional.

Cans are the centerpiece of his work. But also, the word “can,” signifying the ability to realize free will, is used in the exhibit’s title, “Yes We Can. A Free Can, A Merry Can,” inspired by the election of President Barack Obama, an underlying message of “Yes, we can, African American.”

The milk crates: They serve as an altar for each sculpture.

“The stool as a spiritual seat has a long tradition as a very important part of worshiping in Africa,” said Sax. “Here in New York, these plastic carts are often used as stools and makeshift memorials, or to hold candles of those that passed away. So it made since to continue that tradition of the stool being an altar.”

Again, every part of Sax’s exhibit has intention. And while some of the greatest artists and sculptures we know – Miró, Warhol, Gaudí, Picasso– let their creative impulses guide them on an extemporaneous journey, that’s not Sol Sax.

For Sax, the creative impulses do exist, but there is a heavy deliberateness in the direction he takes. African, African-American and Yoruba culture play a big role.

“The works speak to the strategies that I feel have their roots in western and central African culture of avoiding violence and promoting civilization,” said Sax. “Modern art is rooted in classical sub-Saharan cultural tools. And that culture that was categorized as primitive during the 1800s ended up in the 1990s as the cultural progenitor of modern art.”

Dismiss his outlook as mumbo jumbo, if you want. That would be easy. Or take a minute to observe his point of view. The exhibit is potent, edifying and inexplicably seductive.

One piece of the exhibit, entitled, “The Samo Sol Triptych,” he says, is a celebration of the minstrels of the 1700 and 1800s. It’s a series of three, screwy, black faces with brightly colored and large red tongues hanging from their mouths. They represent Eshun, an angel of all language.

“One thing the God Eshun does is when you insult him, he laughs, because he believes in his own beauty regardless,” said Sax. “…Similar to Shakespeare’s phrase ‘A rose by any other name would smell as sweet.’

“It’s about the ability to be used and abused but somehow become the hero of your enemy,” he said. Reading between the lines is a big part of appreciating Sol Sax’s exhibit. But once you catch each meaning, the lessons grow more gratifying.

“Yoruba language has more puns than any other language in the world,” Sax said. “The exhibit is physical poetry that is played out in the same way that Yoruba plays on words, except it is in English.”

One of the heads in the triptych is made from old basketball shoe and reads: “THE SAMO SOL LIKE A SHOE IS USED AND ABUSED TILL IT’S SOL ‘SPEAKS THEN IT‘S A SHOE WITH AN ISSUE.”

Eshun… “A Shoe…”

The third in the series has a head made from a basketball painted black that reads: “THE SAMO SOL IS A BALLER THAT MOVES LIKE A ROLLING STONE THROUGH MUDDY WATERS.”

“For example, blues musicians, such as Muddy Waters and others from the 30s and 40s had such an impact on these young musicians from England, that they themselves became bluesmen out of reverence for that culture.”

“Muddy Waters used to sing, ‘I’m a man, I’m a rolling stone.’ And so the group called themselves, ‘The Rolling Stones.’ Their logo, absent of a face with just lips and the tongue out, is a shout-out to minstrel culture.”

As Sax puts it, his art is a demonstration that “you can make even the most foreign person identify with you, because of your humanity.”

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