2010 Herman Leonard Portfolio at the Catherine Edelman Gallery in Chicago, IL

Herman Leonard has selected 45 of his favorite images that clients may choose from to create a customized portfolio package of six 11 x 14″ Open Edition silver gelatin photographs. All prints will be signed, titled and dated by Herman Leonard. The prints will be presented in an archival portfolio box, covered and lined in a warm grey fabric, with Herman Leonard’s signature imprinted on the cover. A Certificate of Authenticity will accompany each set. The value of this offer if purchased individually would be $8,400. Our special price for this package of six photographs is $5,750, a savings of $2,650. We can additionally customize your portfolio to include any image in Herman Leonard’s collection.

For additional information or to place your order, please contact the gallery at [312] 266-2350 or by email at juli@edelmangallery.com

John Lee Hooker, San Fancisco [JLH02] (1998)

Catherine Edelman Gallery

300 W. Superior St.
Chicago, IL 60654

Tuesday through Saturday
10:00 to 5:30 pm

Catherine Edelman, Director
catherine@edelmangallery.com

Juli Lowe, Assistant Director
juli@edelmangallery.com

Trevor Power, Gallery Manager
trevor@edelmangallery.com

p: 312-266-2350
f: 312-266-1967

The Art of the Negro: (Study) – Hale Woodruff Murals at Clark Atlanta University – Atlanta, GA

The Art of the Negro murals were painted by Hale Aspacio Woodruff (1900-1980) and consist of six canvas panels housed in the atrium of Trevor Arnett Hall. Woodruff, art professor and founder of the Atlanta University art department and permanent collections painted the series between 1950-1951. Woodruff intended to provide students of an historically black university, and its visitors, with images of black Americans’ cultural past. Referring to his motive for painting the murals, Woodruff stated:

“It portrays what I call the Art of the Negro. This has to do with a kind of interpretive treatment of African art. … I look at the African artist certainly as one of my ancestors regardless of how we feel about each other today. I’ve always had a high regard and respect for the African artist and his art. So this mural, … is for me, a kind of token of my esteem for African art.” – Hale Aspacio Woodruff

To learn more about Art of the Negro, click here.


The Journey of Hope in America: Quilts Inspired by Barack Obama, National Afro-American Museum & Cultural Center, Wilberforce, OH

The Journey of Hope in America: Quilts Inspired by Barack Obama
December 18, 2009 Through December 18, 2010
National Afro-American Museum and Cultural Center

The Journey of Hope in America: Quilts Inspired by President Barack Obama commemorates an historic milestone in American history – the election of an African American man as president. The show will open Dec. 18, 2009 and will run through Dec. 18, 2010 before touring the country.

This extraordinary quilt show is curated by internationally known quilt artist, author and historian Dr. Carolyn L. Mazloomi for the National Afro-American Museum and Cultural Center, a part of the Ohio Historical Society. She’s brought together a diverse group of 95 fiber artists representing a variety races, cultures, generations and religions.

The exhibition will explore Obama’s momentous 2008 election by bringing audiences a collection of powerful quilts from a wide range of styles, including art quilts, folk art and traditional quilts. The featured quilts illustrate a broad range of techniques and materials, including piecing, painting, appliqué, embroidery, dyeing, photography, beading and digital transfer, as well as inspirations.

Throughout The Journey of Hope in America, viewers will experience the narrative quilt as an avenue toward expanding understanding the impact of the electing of the first African American president.

Location
The National Afro-American Museum & Cultural Center
1350 Brush Row Road
Wilberforce, OH 45384
(937) 376-4944
(800) 752-2603

Hours
Wednesday-Saturday:
9 a.m.-4 p.m.
Sunday-Monday-Tuesday: CLOSED

Admission
Adults: $4
Seniors: $3.60
Youth, ages 6-18: $1.50
College Students (with student ID): $1.50
School Groups: $25.00 per bus (weekdays only by advance reservation)
Children 5 & under: FREE
Children 5 & under: FREE

*Membership offers unlimited visits to this exhibit and all Ohio Historical Society historic sites and museums.

Annette John-Hall: Still family celebrates 141st reunion in Lawnside Read more

Cruising down Oak Avenue into the historic borough of Lawnside, it didn’t take long to spot the sign. 141st Still Family Reunion: An American First Family.

Can’t argue with the first-family part. The Still family tree may have had its roots in slavery, but has managed to produce quintessential American achievers – abolitionists, preachers, doctors, scientists, professors, composers, Tuskegee Airmen, and professional athletes, among others.

But the festivities going on in Clarence Still’s expansive backyard in the Camden County town over the weekend were anything but still.

Everybody was moving. Children tumbled in a supersize moon bounce while tables upon tables of family dug into sauce-soaked racks of barbecue ribs and fluffy mounds of potato salad. The ones who weren’t eating were line-dancing – at least trying to – as knots of old men laughed at each other’s tall tales.

Every year, hundreds of Stills gather here from as far away as Arizona to continue family tradition, revel in their storied family legacy, and pass it down.

“We’re proud of it. Very much so,” says Clarence Still, the 81-year-old patriarch and founder of the Lawnside Historical Society. “When you think about American democracy, we played a big part in it.”

Rich history

According to family history, the first Still was a Guinean prince who arrived in New Jersey as an indentured servant in the 1600s.

By the early 1800s, Levin Still, a Maryland slave, had bought his freedom and settled in Indian Mills, Burlington County.

It wasn’t long before his wife, Charity, escaped and joined her husband with the couple’s two daughters. She left two sons behind; one, Peter, escaped and joined his family years later, but brother Levin died enslaved.

Most notable of Levin and Charity’s 18 children are William Still, one of the conductors of Philadelphia’s Underground Railroad, and James Still, an unlicensed doctor and herbalist known around Medford as the “Black Doctor of the Pines.”

Stills come in all varieties. There are Native American Stills, white Stills, and, of course, African American Stills, an overwhelming number of them living in Lawnside, believed to be the first all-black self-governing town in the North.

By any measure, the Still family saga embodies all the values we claim to hold dear – life, liberty, and the pursuit of happiness.

Ursinus College historian Walter Greason, whose new book The Path to Freedom traces black migration to New Jersey, has done research on the Stills.

“When you look at the sanctions imposed on African Americans as property, over and over again we find fathers and mothers escaping to free territory and, one by one, getting the word to family members. And over the decades, this process of freedom has defined family,” says Greason.

“Hundreds of thousands of people took risks running through the woods and along the riverbeds. These are the great untold stories we grapple with.”

All the more reason why the Stills gather – to pass their history on to members of their own bloodline.

Don’t know family history

Marion Still Buck, spry and sharp at 92, sat behind a table selling the family history books. She fretted that the younger generation wouldn’t value the family legacy as much because they didn’t take the time to learn their family history.

“You have to know where you came from to understand where you’re going,” says Buck, who grew up in Moorestown and now lives in Raleigh, N.C.

Yet even some older family members are just discovering that being a Still means more than reuniting with aunts, uncles, and cousins every year.

“A lot of times our ancestors wouldn’t talk about it, because there was a fear of what would happen if they did,” says the Rev. Clifford Still, 53, pastor of the Venice Park United Methodist Church in Atlantic City. “But it’s not just about history, it’s about connectivity. As long as we keep the children around it, they will learn, whether they’re paying attention or not.”

Clarence Still, the fifth in the family to bear the name, has started to pay attention.

“I’ve been thinking about it lately,” says the 23-year-old. “I can see my grandfather slowing down. I know eventually [the reunion] is going to fall in my hands.”

“I’m ready.”

"Save Our African-American Treasures" at Washburn This Weekend

Washburn’s Memorial Union is hosting the 7th in the series of the Smithsonian Museum’s signature program Saturday and Sunday.

WASHBURN UNIVERSITY — The Smithsonian’s National Museum of African American History and Culture will co-host two weekend programs to help northeastern Kansas-area residents identify and preserve items of historical and cultural significance tucked away in the attics, closets and basements of their homes. Presented in collaboration with Washburn University in Topeka, the event will feature presentations, hands-on activities and preservation tips.

Free and open to the public, the event is the seventh in a series from the museum’s signature program “Save Our African American Treasures: A National Collections Initiative of Discovery and Preservation.” It’s being held at Washburn University’s Memorial Union on Jewell, this Saturday and Sunday, August 14th and 15th, from 10am till 4pm.

Participants from all over northeastern Kansas can reserve in advance to bring up to three personal items for a 20-minute, one-on-one professional consultation with experts on how to care for them. The specialists will serve as reviewers, not appraisers, and will not determine items’ monetary values.

Objects such as books, paper and textiles no larger than a shopping bag can be reviewed (furniture, carpets, firearms and paintings are excluded).

Those wishing to have items reviewed must make reservations by e-mailing treasures@si.edu or by calling toll free (877) 733-9599. Reservations are not required for those not wishing a one-on-one consultation. Additional information is available online at Treasures.si.edu.

The “Treasures” program includes the following sessions:


Preservation Presentations: Informal basic preservation sessions will take place during the day. One will focus on textiles, a category that includes cloth dolls, flags, hats, clothing, lace, quilts, needlework and table linens. The session on photographs and paper will inform participants on simple inexpensive techniques to keep their family Bibles, historic pictures and important documents such as diplomas and wedding licenses safe from deterioration.

Hands-on Preservation: Participants are invited to learn how to properly store letters, pack garments and prepare photographs for preservation storage and presentation.

As a companion to the series, the museum has produced a 30-page guidebook African American Treasures: A Preservation Guide will be distributed free to attendees and to individuals, community groups and educators to highlight the importance of proper preservation techniques. The guidebook is part of the “Treasures” kit, a tote bag that will also include white cotton gloves, archival tissue papers and archival documents sleeves to help people keep their personal treasures safe.

Does the black church keep black women single?

(CNN) — Legs covered in skin-toned stockings, her skirt crisp to the knee, Patty Davis slips on the black heels she has shined for the day.

“Got to look good in the Lord’s house,” she says as she spritzes her neck with White Diamonds perfume and exits her black Lincoln Town Car.

Davis, 46, of Union City, Georgia, has attended African Methodist Episcopal churches since before she could crawl. She sits proudly in the pew every Sunday for service and is among the first to arrive for bible study each Wednesday.

She moves swiftly, with confidence, a weathered Bible clutched in her right hand, the day’s passages dog-eared and highlighted. She’s the type of woman who can recite scriptures with ease, her love of faith evident in her speech.

“Every day is a blessed day for me,” she says. “Jesus is the No. 1 man in my life and any man who wants me must seek me through Him.”

The unmarried Georgia native is a committed follower of the Christian faith, striving to live and breathe the gospel in her daily life. Yet, according to relationship advice columnist Deborrah Cooper, it is this devout style of belief and attachment to the black church that is keeping black women like Davis — single and lonely.

Clinging to the gospel

Cooper, a writer for the San Francisco Examiner, recently made claims on her blog SurvivingDating.com that predominantly black protestant churches, such as African Methodists, Pentecostal, and certain denominations of Evangelical and Baptist churches are the main reason black women are single. Cooper, who is black and says she is not strictly religious, argues that rigid beliefs constructed by the black church are blinding black women in their search for love.

In raising the issue, Cooper ignited a public conversation about a topic that is increasingly getting attention in the black community and beyond. Oprah Winfrey, among others, recently hosted a show about single black women and relationships after a Yale University study found that 42 percent of African-American women in the United States were unmarried.

Big Miller Grove Missionary Baptist Church, a predominately African-American Baptist church in Atlanta, is holding a seminar on the question of faith’s role in marital status on August 20.

“Black women are interpreting the scriptures too literally. They want a man to which they are ‘equally yoked’ — a man that goes to church five times a week and every Sunday just like they do,” Cooper said in a recent interview.

“If they meet a black man that is not in church, they are automatically eliminated as a potential suitor. This is just limiting their dating pool.”

The traditional structure and dynamics of black churches, mostly led by black men, convey submissive attitudes to women, Cooper says, encouraging them to be patient — instead of getting up and going after what they want.

Nearly ninety percent of African-Americans express “certain belief in God” and 55 percent say they “interpret scripture literally,” according to the 2009 Pew Research Center study “A Religious Portrait of African-Americans.”

Dr. Boyce Watkins, a professor at Syracuse University and advocate for African-American issues, responded to Cooper’s article online. Though he applauded Cooper’s courage to voice her opinion , he agreed — and disagreed — with her.

“I don’t think the church keeps black women single,” Watkins says. “But I do agree that some black churches teach women that they must only date a man that goes to church regularly.”

Watkins, who is African-American and whose father is a Southern Baptist minister, described his interactions with southern women who are devout churchgoers. “I am a male and I know that I will treat a woman well, but I have been rejected many times because I don’t thump a bible with me everywhere that I go.”

All in the numbers

One of biggest reasons black women are single, Cooper says, is because of a lack of black men in the church. According to the PEW study, “African-American men are significantly more likely than women to be unaffiliated with any religion (16 percent vs. 9 percent). Nearly one-in-five men say they have no formal religious affiliation.”

Watkins believes the social structure of the church keeps black men from attending. “Those appealing, high-testosterone guys have a hard time getting into the ‘Follow the leader, give me your money, and listen to what I have to say’ attitude.”

“Many of us have a difficult time submitting to the pastor who is just another man.”

The male pastor, Cooper says, is the “alpha male” for many black women. Over-reverence for the pastor – or any religious figure for that matter – creates barriers for the black man, she says, because he feels like he must compete for the No. 1 spot in a black woman’s heart.

“It doesn’t make you more attractive if your life is filled with these ‘other’ men,” Cooper says. “If they feel like they have to compete, you are not going to be interesting because you’re not feeding his ego in the way it needs to be fed.”

Mark K. Forston, son of a black preacher in Forest Park, Georgia, says some black women “put their pastor on this pedestal and have a large amount of faith in him because he is a living source of salvation.”

Sometimes women even focus their romantic feelings on the pastor, says Forston. “Regardless if he’s married or not, sometimes human desires will transcend beyond certain parameters and that’s dangerous territory. Pastors are humans just like anybody else.”

The Rev. Renita J. Weems, a bible scholar who holds a degree in theology from Princeton, strongly disagrees with Cooper about why many black women remain single and says she is reinforcing one message: “It’s the black woman’s fault.”

“To claim that women are sitting in their chair getting heated about watching their preacher strut across the pulpit is illogical,” Weems says. “The black church is not a Sunday morning sex drama.”

Weems, who is African-American and has written several books on women’s spirituality, has her own criticisms of the black church. The literal interpretation of certain scriptures can lead to subjugating women, Weems says. However, positive scripture messages, about love and justice, do exist and can be used to empower women rather than keep them “single and lonely.”

Weems says Cooper fails to examine deeper threads. “What the black church does and what religion does is helps you create core values for your life and allows you to see what you appreciate in others.

“The reason why black women who go to black churches are not married is because they are looking for certain values in a man,” Weems says. “It is not the church that keeps them single, but the simple fact that good values are lacking in some of our men.”

Choose or lose the church

Cooper says her goal is to empower black women. If their strategy for meeting men is failing, Cooper offers two suggestions: Find another church or leave-and go where the boys go: tailgates, bars and clubs.

“Black women need to open their eyes. You want to know the reason why the black man isn’t in church? Because he left church to go to the Sunday football game,” Cooper says. “Going to these sites is discouraged in the black church because these places are seen as places where ‘sin dwells.’ But if women are compassionate, as the bible preaches they should be, then they need to be more open about the men they choose to date and where they might meet them.”

“I’m not against religion, or against the church, I’m against women limiting their choices and putting themselves in a box because they do what their church tells them to do,” Cooper says.

Weems disagrees. “Telling black women that they should spend their two hours on Sunday elsewhere and drive them away to go to the bar to find a date is not helpful to our communities.”

“Black women are the backbones of their community and without them a lot of charitable work would not get done, social justice on the ground would be diminished and outreach to poor people would be severed.”

Patty Davis, the long time churchgoer in Georgia, says all the arguments over what the church preaches miss the point. What truly matters, she says, are women’s motives.

“The real question is: What are you coming to church for?” she says. “To feed your spirit? Or your carnal desires?”

The church’s effect on the romantic lives of black women cannot be gleaned from a mathematical equation or a select bible passage, Davis says.

“It is a woman’s own actions and decisions that will determine the outcome of her love life, not the church’s,” Davis says. “Because the last time I checked, the church ain’t no dating service.”

Struggling for the American Soul at Ground Zero

By Edward E. Curtis IV


Like Gettysburg, the National Mall, and other historic sites, Ground Zero is a place whose symbolic importance extends well beyond local zoning disputes and real estate deals. The recent controversy over a proposal to build a Muslim community center two blocks away from the former World Trade Center shows it clearly: the geography of Lower Manhattan has become a sacred ground on which religious and political battles of national importance are being waged.

After New York’s Landmarks Preservation Commission gave its approval for the demolition of the building now located on 45-47 Park Place in Lower Manhattan, the Rev. Pat Robertson’s American Center for Law and Justice announced that it is suing to stop the project.

Though Robertson’s organization is supposedly dedicated to the “ideal that religious freedom and freedom of speech are inalienable, God-given rights,” it is not primarily concerned with religious rights, at least not the rights of Muslims. It is instead part of a loose coalition of Americans who have identified the presence of Muslims, both at home and abroad, as a primary threat to both the United States and the Judeo-Christian heritage.

Their Muslim-bashing has deep roots in American history. Since the days of Cotton Mather, the New England Puritan minister, many Americans have associated Muslims with religious heresy. In the early 1800s, as the United States waged its first foreign war against the North African Barbary states, politicians, ministers, and authors regularly used themes of oriental despotism, harems, and Islamic violence in political campaigns, novels, and sermons.

Later, when the U.S. failed to quell Muslim revolts during the U.S. occupation of the Philippines in the early twentieth century, U.S. Army Gen. Leonard Wood called for the extermination of all Filipino Muslims since, according to him, they were irretrievably fanatical.

Islamophobia, an odd combination of racism, xenophobia, and religious bias, receded in importance during the 1900s as the specter of communism replaced it as a primary symbol of foreign danger. But with the fall of the Soviet Union, stereotypes about the Islamic “green menace” have once again become a central aspect of our culture.

This time Muslims are fighting back. Their civil rights and religious leaders are challenging this old American prejudice, in part through unprecedented interfaith community activism. Imam Feisal Abdul Rauf, the leader of the group proposing the Muslim community center near Ground Zero, is one of them.

In response to questions about why he wants to build a community center so close to Ground Zero, Rauf has said that he wants the community center to be a source of healing, not division. Rauf also pledged that Park51, as the project is now called, will be a “home for all people who are yearning for understanding and healing, peace, collaboration, and interdependence.”

Rauf has powerful friends–or at least allies. New York Mayor Michael Bloomberg, who choked up defending the right of Muslims to build the community center during a speech in the shadow of the Statue of Liberty, argues that “we would be untrue to the best part of ourselves…if we said ‘no’ to a mosque in Lower Manhattan.”

Those who agree with Mayor Bloomberg represent the other major faction struggling for the American soul at Ground Zero. For them, the American soul is imperiled when its founding ideals are cast aside. In this case, the ideal is the first amendment guarantee of the free exercise of religion. “Of all our precious freedoms,” said Bloomberg, “the most important may be the freedom to worship as we wish.”

Defenders of religious freedom, one of the primary sources of the American nation-state’s moral legitimacy, are fervently backing the community center organizers. They are participants in a civil religion that often places the founding principles of the state above other moral and theological concerns.

For many of them, the situation would be different if the City of New York wanted to put a road or tunnel through Park Place. The right of eminent domain would then be at stake and it would trump the religious rights of Muslims to build a community center and mosque. But to deny a group the right to build a mosque because it offends or even hurts people’s feelings is a different matter.

If Muslims are victorious in this dispute—which looks likely—it will not be because of their growing numbers or lobbying power, but because their interests parallel those who believe deeply and passionately in the state’s obligation to protect freedom of religion.

But this is only one battle in the larger struggle for the post-9/11 American soul. Ground Zero will remain a preeminent site of such religious and political discussion. Americans will continue to debate key questions of war and peace, good and evil on this sacred ground.

Edward E. Curtis IV is Millennium Chair of the Liberal Arts and Professor of Religious Studies at Indiana University-Purdue University Indianapolis (IUPUI). He is the author of several books on Muslim American and African American religious history, including Muslims in America: A Short History. A former National Endowment for the Humanities Fellow at the National Humanities Center, Curtis has also received Carnegie, Fulbright, and Mellon fellowships. You can read his article “Islam has long history downtown: Why the ‘Ground Zero mosque’ belongs in lower Manhattan” in the New York Daily News.

The Art of the Negro: (Study) – Hale Woodruff

Hale A. Woodruff
1900-1980
Located in the:
  • Detroit Institute of Arts
  • The General Motors Center for African American Art
  • 5200 Woodward Avenue
  • Detroit, Michigan 48202
  • Main Line: 313.833.7900
Date
1950/1951
Medium
Oil on canvas
Dimensions
Canvas: 23 x 21 in. (58.4 x 53.3 cm) Framed: 29 1/2 x 27 9/16 x 2 9/16 in. ( 74.9 x 70.2 x 6.5 cm)
Department
African American Art
Classification
Paintings
Credit
Museum Purchase, W. Hawkins Ferry Fund, Richard and Jane Manoogian Foundation, and Friends of African and African American Art

For more information about this click here.

Art for Public’s Sake

The painted pianos that have popped up in public places around the region as part of Cincinnati Public Radio’s Play Me, I’m Yours project have struck a chord with residents, the latest example of a public art project that has sparked conversation and helped shape cultural life in Greater Cincinnati and Northern Kentucky.
Rather than compile a long list of such projects, we picked 10 notable ones that residents have embraced, scorned or grown to love. Which ones are your favorites – or least favorites?

1. Tyler Davidson Fountain, 1871

Downtown’s oldest sculpture is beloved by locals and visitors alike. The 43-foot-high bronze and stone fountain, topped by the smiling Genius of Water, was donated to the city by civic leader Henry Probasco to honor Davidson, his brother-in-law. As their business boomed before the Civil War, the two men talked about giving a “utilitarian and aesthetically pleasing” monument to the city.

When Davidson died in 1865, Probasco sold the business and toured Europe searching for inspiration, finding it at a foundry in Munich. August von Kreling’s fountain was dedicated “to the people of Cincinnati” in 1871.

2. Abraham Lincoln, 1917

Today, the 11-foot-tall bronze sculpture of Abraham Lincoln in Lytle Park is considered one of the best representations of the 16th president, but it drew strong public criticism when it was first displayed in 1917 because it portrayed a beardless Lincoln with oversized hands and feet.

Artist George Grey Barnard was commissioned by the Charles P. Taft family to create the work, which took five years to complete. The statue was dedicated in 1917 by former President William Howard Taft, the younger half-brother of Charles.

3. Law and Society, 1972

Berlin-based sculptor and architect Barna Von Sartory created this sculpture after winning a competition to commemorate the Cincinnati Bar Association’s 100th anniversary. His ceremonial gateway is made up of a huge block of limestone resting on two stainless steel posts to symbolize the balance between nature and technology and the relationship between law and society. Pilloried by the public when it was placed on Fountain Square in 1972, it’s now at Sawyer Point.

4. Stegowagenvolkssaurus, 1974

During the gas shortage of the 1970s, late Cincinnati artist Patricia A. Renick combined the body of an actual Volkswagen Beetle with the legs and spikes of a stegosaurus to form the 12-by-20-foot “Stego” as a commentary on fuel consumption and how automobiles might meet the same fate as dinosaurs.

First displayed at the Cincinnati Art Museum and then at the Contemporary Arts Center to critical acclaim, the sculpture was damaged during de-installation after an exhibition in Chicago.

After Renick died in 2007 at age 75, her longtime companion and executor of her estate, Laura Chapman, restored the sculpture and loaned it to the W. Frank Steely Library at Northern Kentucky University in 2009.

Other local works by Renick, a University of Cincinnati art professor for 31 years, include the stainless steel “30 Module Sphere No. 1” made of stainless steel at the corner of Brighton Place and Central Parkway.

5. Cincinnati Gateway at Bicentennial Commons, 1988

There once was a time when flying pigs had nothing to do with Cincinnati. When British-born artist Andrew Leicester presented his design for an elaborate entrance to Sawyer Point for the city’s bicentennial, some, including then-Cincinnati mayor Charlie Luken, balked at the idea. The design included four bronze winged pigs emerging from riverboat smokestacks.

After a City Council meeting for which some council members showed up wearing pig snouts, and someone carried in a live piglet wearing paper wings, the pig proponents won out. As Leicester predicted, the city soon went hog wild for the symbol, putting flying pigs on bicentennial merchandise and launching the Flying Pig Marathon in 1999.

6. Metrobot, 1988

For more than 20 years, Nam June Paik’s 26-foot-tall Metrobot stood outside the former location of the Contemporary Arts Center on Fifth Street, presented as a gift from late Heidelberg Distributing Co. owner and philanthropist Albert W. Vontz Jr. in honor of the 200th anniversary of Cincinnati and the 50th anniversary of the CAC.

Paik’s brass-colored sculpture served as an ambassador of the CAC, displaying information about exhibits on its electronic message board arm. It also included a video monitor, a wristwatch clock and a public telephone in its legs. The CAC, now located at Sixth and Walnut streets, took down Metrobot in June 2009 and put it in storage. Its future is uncertain, but there’s some support for putting Metrobot on display again, as evidenced by a “Free Metrobot!” page on Facebook.

7. Big Pig Gig, 2000

Perhaps no public art project has captured the public’s imagination like ArtWorks’ Big Pig Gig, which put porkers on parade throughout Greater Cincinnati and Northern Kentucky from May through October of 2000. Modeled after the international CowParade project, the project featured more than 425 fiberglass pigs designed by artists who gave them punny names such as “Swine Lake” and “Styler Davidson Sow-tain.”

It was called the most successful public art project of its kind in the country after drawing national media attention and an estimated 500,000 out-of-town visitors. After the exhibit, 190 pigs were kept by their sponsors, 170 were sold online and 65 sold at a live auction at Music Hall, raising $839,000 for ArtWorks and other charities.

Some pigs were shipped to other states, but most have stayed in area homes, gardens and building lobbies. The project inspired Glendale to put on a similar project, called the Squirrely Gig, for its sesquicentennial in 2004.

8. Purple People Bridge gateway, 2005

The gateway to the Purple People Bridge on the Cincinnati side of the Ohio River unleashed a flood of complaints over its color, design and price tag. Designed by Cincinnati-based KZF Design, the combination of yellow poles and stainless steel cables cost nearly $400,000. KZF had the last word when it was honored at the ninth annual Cincinnati Design Awards in November 2005 for its contemporary design.

9. Theodore M. Berry International Friendship Park, 2003

The 20-acre park, named for Cincinnati’s first African-American mayor, features several works, including a polished stainless steel piece by German architect Peter Haimerl and a circle of large oak pillars designed by Welsh artist David Nash, unveiled in 2003. An 83-foot-high Crystalline Tower, designed by Miami University fine arts professor Susan Ewing and Czech artist Vratislav Novak was expected to follow in the fall, but a funding fight delayed the project.

Escalating costs drove the final price to $400,000, twice the amount budgeted by the park board; grants and donations made up the difference. The triangular titanium, mica and stainless steel tower, topped by a 30-inch aluminum star sheathed in 24-carat gold leaf on a moving arm, was finally installed in November 2005.

10. Murals

These obvious examples of public art have adorned buildings in Greater Cincinnati and Northern Kentucky for decades. In the early 1970s, art dealer Carl Solway and Jack Boulton came up with a project called Urban Walls: Cincinnati, inviting 10 area artists and designers to create massive paintings to mask the scars left by urban renewal in the 1960s.

The only one remaining is “Allegro” by Barron Krody on the east wall of Willis Music Building on West Seventh Street. Since 1996, ArtWorks’ MuralWorks program has put up 34 murals in 24 neighborhoods.

This year, Los Angeles street artist Shepard Fairey put up 19 propaganda-inspired temporary murals around Greater Cincinnati and Northern Kentucky as part of his solo exhibition at the Contemporary Arts Center. Two were painted over, one in Covington by the building owner and one in Madisonville by someone, never caught.

Whimsical art teaches multiculturalism in the land of Oz

Demographically, Oz was a multicultural society, with creatures of various kinds living in harmony.

Like Dorothy, visitors to the exhibition “Over the Rainbow I and II,” whose title was inspired by the song from the 1939 musical “The Wizard of Oz,” at the Sungkok Art Museum in Jongno District, central Seoul, are invited to explore a fantastic new land while learning about the concept of multiethnicity.

Over the Rainbow I features works that introduce viewers to unfamiliar forms and cultures. Over the Rainbow II offers artworks and performances that blend the cultures of India, China, Mongolia and the Philippines.

“Although Korea has prided itself on its racial purity since its foundation, it must now open itself up to the global melting pot of international cultures,” Kim In-sook, president of Sungkok Museum, told reporters at a recent press tour with several of the participating artists. “It is still early for Koreans to anticipate having a leader like Obama, the Indonesia-educated African American president of the predominantly white United States. However, it is not too late to imagine two children of different colors holding hands on their way to school, as Martin Luther King did in his 1963 ‘I Have a Dream’ speech.”

In the first exhibition room, viewers are greeted by a strange sculpture of a “rabbit” that looks more like a D.J., with antennas protruding out of its head. In this installation, Kim Tae-joong’s seemingly never-ending lines recall the scribbles of Cy Twombly, a contemporary American artist. The painting’s cartoonish figures also evoke images of Hindu statues.

In the adjoining room, called “Dr. Autopoiesis’ Lab,” artist Kim Dong-hyun’s ideas about feminism are expressed through playful figurines and visual projections. In one part of the room, there are Transformers-like figures made of Legos, which Kim referred to as “the real image of women.” Nearby, pigtailed dolls sit woefully in a cage. The walls are decorated with the formula H=MW², a play on Einstein’s mass-energy equivalence equation, meaning that “a human being consists of a man’s attributes and double the proportion of a woman’s,” according to the artist.

In section three, four artists calling themselves Yeop, which means “sideways” in Korean, play with the illusion of two- and three-dimensional space. Their piece is a projection of the monochromic interior of a Chinatown inn.
In the second exhibition hall, black lights by Na In-joo, patterned after the latitudes and longitudes of a cut-out globe, interweave around the four walls, creating the sense that the room is breathing. In the center of the room is a computer monitor, created by Choi Seung-joon, which viewers can use to search for the wizard of Oz. When the viewer sits in front of the computer, an image of the viewer’s face is projected onto the wall and is then fused with the faces of previous viewers to form an amalgamated portrait. The artist said that this shows that Oz can be anyone – regardless of gender, age or ethnicity – and that Oz is essentially oneself, containing many selves within.

The next work consists of five wooden stools that respond to pressure. When the viewer sits, a pair of digital images of mosaic chairs simultaneously light up and play a distinctive melody. When all of the chairs are occupied, a beautiful symphony can be heard. In this piece, Jeon Ga-young’s message is clear: Music is a universal language that becomes richer with more participants.

In the third exhibition room, artist Kim Kyung-ah presents a photo album of herself with “Amu,” a huge, huggable white doll with no features sans two blots for eyes. Amu means anybody in Korean. Looking at the two amorphous dolls in the room, viewers have an opportunity to communicate with their inner selves, the artist said.

The final exhibit was constructed by artist Kim Young-hyeon. Two projectors at each end of the installation show two images – a breezy seaside reconstructed from the artist’s memory and a virtual mountain slope from the game Avatar – that combine to form a single striking image projected onto an installation constructed of five white square panels lined up in a row in the center of the room.

The Over the Rainbow II exhibition in the next building offers more interactive experiences, including a waltz class, a temporary tattoo session and a spice room. These activities have been organized by Salad Theater for Multi-Culti Performing Arts, which is composed of marriage migrants hoping to bridge the gap between Korea’s minority population and native Koreans through art.

Once a week, the group presents a show called “Space Manhol_e_ssay,” which depicts the creation of a global society.

Over the Rainbow I and II awakens one’s senses, challenges prejudices and deepens self-awareness. Most importantly, it will encourage viewers to reflect upon the immigrant cultures of Korea in a dynamic new way.

*Over the Rainbow I runs until Nov. 11 and Over the Rainbow II runs until Sept. 26. Hours are from 10 a.m. to 6 p.m. The museum is closed on Mondays. Admission is 5,000 won ($4.28) for adults and 4,000 won for students. Go to Gwanghwamun Station, line No. 5, exit 7, or Gyeongbok Palace Station, line No. 3, exit 7. For details, call (02) 737-7650 or visit www.sungkokmuseum.com.

Forget the Beaches, Trolley Tour Allows Art Lovers to do the Harlem Shuffle

They had a trolley good time.

Forget the double-decker buses that wind through the crowded streets of midtown. The best way to sightsee in one of the city’s most culturally rich neighborhoods Saturday afternoon was via the ArtCrawl Harlem trolley.

About 100 people ignored the lure of the beach, the park or a casino, opting instead for a four-hour trolley tour of Harlem’s most treasured Renaissance and contemporary art exhibits.

As the tour pulled off from the famed Studio Museum in Harlem on 125th St., tour guide John Reddick began a steady stream of fun facts and local trivia.

One of the first stops was Casa Frela Gallery, housed in a brownstone at 47 W. 119th St.

“I don’t know if any of you have seen Beyoncé’s video, “If I Were a Boy,” but this is the brownstone where that was filmed,” Reddick said.

As the trolley passed the large, green statue of Harriet Tubman at 122nd St. and Eighth Ave., he noted that it is the only statue of an African-American woman in New York.

This was Reddick’s second year as an ArtCrawl tour guide and he finds that tourists feel more comfortable about actually getting off the bus and walking around Harlem.

“The ArtCrawl focuses on cultural interaction in Harlem,” Reddick said. “We want to show everyone the side of Harlem that you don’t get unless you’re apart of the experience.”

Created in 2008 by tour company owner Jacqueline Orange and art gallery proprietor Averlyn Archer to get more foot traffic into Harlem galleries, ArtCrawl Harlem runs three tours a year, in April, August and November.

Most New York bus tours just ride through neighborhoods and past landmarks. Saturday’s tour actually stopped at several galleries, giving riders up to 30 minutes at each stop to explore showrooms and interact with artists.

At Casa Frela, artist and museum curator Ellen Fagan, put on art demonstrations in clay, inviting curious tourgoers to step up and participate in the creation of a new piece.

The colorful gallery also displayed works by artist Jackie Welsh, who uses domestic materials to craft her creations.
“I use mops, rugs, and kitchen and household items such as spatulas for my artwork,” she said.

One stop was Dwyer Cultural Center at 258 St. Nicholas Ave., which touts itself as including several rooms of works by Harlem-based artists.

“Harlem is our focus,” said Grace Aneiza Ali, associate director of programs at Dwyer.

Toward the end of the tour, the trolley stopped at Renaissance Fine Art gallery at 2075 Adam Clayton Powell Jr. Blvd., which featured “The Visual, Wearable and Functional Series” by Anton and Donna Dove. Dominating the exhibit was a live model posed in the middle of the showroom floor.

The ArtCrawl ended with a wine, food and music reception at the Rio Gallery II at 583 Riverside Dr.

Diana Smouha of Sydney was thoroughly satisfied.

“I was looking for something a little more interactive and focused,” said Smouha. “Harlem is just beautiful.”

Iraqi-American Unites Washington with Poetry, Food, Art

Washington – Iraqi-American Anas ‘Andy’ Shallal’s inspiration for uniting communities started when he moved to Washington as an illegal immigrant at age 10.

He left the Arab world during a time of revolution and upheaval – he witnessed the televised killing of his president and the Baath regime takeover – only to enter a country in the midst of major social change in the 1960s.

Shallal recalled the assassinations of civil rights activist Martin Luther King Jr and US president John F Kennedy, the race riots and burning of buildings in Washington.

‘The whole city was in fire. And here we are in the middle of these race riots,’ Shallal, 55, said. ‘We had no idea what was really happening.’

The widespread unrest in Iraq and the United States opened Shallal’s eyes to the volatile parts of the world. For years, he had envisioned a place to connect people from all walks of life and honour contributions of influential world and community leaders.

Also an artist and social activist, he began his dream in 2000 at age 44 with the Peace Cafe, a monthly meeting that brought together Arabs and Jews to discuss the Israeli-Palestinian conflict over dinner.

After decades in the restaurant business, in 2005 Shallal launched Busboys and Poets, a restaurant, bookstore, fair trade market and gathering place where people can discuss issues of social justice and peace. There are now three such restaurants in the Washington area.

The name was inspired by Langston Hughes, an African-American poet who worked as a busboy at the Wardman Park Hotel in the 1930s, before receiving recognition for his writing.

Hundreds of guests – from local residents to celebrities, artists and politicians – flock to Busboys in search of delectable organic cuisine and performances.

Shallal said that as a young man in the US capital he never felt like he belonged, yet he was able to blend in with both white and black groups and hear their gossip about each other.

‘Back then, there was no brown – you were either black or white,’ he recalled.

He described Iraq as ‘a much more homogenous society’ without a history of interracial issues.

‘The separation of the races in this country really became almost an obsession for me,’ Shallal said. Even today he sees a divided, segregated culture in Washington.

‘People tend to not mix very much,’ he said. ‘It’s a city that’s undergoing a lot of changes. It’s a city that is trying to find its identity.’

But he’s doing his best to unite people who live ‘parallel lives,’ as is obvious in the diversity of people – from black to white and all shades in between – at his restaurants.

The road to the first Busboys has been a long one. After graduating from Catholic University in Washington and dropping out of medical school, Shallal waited tables and ‘learned the restaurant business from the ground up.’ He managed other people’s restaurants until opening his first in 1987.

He wanted to combine his passions – theatre, music, poetry, books and food – into one.

‘I wanted a real community place where different types of people with different interests, different backgrounds could all come together and could interact and intersect,’ Shallal said.

The first Busboys in Washington’s U Street corridor, an African- American cultural haven, buzzes with intellectual conversations and soft jazz.

Artists, activists, musicians and playwrights from Howard Zinn and Alice Walker to hip-hop legend Common have performed music and poetry on the velvet-curtained stage. Open-microphone nights invite public participation.

The cozy nook of a bookstore offers works from local writers, and even has a shelf on Haitian literature. The bar serves up organic beer. Prominent politicians such as Hillary Clinton and consumer activist Ralph Nader sometimes sponsor events.

Paintings adorn the lime-green walls depicting people – mostly black women – going about everyday life. Shallal’s own full-wall mural, called the Wall of Peace and Struggle, depicts the faces and words of inspiration of Mother Teresa who started the Missionaries of Charity, Indian independence icon Mahatma Gandhi and former South African president Nelson Mandela – people who ‘have been instrumental in changing the world – in changing how we live today,’ Shallal said.

‘It gives people a sense of hope, a sense of possibilities and a sense of perspective,’ he said. ‘These are people (in the mural) that have given up their lives, some of them, so that others can have peace and freedom.’


For more info about Busboys and Poets visit their website.

Harlem Stage Announces Their September Event Listings

Harlem Stage announces its event listings for September. The three main events offers film, dance, and music for all.

On Wednesday, September 5th, Harlem Stage on Screen presents “I Remember Harlem” by Mill Miles. The film will be at 7:30PM athe the Harlem Stage Gatehouse (150 Convent Ave at W. 135th St.). Tickets are $10.

“I Remember Harlem” is a stunning look at the history of Harlem in a one hour compilation of the award-winning four part documentary that traces 350 years of African American culture. The film offers a glimpse of the dynamic culture of Harlem from the roots to a new day. It will be followed by a Q&A session with the filmmaker and reception. It is part of the Harlem Stage on Screen series and co-presented with the Black Documentary Collective as part of the Harlem Stage Partners Program.

Dance on Harlem Stage presents “Blood Dazzler” from Thursday, September 23rd through Sunday the 26th. There is a Sunday matinee performance at 3PM while all the other days have evening performances at 7:30PM. The event will be at the Harlem Stage Gatehouse. Tickets are $20.

“Blood Dazzler” is a dance/theater work based on the poetry collection by Patricia Smith; Conceived and created by Paloma and Patricia McGregor. Based on Smith’s award-winning book, “Blood Dazzler” embodies Katrina as a troubled, otherworldly woman hungry for fame, destruction and revelation. Katrina defied simple classification and easy analysis. Now, as her aftermath continues to be felt, a group of artists reexamines her origin and impact through a unique convergence of verse, dance, theatre and multimedia, in the hopes of unearthing deeper truth. It is co-presented with Angela’s Pulse as part of the Harlem Stage Partners Program. It will be performed by Cristal Albornoz, Eddie Brown, Rhea Patterson, Alexandra Houston, Tiffany Rachelle Stewart, Lizan Mitchell and Maria Bauman, as well as a special performance by Patricia Smith.

On Saturday, September 25th, Uptown Nights at Harlem Stage presents “WeDaPeoples Cabaret” at 9:30PM at Aaron Davis Hall (150 Convent Ave at W. 135th St.). Tickets are $20 for Cabaret and $35 for both Cabaret and Blood Dazzler.

The show is curated by Carl Hancock Rux and features Toshi Reagon, Helga Davis, Queen Esther, Greg Tate, Roger C. Jeffreys/Subtle Changes Dance Company, Preston Riddick’s drumming ensemble, DJ Phonozone and others. “WeDaPeoples Cabaret” was created in 2006 by Sekou Sundiata for the opening season of Harlem Stage‘s new home, The Gatehouse. In tribute to Sekou and in the spirit of Max Roach and Abbey Lincoln’s collaboration “WE INSIST: Freedom Now Suite,” Rux starts a revolution on the dance floor with a night of art and activism. The evening follows the performance of Blood Dazzler, features a special video presentation plus a dynamo of artists with DJ Phonozone spinning throughout the evening. It is co-presented with the Center for Jazz Studies at Columbia University and the Columbia Harlem Jazz Project with support provided by The America Project.

Harlem Stage is a performing arts center that celebrates and perpetuates the unique and diverse artistic legacy of Harlem and the indelible impression it has made on American culture. They provide opportunity, commissioning and support for artists of color, make performances accessible to all audiences, and introduce children to the rich diversity, excitement and inspiration of the performing arts.

More information about the events, tickets, and Harlem Stage itself can be found at its website: http://www.harlemstage.org/

Stephanie Redcross Brings Vegan to the Mainstream Since

Since I first went vegan in 1995, I’ve witnessed a sea change. What once felt like fringe is now creeping into the global collective consciousness. This has not been an accident, of course. Dedicated activists and green entrepreneurs have been tirelessly toiling to promote plant-based living. One such advocate is Stephanie Redcross, a dedicated vegan (for five years) and the founder of Vegan Mainstream. Using skills like strategic planning, market intelligence, social media, design, search engine optimization, and public relations, Stephanie and Vegan Mainstream are here to “spread awareness for your animal friendly business to both vegan and non-vegan consumers.” They explain: “We want to propel your vegan or vegetarian businesses into the mainstream.”

Here’s more of their game plan:

  • Vegan Mainstream aims to fill a gap in the billion dollar veg/vegetarian U.S. marketplace by exclusively helping small and medium sized veg/vegan businesses not only market to vegan/vegetarians, but the mainstream.
  • Vegan Mainstream is headquartered in La Jolla, California. Its employees work in California and virtually
  • throughout the United States from Connecticut to Seattle.
  • The company launched in October 2009 with one employee. It now has a team of 10 marketers and 15 writers.
  • Nearly 15,000 social media fans from all over the world follow Vegan Mainstream online.

I wanted to know more so I went directly to the source: Stephanie Redcross. “As the founder, Vegan Mainstream provides a space for me to merge my passions, veganism and marketing,” she explains. “Everyday, I get to use my management and marketing training to save animals, save the planet and help vegan business owners succeed. It’s a dream come true!!!”

To read the full Q & A with Ms. Redcross click here.