Devotion by Keith Fondren

file7

Price: $7,000
Devotion
by Keith Fondren
Mixed Medium

Size 48″ x 60″ Approx

 I’m a dedicated talented individual who chose to develop and further my creative career objectives, by taking full advantage of my college education at C.C.S. Center for Creative Studies College of Art and Design. I started as a glass major, under Prof. Herb Babcock; Glass Master. He introduced me the magnificent world of glass. Such as blown, electroplating, pate de vere, fusing and slumping. Tom Phardel Master Ceramist, whom art work is in most museums, opened my mind to the beauty of clay. After years of studying under Prof. Sue Limburg Master Painter, Prof. Jay Holland Master Sculptor my cup was overflowing. I had grown past my own expectations. 

Incorporating everything I had learned into my own visual concepts, I developed professional excellence, maturity and originality. My social and intellectual strength grew as well. Thorough observation of form, volume, shape, motion, space, and patterns, has given me a creative unhampered articulation of a concept. My strong ideas are well targeted and executed. This makes them dramatic, memorable and persuasive. Sensitivity and that rare precious ability to bring form to the formless and life to the lifeless, has been my journey as an artist. 

When my children where all grown, I decided to move back home to my Grandfather’s 63 acre farm in Mississippi. While here I have had the opportunity to meditate and think as an artist. My art has become distinct, innovative, simple, sophisticated with technical perfection. My latest collections of work are examples of perfected strong ideas which are well executed.

Offered at $7,000

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    Self Illuminated by Keith Fondren

    file6

    Price $4,500
    Self Illuminated
    by Keith Fondren
    Mixed Medium

    Size 30″ x 36″ Approx

     I’m a dedicated talented individual who chose to develop and further my creative career objectives, by taking full advantage of my college education at C.C.S. Center for Creative Studies College of Art and Design. I started as a glass major, under Prof. Herb Babcock; Glass Master. He introduced me the magnificent world of glass. Such as blown, electroplating, pate de vere, fusing and slumping. Tom Phardel Master Ceramist, whom art work is in most museums, opened my mind to the beauty of clay. After years of studying under Prof. Sue Limburg Master Painter, Prof. Jay Holland Master Sculptor my cup was overflowing. I had grown past my own expectations. 

    Incorporating everything I had learned into my own visual concepts, I developed professional excellence, maturity and originality. My social and intellectual strength grew as well. Thorough observation of form, volume, shape, motion, space, and patterns, has given me a creative unhampered articulation of a concept. My strong ideas are well targeted and executed. This makes them dramatic, memorable and persuasive. Sensitivity and that rare precious ability to bring form to the formless and life to the lifeless, has been my journey as an artist. 

    When my children where all grown, I decided to move back home to my Grandfather’s 63 acre farm in Mississippi. While here I have had the opportunity to meditate and think as an artist. My art has become distinct, innovative, simple, sophisticated with technical perfection. My latest collections of work are examples of perfected strong ideas which are well executed.

    Offered at $4,500

    Make-Offer

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      Transcendental by Keith Fondren

      file5

      Price: $9,000
      Transcendental
      by Keith Fondren
      Mixed Medium

      Size 48″ x 96″ Approx

       I’m a dedicated talented individual who chose to develop and further my creative career objectives, by taking full advantage of my college education at C.C.S. Center for Creative Studies College of Art and Design. I started as a glass major, under Prof. Herb Babcock; Glass Master. He introduced me the magnificent world of glass. Such as blown, electroplating, pate de vere, fusing and slumping. Tom Phardel Master Ceramist, whom art work is in most museums, opened my mind to the beauty of clay. After years of studying under Prof. Sue Limburg Master Painter, Prof. Jay Holland Master Sculptor my cup was overflowing. I had grown past my own expectations. 

      Incorporating everything I had learned into my own visual concepts, I developed professional excellence, maturity and originality. My social and intellectual strength grew as well. Thorough observation of form, volume, shape, motion, space, and patterns, has given me a creative unhampered articulation of a concept. My strong ideas are well targeted and executed. This makes them dramatic, memorable and persuasive. Sensitivity and that rare precious ability to bring form to the formless and life to the lifeless, has been my journey as an artist. 

      When my children where all grown, I decided to move back home to my Grandfather’s 63 acre farm in Mississippi. While here I have had the opportunity to meditate and think as an artist. My art has become distinct, innovative, simple, sophisticated with technical perfection. My latest collections of work are examples of perfected strong ideas which are well executed.

      Offered at $9,000

      Make-Offer

      Make Offer – Ask Question Extremely low offers will not be considered. Please do not make offers if you are not serious about buying this item. An October Gallery ArtPro will respond to you as soon as possible. If you prefer a telephone follow up, please leave your phone number.

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        Third Eye Shinning by Keith Fondren

        file3 (1)

        Price: $4,500
        Third Eye Shinning
        by Keith Fondren
        Mixed Medium

        Size 24″ x 60″ Approx

         I’m a dedicated talented individual who chose to develop and further my creative career objectives, by taking full advantage of my college education at C.C.S. Center for Creative Studies College of Art and Design. I started as a glass major, under Prof. Herb Babcock; Glass Master. He introduced me the magnificent world of glass. Such as blown, electroplating, pate de vere, fusing and slumping. Tom Phardel Master Ceramist, whom art work is in most museums, opened my mind to the beauty of clay. After years of studying under Prof. Sue Limburg Master Painter, Prof. Jay Holland Master Sculptor my cup was overflowing. I had grown past my own expectations. 

        Incorporating everything I had learned into my own visual concepts, I developed professional excellence, maturity and originality. My social and intellectual strength grew as well. Thorough observation of form, volume, shape, motion, space, and patterns, has given me a creative unhampered articulation of a concept. My strong ideas are well targeted and executed. This makes them dramatic, memorable and persuasive. Sensitivity and that rare precious ability to bring form to the formless and life to the lifeless, has been my journey as an artist. 

        When my children where all grown, I decided to move back home to my Grandfather’s 63 acre farm in Mississippi. While here I have had the opportunity to meditate and think as an artist. My art has become distinct, innovative, simple, sophisticated with technical perfection. My latest collections of work are examples of perfected strong ideas which are well executed.

        Offered at $4,500

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          Marlon James-Jamaican Visual Artist

           

          1

          Marlon James was born in Kingston in 1980. In 1998, he began his studies at the Edna Manley College of the Visual and Performing Arts.  While majoring in sculpture he discovered his passion for photography and chose to dedicate all his free electives in that direction.  Under the tutelage of Donette Zacca, he began his creative development as a photographer and photography quickly became his primary medium.

          In 2001 the Pulse Entertainment Group recommended Marlon to work with international, awarding winning photographer Jeffrey Gamble. Over the next year, Marlon was nominated for the Under 40 Artist of the Year competition at the Mutual Gallery, worked as one of two photographers for the fashion designer SIIM and freelanced on a number of commercial projects. Seeking to develop his skills, he sought the advice of a noted photographer Franz Marzouca. Marzouca, impressed with Marlon’s portfolio, became a mentor and invited him to work on a number of projects. Thus began the first of a series of apprenticeships that would serve to increase his proficiency as a photographer. Marlon continued to enhance his skills by working with other seasoned and respected photographers such as William Richards, a fashion and commercial photographer working between NYC and Jamaica; Anthony Mandler, a noted photographer and music video director from LA; and Mark Seliger, the renowned celebrity photographer whose images have made the covers of Vanity Fair and other international publications. These experiences have allowed him to access a pool of expertise that continues to inform his work as he develops his own creative style.

          As an artist Marlon is committed to creating powerful images that will command the viewer’s full and undivided attention. His defines himself as an unorthodox photographer who strives to break the cycle of monotony. His photographic practice is varied and includes dark room and digital, colour and black and white, and fashion and fine art although he has focused mainly on the human figure. For Young Talent V, the exhibition will consist of a series of portraits of fellow artists, most  of which were made on site at the Edna Manley College.

          Marlon James is currently employed in the Photography department of the Edna Manley College of the Visual and Performing Arts as a photography technician, and assistant curator of the College’s CAG[e] Gallery. He also teaches Beginner’s Photography in the Dept of Continuing Education.

          2

          Artist’s Statement

          Capturing the soul of someone was never my initial objective. I just wanted my subjects to be relaxed in front of my camera. I don’t like to impose any directions on them, I just let them be and the results have been fascinating, especially to me, as these people unveil in front of my lens. Mainly using one source of light with a monochromatic tone allows me to create a mood that seems to bring out their true character, to reveal the individual beneath the layers.

          – Marlon James

           

          Curator’s Statement

          Marlon James’ stark black and white portraits of fellow artists are powerful physical and psychological presences and they will be shown at or near life size in the exhibition, to reinforce this effect. As Marlon explains, he lets his subject be themselves in front of the camera and this leads to acute portrayals of their personalities and physical appearance, some of them haunting, to the point of being disturbing, some amusing and some both.  While working on this exhibition, several noteworthy trends have come to the fore. One is the increased reliance on collaboration between contemporary Jamaican artists who are less concerned than their predecessors with drawing a firm line between their own work  and that of their peers. In this exhibition, this new thrust towards collaboration and collective approaches is particularly evident in the work of Marlon James, Stefan Clarke, Ebony Patterson and  Marvin Bartley.

          The other emerging trend, which is a source of particular fascination to me, is the performative self-presentation of certain young artists in Jamaica, who create a spectacular public persona in which provocative fashion, body adornment and posturing play an important role – quite a contrast with the more modest, at times even self-effacing stance of many of our older artists. Their self-presentation recognizably draws from contemporary youth culture — dancehall, hip-hop and goth stand out — but is taken to a level where it becomes part of the artistic practice. Marlon James’ portraits powerfully capture this development, most obviously in his portrayals of Stefan Clarke, who is also in the Young Talent V exhibition and whose body, with his self-designed tattoos and jewelry, piercings and radical hairstyles, is an ever-evolving performance piece.

          – Veerle Poupeye

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          Source: https://nationalgalleryofjamaica.wordpress.com/2010/04/03/young-talent-v-marlon-james/

          Jamaican artist in the Louvre

          Andrae-Green

          KINGSTON, Jamaica — Jamaican artist Andrae Green, trained at the Edna Manley College of the Visual Arts, has seen one of his works recently accepted by the Louvre Museum in Paris for the 152nd international three-day “salon” of the Societe Nationale des Beaux Arts in December.

          www.masslive.com’s recent feature on Green says the artist likes to paint human figures on a huge scale.

          “Anything over your body size is almost as if you have willed something to life,” he said with his radiant smile. “It’s an incredible feeling. In my spirit I’m 35 feet tall.”

          And true his liking the painting selected for the Louvre is an oversized portrait of Sir Percy Wyndham.

          Born in Kingston, Green began drawing at an early age, inspired by comic book heroes. “When my dad saw me drawing,” said Green, “he usually would take away my sketchpad and say, ‘Read a book!’” His mom would give it back.

           Green as a youngster benefited from an “awesome teacher” named Michael Archer at St Cecilia Preparatory School, who opened up for him the possibility of a career in art, the feature said.

          It was Archer, said Green, who encouraged him to enrol at the Edna Manley College of Art.

          Green then went on to earn a Master of Fine Arts degree at New York Academy of Art in the USA. “He has exhibited in cities from Beijing to Providence, RI.”

          He has also taught college art courses. “Teaching is in my blood,” he said. Both his parents were teachers, and his brother is a teacher.

          The history buff says he does “a lot of reading and research” for his paintings. According to Green his work always hints at the history of slavery in Jamaica, even if it’s not in an overt way. “History is a kind of substrata that you have to launch yourself from,” he said.

          Source: http://www.jamaicaobserver.com/

          Portfolio of Six by Lois Mailou Jones

           

          Price: $On Request
          Portfolio of Six
          by Lois Mailou Jones  
          Silkscreen Edition of 60 – This is the BAT Edition
          Size: 18″ x 22″   

          Loïs Mailou Jones (b. November 3, 1905 Boston, MA. – d. June 9, 1998 Washington, D.C.) wanted to be remembered as an artist, not an African-American or woman artist. Her life spanned almost all of the twentieth century—a time of unprecedented changes in American history—and she was an active participant in the development of African-American influence in the arts.  Loïs Mailou Jones is a trailblazer, a respected college professor, an artist ambassador, and an international expert on culture who documented everything she saw and did as a painter in the Harlem Renaissance, as an illustrator for Carter Woodson, a colleague of Alain Locke and Langston Hughes, an educator and mentor, and a champion of black artists in Africa and the Caribbean.

          Along with being an award-winning artist, Loïs became known as a tireless advocate for international artists, especially for Africans and Haitians who would not have been known outside of their own countries without her help.  Loïs’ first four-month visit to eleven African countries (Ethiopia, Sudan, Kenya, Democratic Republic of the Congo, Nigeria, Benin, Ghana, Ivory Coast, Liberia, Sierra Leone and Senegal) resulted in new cultural understandings for Americans and Africans, and she continued making those personal and political connections for the rest of her life. Her archive of over 1000 slides and other information are an important source of African and Caribbean art history.

          Loïs was fond of saying, “At 90, I arrived!”  Lois was invited to the White House eight times, she visited and spoke at 15 foreign embassies, many dozens of college campuses and international events. She was one of the longest living artists of the Harlem Renaissance, but is only now being recognized and studied as a trailblazer in the Civil Rights movement.  She knew many heads of state personally, painted their official portraits, and received their awards and citations. Today her work is in public buildings, museums and private homes all over the world.  Loïs Mailous Jones is known as an artist, without any additional limiting descriptions.

          Offered at $On Request

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            Letter From Birmingham Jail by Joseph Holston – Serigraph

            holstonking

            SOLD
            Letter From Birmingham Jail
            by Joseph Holston
            Serigraph Signed by the artist
            Size 22″ x 30″

            JOSEPH HOLSTON is an American painter and printmaker who works from his studio in Takoma Park, Maryland.

            His first solo museum exhibition in 1975, at the Butler Institute of American Art in Youngstown, Ohio, received excellent critical reviews. Since then his art has been exhibited at numerous museums and galleries, and his works are included in the collections of the Smithsonian American Art Museum; The Phillips Collection; the Baltimore Museum of Art; the Library of Congress Fine Print Collection; the Yale University Art Gallery; the Butler Institute of American Art; the U. S. Federal Reserve Fine Art Collection; the Georgia Museum of Art; the Museum of Art at the Rhode Island School of Design; the Amarillo Museum of Art; the Washington County Museum of Fine Arts; the Schomburg Center for Research in Black Culture, New York; the University of Maryland University College; the David C. Driskell Center at the University of Maryland; the Lyndon B. Johnson Library at the University of Texas; and Howard University.

            Holston’s visual narrative “Color in Freedom: Journey along the Underground Railroad,” completed in 2008, and consisting of 50 paintings, etchings and drawings, has been on tour since 2009. It was exhibited in 2010 at the United Nations in Geneva, Switzerland. The eighteen etchings from “Color in Freedom” are included in the collection of the Library of Congress. “Color in Freedom: Journey along the Underground Railroad” is also the recipient of a grant from the National Endowment for the Humanities. Holston’s work is also included in two additional traveling exhibitions: “African American Art since 1950,” and “Convergence: Jazz, Films and the Visual Arts,” organized by the David C. Driskell Center at the University of Maryland. The screen print of his painting “Letter from Birmingham Jail,” commemorating the 2011 dedication of the Martin Luther King National Memorial in Washington, D. C., is in the collections of the Library of Congress and the Federal Reserve Board.

            “His work celebrates life in all its phases….And while one can see influences of European and modern masters in Holston’s oeuvre, his art is wholly autographic. In other words, when one sees a Holston one knows it’s a Holston.”—Lisa Hodermarsky, The Sutphin Family Associate Curator of Prints, Drawings and Photographs, Yale University Art Gallery, New Haven, CT (2011)

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            Living My Dream: An Artistic Approach to Marketing by Synthia SAINT JAMES

            booksynthia1

            Price $20
            Living the Dream
            by Synthia Saint James
            Paperback
            174 Pages

             

            About the author:
            Synthia SAINT JAMES 

            Synthia SAINT JAMES is a world renowned multicultural visual artist, award winning author/illustrator of 17 children’s books, 2 poetry books and a cookbook. She is also popular keynote speaker and architectural designer who has garnered numerous awards over her forty plus year career, including the prestigious Trumpet Award, her first Honorary Doctorate Degree from Saint Augustine’s College and NAWBO-L.A.’s Hall of Fame Inductee Award all in 2010.

            She is most celebrated for designing the first Kwanzaa Stamp for the United States Postal Service in 1997, for which she received a History Maker Award, and for the international cover art for Terry McMillan’s book Waiting to Exhale. 

            In 2010 she was commissioned to paint two new awards. The first was created for the “Mosaic Woman Award”, one of which was presented to Dr. Maya Angelou on October 28, 2010 in National Harbor, MD. The second was created for His Excellency Nelson Mandela’s for a Lifetime Achievement Award from Africare, which was accepted for him by his daughter and grandson on November 5, 2010 in Washington, DC.

            On the evening of Monday, May 23, 2011 at the Providence Health & Services Excellence Awards Dinner in Seattle, WA, 10 Limited Edition Remarques of her painting, “Sisters of Providence”, were unveiled and auctioned off. An amazing $126,000 was raised from this Live Auction for the Sisters of Providence Mission in Chile. The amount was then matched by a corporation for the total of $252,000.

            Synthia SAINT JAMES, who has just completed her new book titled Living My Dream: An Artistic Approach to Marketing, is currently touring colleges and universities nationwide as a speaker, exhibitor and workshop facilitator. She is also working on several new paintings including commissioned artworks. 
            Authored by Synthia Saint James

            World renowned visual artist Synthia SAINT JAMES shares her life’s journey in the pursuit of the arts, along with marketing tips and affirmations, in this her latest book.

            .
            Offered at $20.00

            Publication Date:
            Nov 07 2011
            ISBN/EAN13:
            1466409894 / 9781466409897
            Page Count:
            212
            Binding Type:
            US Trade Paper
            Trim Size:
            6″ x 9″
            Language:
            English
            Color:
            Black and White
            Related Categories:
            Art / Business Aspects

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            SOLD – Untitled by Allan Crite

            IMG_7602

            SOLD
            Untitled
            by Allan Crite
            Pen and Ink on Paper
            Size 16″ x 12″

            Born in 1910 in Plainfield, New Jersey, of African, Indian, and European ancestry, Crite has spent most of his life in Boston. During the course of his long life, Crite enjoyed an extensive career as a painter, draftsman, printmaker, author, librarian, and publisher. At an early age his mother encouraged him to draw and paint, and he took art classes at the School of the Museum of Fine Arts, Massachusetts School of Art, and Boston University. Later he focused on history and the natural sciences, earning a Bachelor of Arts from Harvard University and an honorary doctorate from Suffolk University in Boston. During the 1930s, Crite worked under the auspices of the Works Progress Administration, and in the early 1940s began a thirty-year career as a technical illustrator for the Department of the Navy. A visual chronicler of life in Boston, he is active in the Episcopal Church and is a prolific creator of liturgical art.

            Crite’s longstanding interest in recording the urban scene reveals his desire to depict black people as ordinary citizens rather than as Southern sharecroppers or Harlem jazz musicians, images that were becoming prevalent and stereotypical by the 1930s. Crite frequently taps history and autobiography to connect people of color and himself to a larger context, carefully composing the settings of his works to ground them in reality and to make the images accessible to the viewer.

            The figures in Crite’s work are individualized in appearance and clothing. An emphasis on fine detail is in part a manifestation of Crite’s ongoing study of the detailed paintings found in Flemish Late Gothic art. Variations in brushwork, along with rich colors, animate the surface of Crite’s paintings. Even though he was aware of modernism, Crite chose a representational style because it was natural to him and appropriate to his form of communication. “I’m a storyteller, telling a story of people,” Crite claimed, “and I started out with my own people in the immediate sense, like the neighborhood, and people in a general sense when I make a neighborhood out of the whole world.”

            Offered at SOLD


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            HBO Ordered a Black Lives Matter Documentary After Seeing This Year’s Oscar Nominees

            black-lives-matter_woj4cf

            Image via Fibonacci Blue
            BY TRACE WILLIAM COWEN
            I’d be happy to waste more of your time here: @TraceCowen

            As harrowing instances of racially charged police brutality continue to plague the nation, Black Lives Matter and other activist groups work tirelessly to expose the systemic injustices that have permeated certain law enforcement agencies for far too long. Though Black Lives Matter ultimately decided against officially endorsing a presidential candidate ahead of this year’s election, the group hasspoken at length with Hillary Clinton and Bernie Sanders regarding potential policy changes and future legislation. The movement, a growing force in the continued fight for true equality, will surely stand as a defining moment in American history.

            In an interview with the Hollywood Reporter, HBO Documentary Films presidentSheila Nevins points to that profound importance as crucial in her recent decision to order a documentary centered on the cultural movement’s continued impact. How recent, you ask? Nevins actually placed the call the same morning those immediately controversial Academy Awards nominations were announced:

            THR: When was the last time you read something and called a filmmaker and commissioned a film?

            Nevins: The morning of the Oscar nominations. I noticed that all the [documentary] films that were up there, there was almost nothing about America, and my heart broke because I realized that documentary film­makers are not looking in their own backyard. And if they are, they’re not being recognized for it. The fact that there was no documentary about Black Lives Matter at a time when this is such a critical American issue … was unbelievable. I said to my colleague here, “Call [a director she declined to name in case a deal doesn’t transpire]. See how much it would cost to do a big documentary about what’s been happening in this country.” You have to do it.

            That morning’s Oscar nominations, as previously reported, quickly brought about the revival of the #OscarsSoWhite hashtag and an ensuing boycott led by Will and Jada Pinkett Smith. The timing of HBO’s order, though coincidental, is clearly indicative of two very different approaches toward accurately representing (and listening to) your audience. HBO took actual action. Perhaps the Academy will do the same.

             

            SOLD – Loves me… Loves me not … by Thom de Jong

            image (58)

            SOLD
            Loves me… Loves me …
            by Thom de Jong
            Aquatint Etching, signed and numbered in pencil
            Size 22″ x 30″ Approx
            Edition 200

            Thom de Jong was born in 1940 in Amsterdam and died at the age of 48 in 1988. He lived in Amsterdam and New York where he made paintings and graphical work. His graphical work was mainly relief prints with a few lithograph and silkscreen prints. Relief printing is a unique and labor-intensive way of working, but it shows Thom de Jong’s unique and personal style. In this way, an extensive oeuvre was created that was sold in many exhibitions and galleries in New York, Los Angeles, Boston, Amsterdam, Haarlem, Paris, and Copenhagen. His work is found in many museums and private collections and represents the seventies and eighties in a cheerful and relative way.

            Relief printing (woodcut, wood engraving, linotype, blindstamp) – This technique in the 70s and 80s was more popular in America than in Europe, but Thom used it in his own personal way. The relief prints were made by first drawing on a Perspex plate and then sawing the plate until a puzzle of little pieces was created. Using the electric saw is a very difficult process. If he went too slow, the plastic would melt which resulted in a bad line. If he went to fast, he could easily miss the drawing line. Every piece was then inked with rollers and reassembled. The whole puzzle was put together, covered with a sheet of paper, and then put through an etching press. You can feel the relief in the print which is where the technique “Relief Print” got its name. It’s a time consuming and difficult technique which yielded only a few prints per day. This technique, his hard work, and amazing creativity resulted in a huge amount of about 240 different prints.

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            SOLD – Girlfriends by Cheryl Mason-Dorman

            image (69)

            SOLD
            Girlfriends
            by Cheryl Mason-Dorman
            Signed and Numbered
            Image 14″ x 21″
            Frame 20.5″ x 27.5″ Approx
            Edition 250

            The Ritchie Family – The four original members were not related; the group was a creation of Jacques Morali who also formed the Village People. The group took its name from record producer Richie Rome, who added a T to the name; it originally consisted of four singers: Jean Davis, Cassandra Wooten, Gwen Oliver (who eventually married musicianFred Wesley), and Nadine Felder originally known as Honey & The Bees. Their manager was Jimmy Bishop, a successful Philadelphia radio personality who also managed Barbara Mason. Morali remembered Felder and Wooten had done some session work for him, and he called them a few years later when he wanted to form a group and the Ritchie Family was born.

            Their first hit single, a reworking of the 1930s song “Brazil” reached the Top 20 in the United States in 1975, and the album, also titled Brazil, sold well. The following year they released the album Arabian Nights, and with it the single “The Best Disco in Town”. The song was a medley of recent disco songs linked together with an original chorus and it became a worldwide hit.

            Their follow up albums Life is Music, which followed a 1930s theme, and African Queens were only mediocre successes. Each of these four albums was a concept album featuring songs of a similar theme as suggested by each album title. Each album also featured a long medley, usually running from 15 to 20 minutes.

            By 1978, the three members had been replaced by Jacqui Smith-Lee, Theodosia “Dodie” Draher and Ednah Holt. Their 1978 album, American Generation, was a slight departure from disco and more in the style ofEuropop, although one of the singles from it was called “I Feel Disco Good.” The group abandoned the exotic and highly kitsch costumes of their earlier incarnation in favour of a more contemporary, sexually provocative style. For the next album, Bad Reputation, they brought in Victor Willis (original lead singer of Village People) joining Jacques Morali in writing the material. Holt soon departed (and formed her own group Ednah Holt and Starluv) and was replaced by lead singer Vera Brown; the group enjoyed success with “Put Your Feet To The Beat.”

            The Ritchie Family line-up of Brown, Smith-Lee and Draher next recorded the Give Me A Break album, which contained the hits “Give Me A Break” and “Never Be Able to Set You Free.” Continuing with album releases, the next was a markedly different partnership with Jacques Fred Petrus and Mauro Malavasi, the pair behind Change. The album they recorded was I’ll Do My Best For You Baby; following that was All Night All Right (1983). By this time, Dodie Draher had left the group and newcomer Linda James took over her spot.

            In 1980, they joined Village People for the movie Can’t Stop the Music. The film was a resounding failure and still appears on many critics’ “worst ever” lists; however the soundtrack album sold well in some parts of the world. By this time disco music had already reached its peak, at least in the US.

            Also in 1980, Wooten and Mason-Jacks sang background vocals on John Lennon’s final album, Double Fantasy.

            After deciding to split, when group owner Jacques Morali discovered he had AIDS, the group continued as Vera Brown and the Rich Girls for one song called “Too Much Too Fast” that failed completely. Vera Brown has reformed The Ritchie Family, with Dodie Draher and Jacqui Smith-Lee, but without further releases. With original members Wooten, Mason-Jacks and Oliver, the group achieved its highest grossing sales.

            Original members Cassandra Wooten, Cheryl Mason-Dorman and new member Renee Guilory-Wearing have reformed the group and are now touring. The Ritchie Family is featured in Jim Arena’s book First Ladies of Disco, released in June 2013.[1]

            Apart from being a talented vocalist, Cheryl Mason-Dorman is also a talented artist, a series of her pencil drawings from 1991 – 1993 have been published as cards for ‘Picturesque Greetings’.

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