Blackstream – not mainstream art.

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The term “blackstream” was used by Black artists in the 1900s who were denied admission to the art mainstream. More recently, fine art appraiser Edward S. Spriggs of Atlanta, Georgia brought the term “blackstream” to our attention. Feeling there was a need to identify this important time of formative awareness of, belief in and commitment to African-American art, we coined the phrase BlackStream Renaissance.

We further define this growth period as being marked by a collective community conscientiousness that recognizes the creative, cultural and financial viability of African-American visual expression.

The interplay between artists, community members and available resources has created a fabric-like cohesion characterized by:
• Artists willing to create
• A community that can inspire its artists
• A community that accepts its own cultural
creations as having value
• Sufficient community resources to sustain the
exchange of value

The patrons and artists of the BlackStream Renaissance purchased and sold art, displayed it at home and at work and shared it with friends, family, co-workers and the general public. In short, they have made African-American art an indispensable part of their everyday lives. The African-American community is effectively supporting and building an art industry, perpetuated primarily by its own members.

Work by artist Andrew Turner

Collecting African American Art

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Collecting African American Art

Dr. Mary Schmidt Campbell, former Executive Director of the Studio Museum in Harlem, has stated “…to give an object a home.” (-) “At the most private and personal level, that is the goal of the serious collector. Exercising taste, judgement, an intense love of a culture and its traditions, motivated by a caring not only for the visual forms of an artifact… but also a caring for the – creative willfullness – of a culture or an individual, the real collector feels a deep and abiding kinship with the objects he collects.”

The life enhancement that a piece of art generates for a collector is the most valid reason for selecting any art work. Collector motivation should be not solely whether a work of art will appreciate financially, but should be based on a link, a kinship, a connection with the essence and life force of the work. ‘The thing about art is that you only hold it in trust. There’s a living spirit in a great work of art. If you see it only in terms of its monetary value, the circle of communication is incomplete,” states Corrine Jennings of the Kenkeleba-Gallery, New York. An astute art collector will see the value of an artist’s work long before the investment oriented art collector takes note. A connoisseur with a sensitive eye uses esthetics rather than economic considerations in acquiring art work. Only esthetics is intrinsic to the art work. Economic or investment appreciation may be considered for the long run after the collector has found some valid esthetic reason to purchase a piece of art.

African Americans are purchasing Black Art because some have available more disposable funds and now have the means to collect art and support Black artists. In addition, African Americans now desire to make a cultural statement concerning their identity that the silk dress, expensive vacation or BMW can’t make. Non-African Americans purchase Black art because it offers a means to diversify an already established collection, i.e. art from the perspective of the African American artists hanging next to art rendered from the perspective of an Oriental or European artist and so on. Moreover, African American art is a “bargain” in terms of prices paid for other art. These new patrons have also helped to make the market stronger for Black art and to make African American art more and more of an investment.

Nonetheless, the link, the kinship, the connection, the life enhancement, the circle of communication, the esthetic value should be a collector’s primary motivation for acquiring art work. Should a piece of art appreciate over time, then that’s a plus.

“The Builders” by Jacob Lawrence.

Florida Highwaymen African American Artists

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In the early 1950’s through the 1980’s a group of twenty-six African-American artists known as the “Florida Highwaymen” used vivid and bright colors to display the beautiful untouched Florida landscape. The Florida Highwaymen painted wind-bent palm trees, serene sunsets, churning oceans and bright red Poinciana trees. They painted from their garages and back yards on inexpensive Upson board and then on the weekends they would travel and sell their Highwaymen paintings to hotels, offices, businesses and individuals who appreciated the artwork for around $25 a piece.
Collecting Florida Highwaymen art has become an exciting, but often expensive, hobby. The market for an original work of art by a Florida Highwayman can easily bring $5,000 or more. Some of the Highwaymen who are still living have resumed painting to meet the continuing demand for their work. Please take your time to browse our site for more information, or search above to find exactly what you are looking for.

Buying Art as an Investment – What to buy, what to sell, and will it make me rich

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By Lisa Kocian | March 19, 2006

As vice president and director of American and European painting and prints for Boston-based auction house Skinner Inc. and an appraiser on PBS’s Antiques Roadshow, Colleene Fesko looks at 10,000 paintings a year. In her career, she has come across incredible deals, ridiculous overvaluations, and everything in between. Fesko has five recommendations for people who want to put their money where their art is:

Brush up on the subject. Don’t just buy what you love – educate yourself first. “People in New England are lucky, because we have such wonderful museums and galleries and auctions and schools.” Take advantage of those, Fesko says.

Get to know the artist next door. Regional markets are doing well right now, she says. The Cape Ann School, for example is a community of artists in Gloucester and Rockport; some of its members have seen their work increase in value from $500 to $5,000 in the early 1990s to $15,000 to $25,000 today.

Seek out diamonds in the rough – and on paper. Look for work by any artist “studying with the finest teachers and who hasn’t hit yet,” she suggests. Drawings, watercolors, and fine-art prints tend to be undervalued, so you might just get a real deal on one of those.

Beware of bargains. You should “buy the best of what you can afford,” Fesko advises. That means look for the highest quality in the medium that interests you, and also pay special attention to wear and tear. “If something is in bad condition, it’s not a bargain.”

Embrace changes of art. Collections should be fluid over time. That heart-stopping landscape you bought when you were 25 won’t necessarily speak to you when you’re 50. When your tastes change, so should your collection. This advice applies no matter what your budget.
© Copyright 2006 Globe Newspaper Company.

Paul R. Jones, art collector and Bessemer native, dies at 81

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Paul R. Jones, art collector and Bessemer native, dies at 81

By Michael Huebner — The Birmingham News

January 28, 2010, 1:45PM

prj.jpgPaul R. Jones’ mission to showcase African-American artist is being realized at museums and galleries nationwide. His collection of photography by Bessemer native P.H. Polk is on display at “To Make a Picture,” through May 23 at the Birmingham Museum of Art.
Paul R. Jones, who grew up in the Muscoda mining community near Bessemer and rose to become one of the nation’s most respected collectors of African-American art, died Tuesday in Atlanta. He was 81.

Known for his keen eye for quality art, Mr. Jones collected works by luminaries such as Romare Bearden, Elizabeth Catlett, and Henry Ossawa Tanner, amassing 2,000 works and placing him in Art and Antiques magazine’s top 100 U.S. collectors. In 2008, he donated the bulk of his collection — 1,700 works worth nearly $5 million — to the University of Alabama in Tuscaloosa. He gave hundreds of works to the University of Delaware in 2001. Lecture series bearing his name have been established at both universities.

Swann’s auction of African-American fine art

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NEW YORK—Earlier this month, the biggest auction houses proved they were back on their game, posting strong numbers in London. Now their smaller brethren are proving that they can notch up sales too. Swann’s auction of African-American fine art took home a healthy $1.24 million total with buyer’s premium yesterday, just barely shy of its $1.3–1.9 million estimate. Of the 162 works on offer, 118 found buyers, netting the auctioneer a respectable 73 percent sold-rate by lot.

Malvin Gray Johnson, a member of the Harlem Renaissance, had a striking auction debut, as a collector paid $228,000 for his Swing Low, Sweet Chariot, 1928-29, which depicts a group of people pointing out at a dark, cloud-filled landscape. Swann declared it the artist’s “best known work,” and the bidder seemed to agree.

The somewhat peculiar premise of the auction led to an unusual mixture of artists, ranging across different time periods and styles. Jacob Lawrence’s circa 1941-42 gouache on board, Untitled (Two Card Players), went for $42,600, followed later by a choice David Hammons print from 1977, Untitled (Body Print), which earned a sporty $114,000, beating its $80,000–100,000 estimate with the addition of the buyer’s premium. It was the second most expensive lot of the evening.

http://www.artinfo.com/news/story/34011/swanns-african-american-art-auction-soars/

Art Webinars – Online Seminars

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Conversation on Art #301 THE AFRICAN-AMERICAN ARTIST
An introduction to African-American achievements in the visual arts,
especially painting, from Colonial times to the present.

Saturday, February 27 3 PM
http://www.bestdeal123.com/pages/digital_downloads.html
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Conversation on Art #302 Collecting African American Art
A lively discussion on why the esthetic value of a work of art should be a
collector’s primary motivation for acquiring art work.

Monday, March 1 8 PM
http://www.bestdeal123.com/pages/digital_downloads.html
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Conversation on Art #303 Andrew Turner – In His Own Words
A look at the life and art of Philadelphia artist Andrew Turner.

Tuesday, March 2 8 PM
http://www.bestdeal123.com/pages/digital_downloads.html
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Conversation on Art #304 Group Show
We will take a look at a number of contemporary African American artists through video.
Artists include: Cal Massey, Leroy Campbell, BUA, George O’Neil and others.

Wednesday, March 3 8 PM
http://www.bestdeal123.com/pages/digital_downloads.html
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Conversation on Art #305 An Eye For Art
You will learn first how to – Describe the Work of Art
Then you will learn how to – Analyze the Work of Art
Next you will learn how to – Interpret the Work of Art
And lastly you will learn how to – Evaluate the Work of Art

Thursday, March 4 8 PM
http://www.bestdeal123.com/pages/digital_downloads.html
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Here is the link:
http://www.bestdeal123.com/pages/digital_downloads.html

These webinars will include video as well as text format.
Webinars are FREE.

Celebrating African American art in Toledo

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As you know, February is Black History Month. For the last 15 years, the 20 North Gallery in downtown Toledo has been celebrating the month with art exhibits from African American artists.

Gallery owner Eric Hillenbrand says, “We have 21 different artists and an amazing array of talent.”

Eighty percent of the African American artists on the walls this month at 20 North Gallery are from right here in northwest Ohio.

This year artists have represented what they’ve seen in national politics with several new works inspired by President Barack Obama.

In addition, the featured artist Aaron Bivins lines the wall with vibrant displays honoring legends of jazz.

This year, if snow keeps you away, the entire show is available online.

Jon Calvert visual artist

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As an artist Jon suggest that black art is expressive in conversation, and has a position in creativity that is personally educational and observative. It’s color and content is a presentation of awareness of life and topics of knowledge. His paintings represent the facets of black american lives.A native St.Louisian Jon has illustrated a veiw of lifestyles through works that express ways of seeing cultures in creative ways. His theme,”Every Day Lifestyles,” is an on going look at a generation admirably. Calvert tends not to the tedious detail, but to the illusion that we are a part of what is going on in the painting , making you ask, “Was I There?” Each painting is merely random images of everyday life in St. Louis, but each ‘snapshot’ makes us question what is the importance of preserving the common place moment verses documenting the spectaculor.My works portray the visuals of city lifestyles in the aspects of communications through art. The characters I like to paint conversate about the realizms of the “Ghetto Experience.”

Renee Scarbo visual artist

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Brilliant reds and golds glow in any light, bringing a burst of color to any room. Add your favorite blooms to this striking glass vase for a breathtakingly beautiful focus piece! Decorative purposes only.

Renee’Holloway/Scarbo, a singer/songwriter for over 35yrs. Was once the only female lead vocolist of the group called “THE FLOATERS” who made their biggest hit back in the day called “FLOAT ON” when it was just the guys, and another with “THE FLOATERS & SHUGA with an album entitled “FOR YOUR LOVE”. Now I sing for Churches all over whenever needed, and for weddings occasionally or if you just need a song of prayer at home of for your loved ones in their time of need: just call me I’ll be there, or go to my website www.theacappellasinger.com and leave me your information. I also love selling my wonderful products here at my web store at: www.ladidrs.com. Enjoy the scroll through LADIDRS.COM. THANKS IN ADVANCE!

Calvin Johnson – Visual Artist

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Calvin Johnson

Calvin’s lifelong love of art was first nurtured in a home filled with creativity flowing from his grandparents, parents and siblings. It grew immensely with his introduction of arts and crafts projects in the Philadelphia Public School system. As a first grade student, Calvin was assigned to design his very first mural; a colorful chalk-rendered zoo motif on the old-school blackboard partitions in the back of the classroom. The process continued with several inspiring art teachers whom Calvin encountered throughout his primary school years, Saturday morning art classes and summer art camps.

His passion was refined at Millersville State College, where he received his Bachelor of Arts Degree in 1981. It was at M.S.C. that Calvin was exposed to many mediums, but it was oil and acrylic painting that captured his heart. “I became enamored with the wonderful array of colors, the fun of exploring the different techniques of their application to the canvas and developing an inner peace within myself that painting, for me, is truly a joyous discipline.”

After ten years of meaningful yet low paying freelance projects, Calvin was faced with self-doubt, slowly coming to the realization that he may never become successful with his talents.

In 1990, those negative forces were expelled when an opportunity to become the summer camp art instructor at the historic Wissahickon Boys and Girls Club in his Germantown, Pennsylvania neighborhood. Through this new position, Calvin was renewed and it became apparent to him that it was time to give back to those young artists in need of his instructional and creative energy. He instilled self-esteem in many, as well as empowering a sense of self-worth in the youths that encouraged them to utilize their gifts and make statements of who they were and what they wanted to achieve in life through art. “Like the singers, rappers, musicians or dancers that you see every day…brushstroke your feelings, beliefs, joys and pains on the canvas for all to see.”

After 11 years of inspiring and educating youths to pursue their dreams, Calvin left his artistic imprint throughout the facility (painting a new gym floor design in 1995 and an Egyptian wall mural in 2000), and resigned from W.B.G.C. to pursue his dreams in Los Angeles with his wife and best friend, Thea.

Calvin has continued his artistic odyssey in Los Angeles with countless hours at the easel in preparation for exhibitions at the Art in the Park annual shows, The Lankershim Gallery, the NAIMA Awards Show and various other community shows.

The Jackson Saga

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The BET Awards were on last night and Joe Jackson attended. Now I understand people mourn and grieve lost ones in their own way, but when asked how was he doing from a reporter, Joe’s response was “I’m doing great!” Well, that’s nice. A huge portion of the world is currently saddened over the death of your illustrious son, could you feign some sadness, too?

I have this theory that everyone’s life work is in response to the relationship they have with their parents. Would Michael have been so great if he wasn’t constantly pushing back against his father and showing him the heights he could reach? Would Michael have bought all that land in California to make Neverland and create the childhood he was robbed of? Our parents have the amazing privilege of seeing our lives from the very start, and in Michael’s case, to the very end. As children, we only see our parents when they’ve settled down. My mom could’ve been a crazy, acid-droppin’ hippie for all I know, but our parents’ watchful eye means they have an incredible amount of influence over who we become and what we do with our lives.

How have your parents influenced you? 

Michael

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I got my hair cut yesterday and we all know that perming, braiding, weaving, and cutting can take hours, so I was there for awhile. In that time, the television was tuned to all the news channels and their headlining story was, of course, the passing of Michael Jackson. What a day that was, beginning with the death of Farrah Fawcett and then ending with the confirmed death of the King of Pop. 

A few ladies in the salon told stories about taking the train from Philadelphia to the Spectrum to see Michael in the late seventies. “He was a treat to watch,” my hairdresser said, “just an amazing man.” I became a fan of Michael in the nineties when my older brother tried to moonwalk across the living room one day. I asked him where he learned it and that’s when I was introduced to someone incredible. 

When I watch his music videos, see his performances with contemporary pop artists, and just listen to the his songs, I understand why the world is reeling. Yes, there is civil unrest in Iran, and yes, the economy is currently going down the shitter, but it’s important to stop and pause when a musical great has left us. He’s a huge part of US pop culture, and the world embraced and loved him just as much as Americans. 

And wow, the way that man moved. There was fluidity in his limbs that couldn’t be replicated. He commanded the stage and dared you to try to stop watching. But he didn’t just make you stand in awe, he also made you dance, feel passion, feel soul, and to know what it’s like to sense music run up and down your body. Even now as I listen to Billie Jean writing this, I can’t help but groove along in my chair.

Thank you, Michael Jackson. I hope you have finally found peace.

If Obama Hadn’t Won

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The photos, news articles and continual storm of chaos sprouting from Iran have been soul crushing. A couple days ago, a friend linked me to a video of a 16-year-old girl who was  standing by and watching a peaceful protest when a soldier of the Basij (the Iranian military ordered to suppress the dissenters) shot and killed the innocent passerby. In a little under twenty seconds a girl’s life ended on those streets where cries of freedom are muffled by the sickening sound of gunshots hitting skin or tear gas searing the eyes. 

I hope Americans are keeping a watchful eye on this crisis, which will undoubtedly grow worse now that any hope for recount has been quelled, despite evidence pointing to the tampering of votes.  As I watch the ticker tape on news channels flash more tragedy and anger from Iran, I can’t help but draw parallels between the Iranian election and the U.S. Election.

I ask myself “what if Obama had not won”? Americans were certainly itching for a change after two terms of He-Who-Shall-Not-Be-Named, and the charismatic newcomer from Chicago gave the public a campaign driven on hope and the firm promise of “change.” On November 4th, I stared at the TV and waited for the painfully slow updates of election results, ready to cry out of joy or disappointment at any moment. But if McCain had won how would the young people, who gave so much heart, soul, and energy to the Obama run, have reacted? How would all his supporters show their sorrow?

A part of me wishes there would’ve been rioting in the streets or some sort of organized march, but I’m sure none of this would’ve happened. So you guys tell me – what would the country have looked like post-election if Obama was still a senator from Illinois and McCain was posed to swear in as President of the United States?