Reflections on the 44th Anniversary of the Assassination of Dr. King

Forty-four years ago today, my beloved friend and America’s soul and conscience, Martin Luther King, Jr. was assassinated while standing on a balcony of the Lorraine Motel in Memphis. The night before, April 3rd, 1968, during s speech at the Mason Temple, Church of God in Christ, in Memphis, he said:

“We got some difficult days ahead. But it doesn’t matter with me now. Because I’ve been to the mountain top … Like anybody, I would like to live a long life. Longevity has it place … I just want to do God’s will. And he’s allowed me to go up to the mountain. And I’ve looked over. And, I’ve seen the promise land. I may not get there with you. But, I want you to know tonight, that we, as a people will get to the promise land.”

Forty years after Memphis, America elected its first African-American as president of the United States. Less than four years after this historic election, George Zimmerman killed Trayvon Martin in Sanford, Florida.Is the shooting of 17-year-old Trayvon Martin under disputed circumstances part of the “promised land” of which Dr. King only got a glimpse as he looked over from his “mountain top”?
Is the wanton gun violence perpetrated by blacks principally against other blacks in several of our major urban communities throughout the United States also part of what Dr. King saw from his mountain top?

Most important of all, other than appropriately protesting the killing of Trayvon Martin, for those fortuitously blessed with longevity, what are we, in real-time, doing about materially changing the landscape of gun violence that may or may not have been visible from Dr.King’s mountain top?

Yes, it is important that public pressure be maintained to insure that the circumstances surrounding the death of Trayvon Martin are fully and impartially investigated, disclosed; and, that any action, justified by the facts of an investigation, be initiated immediately. However, the incident in Sanford, FL does not obscure nor diminish our continuing moral responsibility to the legacy of Dr. King, whose assassination we pause and remember today.

Part of that continuing moral responsibility requires that, whatever events are factually confirmed in the Trayvon Martin case, white America must pause in a moment of “reality reflection” and ask itself, today on April 4th, 2012: If George Zimmerman had been a 40-year-old black man, 100 pounds heavier than Trayvon Martin and shot an unarmed 17-year-old white boy, do you think Zimmerman would have been released by the Sanford police without an arrest?

Also, 44 years ago today, Senator Robert Kennedy was campaigning for president in the Democratic presidential primaries of Gary, Indiana. The almost exclusively black audience assembled to hear his speech did not know yet that Dr. King had been assassinated earlier that evening. Senator Kennedy announced the news to them. His words on that occasion spoke to the conscience of our nation at that time. They are worth recalling today. Among other things, he said:

“I have some very sad news for all of you, and I think sad news for all of our fellow citizens, and people who love peace all over the world, and that is that Martin Luther King was shot and was killed tonight in Memphis, Tennessee.For those of you who are black — considering the evidence evidently is that there were white people who were responsible — you can be filled with bitterness, and with hatred, and a desire for revenge.

We can move in that direction as a country, in greater polarization — black people amongst blacks, and white amongst whites, filled with hatred toward one another. Or we can make an effort, as Martin Luther King did, to understand and to comprehend, and replace that violence, that stain of bloodshed that has spread across our land, with an effort to understand, compassion and love.

For those of you who are black and are tempted to be filled with hatred and mistrust of the injustice of such an act, against all white people, I would only say that I can also feel in my own heart the same kind of feeling. I had a member of my family killed, but he was killed by a white man.

But we have to make an effort in the United States. We have to make an effort to understand, to get beyond these rather difficult times.”

Dr. King would sometimes quote the 18th century dramatist and hymnist, William Cowper, “The Lord works in mysterious ways and has wonders to perform. He plants his footsteps in the sea, And rides upon the storm.”

Maybe the confluence of events in Sanford with this anniversary of Dr. King’s murder is a “mysterious way” in which we, as a nation, are given another providential unique opportunity for America to heal itself from the disease of racism. Perhaps we must now, once and for all, confront and no longer ignore the 800-pound gorilla in every household, office, corporate, state, and federal agency; and every religious and educational institution, in every community throughout our country: the absence of any forthright and frank discussion about race relations in America and the continuing systemic impact of racism, 24/7 in our daily lives 44 years after Dr. King’s assassination.

There are some, I am sure, who prefer to remain in a state of comfortable denial and contend that such an issue is not worthy or necessary of our immediate attention and discussion. After the institution of slavery and our Civil War, our country never had the benefit of a domestic equivalent to the Race and Reconciliation Commission created by Nelson Mandela in connection with the ending of Apartheid in South Africa. Its National Commission enabled the people of South Africa to make a peaceful transition from the racial segregation and white racism under an Apartheid government to a multiracial society.

The closest analogy to South Africa’s Race and Reconciliation was the era of Reconstruction, 1865-1877, following the assassination of Abraham Lincoln and the Civil War. It was congressionally intended to deal with the consequences of and the transition from previous decades of the institution of slavery in our country to a democratic society. It did not succeed. Instead, it left a legacy of years of bitterness between white America and descendants of former slaves.

A constituent part of that failure has been an institutional unwillingness to openly and frankly talk about the relationship between white and blacks in our country; and specifically, during the 20th and 21st centuries, the relationship between the black community and institutions of white power, such as the police in various communities throughout the United States. This is especially so in those states in the South, but not limited to them.

It still may not be too late, in memory and tribute to Martin Luther King, Jr and now, Trayvon Martin, and all the other Trayvon Martins killed by gun violence in the United States for America once and for all to summon the courage to confront the 800-pound gorilla of unspoken frank conversations about race in America.

This issue is substantive on its merits. Moreover, contrary to the call of some African-American civil rights leaders, a successful initiative to get our nation to confront the issues of race does not require or depend upon President Obama assuming or asserting special national leadership on this issue, at this time. To do so during a presidential election year will most likely be characterized as divisive by his political opponents, and potentially take our attention and focus off of the need for us to assume, in our respective communities, the leadership necessary to address the issues of race, racial profiling, and gun violence involving young black men, with or without a hoodie.

In short, what’s important is not what the president does, but what are we, as nation, going to do through our leadership and community institutions across the nation to stop 24/7 gun violence which on many weekends in Oakland, Chicago, New Orleans, Los Angeles, New York City, just to mention a few, result in nothing less than “black killing fields.”

Based upon the 39 years of his unique personal journey and experiences during his life, Dr. King’s optimism was justified at the time of his death. His observation of the “Promised Land” from the mountain top that God had allowed him to see was prophetic and reasonable.
But, he was deprived of the additional 44 years of insight and experience that could have enhanced and sharpened his view from “the mountain top.” We, however, have not been so deprived of additional years of learning longevity.

Those persons alive today, part of that successor generation following April 4th, 1968 still have the opportunity and moral responsibility to say, now 44 years later, with the added death of Trayvon Martin and so many other young black men in America: Enough! Enough! Stop the violence!

It is time for the current generation to end our continued participation in the denial of the reality of racial profiling of young black men by the police and para police and wanton gun violence perpetrated by many of those same young black men against one and other. Our silence and inaction makes us enablers of the continued hypocrisy about race in America.

Regrettably, on Monday, April 2nd, 2012, our Supreme Court, in a 5-4 decision, in the case of Florence v. Burlington County (New Jersey) ruled that law enforcement officials may strip-search people arrested for any offense, however minor, before admitting them to jails even if the officials have no reason to suspect the presence of contraband! The case arose from the arrest of Albert W. Florence, an African-American man in New Jersey. In 2005, Mr. Florence was in the passenger seat of his BMW when a state trooper pulled his wife, April, over for speeding. A records search revealed an outstanding warrant for Mr. Florence’s arrest based on an unpaid fine. (The information was wrong; the fine had been paid.)

Cases like that of Albert Florence contribute to the belief and perception among wide segments of the African-American community that little progress has been made since the findings of the 1968 Kerner Commission Report: “Our Nation Is Moving Toward Two Societies, One Black, One White — Separate and Unequal.” The Report noted that:

“The police are not merely a ‘spark’ factor. To some Negroes police have come to symbolize white power, white racism and white repression. And the fact is that many police do reflect and express these white attitudes. The atmosphere of hostility and cynicism is reinforced by a widespread belief among Negroes in the existence of police brutality and in a ‘double standard’ of justice and protection — one for Negroes and one for whites.”

Forty-five years ago, yesterday, April 3rd, 1967, Dr. King delivered a powerful speech at Riverside Church in New York City, publicly voicing his opposition to the continuation of the Vietnam War. The caption of his address was “Time to Break the Silence.”

The time is now overdue for America to break its silence on the continued consequences of our failure to confront forthrightly and publicly the continuing issue of race in the United States, once and for all. We can no longer ignore the presence of the 800-pound gorilla in every American household. I respectfully suggest that this is how we should reflect upon the 44th Anniversary of the assassination of Martin Luther King, Jr.

Finally, no reflection about Dr. King would be complete without remembering what he would often remind those of us who worked closely with him: That he was a Minister of God, before he was a “civil rights leader.” As a Minister of God he genuinely believed in the commandments of his Christian religion — love thy enemies. He believed in the redeeming power of love. He would quote to us from Proverbs and Corinthians in the Bible:

Proverbs 10:12 tells us “Hatred stirs up strife, but love covers all offenses.”

Love is patient and kind; love does not envy or boast; it is not arrogant or rude. It does not insist on its own way; it is not irritable or resentful; it does not rejoice at wrongdoing, but rejoices with the truth. Love bears all things, believes all things, hopes all things, and endures all things. Love never ends. (1 Corinthians 13:4-8)

Dr. King would want us to remember that “only love can enable forgiveness, redemption and reconciliation”; all indispensable for our long-term survival in 2012 and beyond.

After Tanner: African-American Artists Since 1940

 

Dates:
January 28 – April 15, 2012

Location:
Annenberg and Tuttleman Galleries, Samuel M.V. Hamilton Building
Henry Ossawa Tanner (1859-1937) was a mentor and role model for younger artists during his lifetime and has been a source of pride for many generations of artists since his death. This installation, drawn largely from PAFA’s collection and supplemented by several major loans, broadly celebrates what Tanner’s career inspired and made possible in its wake. Tanner was a trailblazer, bravely choosing his own path and attaining international stature in the arts despite innumerable societal challenges. He was also an innovator of African-American genre painting and in religious subjects, where he made his most lasting and powerful contribution to art history. It is not unreasonable to assert that Tanner’s professional example together with the quality of his work made it possible for subsequent generations of African-American artists to pursue their aspirations in the art world and transform American art in the twentieth century.

Some of the artists included in this installation sought out and met Tanner, including William H. Johnson and Hale Woodruff. Other artists, such as Reginald Gammon, made paintings in homage to Tanner. Gammon’s 1967 personal portrait of Tanner is featured here. Faith Ringgold celebrates a key moment in Tanner’s biography — the moment when he decided to become an artist – by imagining it in a recent print commissioned by PAFA. Others, such as Romare Bearden and Alma Thomas, took up religious themes that meant a great deal to Tanner, and reworked them by using new materials and a modernist visual language unique to their time. Contemporary artists such as Laylah Ali, Willie Cole, Glenn Ligon, Quentin Morris, and Kara Walker explore identity and a complex cultural past in ways that Tanner could not have imagined. Together this ensemble suggests the innumerable channels for expression Tanner’s example opened up for African-American artists working in the wake of his career.

Special thanks to lenders Bill and Navindren Hodges, Lee and Barbara Maimon, Michael Rosenfeld and halley k harrisburg, Ann R. and Harold A. Sorgenti, and a generous private collector.

Curator: Robert Cozzolino, Curator of Modern Art

Sponsors:
PAFA’s special exhibitions in 2011-12 are supported by generous contributions from Max N. Berry, Esq, Donald R. Caldwell, Jonathan L. Cohen, and Lori Levine Ordover and Janusz Ordover.

The Pennsylvania Academy of the Fine Arts’ public programs are funded in part by a grant from the Pennsylvania Council on the Arts (a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency).

African American Trailblazers in Virginia History Honored

 

In observance of African American History Month, the Library of Virginia, in partnership with Capital One Financial Corporation, is honoring eight distinguished Virginians as the 2011 African American Trailblazers in Virginia History for their contributions to Virginia and the nation. The 2011 honorees will be celebrated Feb. 24, 6 pm at an awards program hosted by WTVR Anchor Cheryl Miller. Seating is limited, call 692-3900 for reservations

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African-American art collector Vivian Hewitt recalls how works were found

 

Art Preview
Tuesday, January 18, 2011
By Virginia Linn, Pittsburgh Post-Gazette
Vivian Davidson Hewitt

Vivian Hewitt turns 91 on Feb. 17, but she seemed unfazed last week about leaving her Upper West Side apartment in snow-buried New York City to travel here this week to talk about her lifelong passion.

Mrs. Hewitt, a New Castle native who was the first black librarian in Pittsburgh, went on to make a mark in the world of African-American art with her late husband, John.

Through their travels, family connections and friends in New York, they amassed one of the most renowned collections of African-American art, which today serves as the cornerstone of the Harvey B. Gantt Center for African-American Arts+Culture in Charlotte, N.C.

But she’s coming here to talk about the 40 pieces of original Haitian and other African-American art they donated over the years to Geneva College, her alma mater.

Formerly scattered across the Beaver Falls campus in McCartney Library, Alexander Hall, and various faculty and staff offices, the pieces will be on display together in the upper level of the Student Center in Skye Lounge. The exhibit will be free and open to the public 6 to 8 p.m. Wednesday, 8 a.m. to 9 p.m. Thursday, and 8 a.m. to noon Friday.

Mrs. Hewitt is scheduled to speak at 7:30 p.m. Thursday in Skye Lounge.

The art collection happened by chance, she said last week. She met her husband when she was a librarian and instructor at Atlanta University (now Clark Atlanta University), and he was an English teacher at nearby Morehouse College. They married in 1949, and looking for ways to decorate their faculty suite, they picked up a print at a New York City museum during their honeymoon there.

They soon started purchasing original Haitian art, traveling to the Caribbean country from 1960 to 1965, as well as works by black and folk artists in Mexico and other places. Although both drew modest salaries, they made a point in giving each other original art on every gift-giving occasion.

When they moved to New York City in 1952, they visited galleries and shows and were introduced in the waning days of the Harlem renaissance to the Market Place Gallery, which was operated by Mr. Hewitt’s sister, Adele Glasgow. There they became friends with black artists and began collecting work that hadn’t yet hit the mainstream.

“We started investing in our own heritage and culture,” said Mrs. Hewitt. “Their work was affordable then,” she said of the black artists.

Among the pieces in their collection at the North Carolina center are works by Romare Bearden, Henry Ossawa Tanner, Elizabeth Catlett, Jonathan Green, Jacob Lawrence, Ann Tanksley, Hale Woodruff and Margaret Burroughs.

Mrs. Hewitt says an article in The New York Times in the early 1970s put a spotlight on the emerging prominence of African-American art, which was beginning to be purchased by white collectors.

“In essence it said that African-American art was here to stay, and [collectors] better get on the bandwagon,” she said last week. “It was a turning point for people recognizing the importance of African-American artists. Because of racism and the tenor of the times, this is what happened to exist.”

In 1998, Bank of America acquired the John and Vivian Hewitt Collection of African-American Art. The exhibit toured the United States for 10 years during construction of the $18 million Gantt center in North Carolina that became its permanent home in 2009. Mrs. Hewitt, in her late 70s and 80s by this time, visited the 25 to 30 cities on the tour. Her husband died in 2000.

Earlier in her life, of course, Mrs. Hewitt was a pioneer in Pittsburgh. She earned a bachelor’s degree from Geneva in 1943 and a master’s in library science from the Carnegie Tech Library School (later folded into the University of Pittsburgh). She was the first black librarian hired by Carnegie Library and worked at the Hill District and Homewood branches before moving to Atlanta.

She’s particularly proud of the couple’s contributions in bringing awareness to black artists.

Today, she said “there are fine African-American artists in every region of the United States.”

Virginia Linn: vlinn@post-gazette.com; 412-263-1662.

Read more: http://old.post-gazette.com/pg/11018/1118691-437.stm#ixzz1r7TOSk8G

“Ultimate Comics Spider-Man” brings multiculturalism to Marvel Comics

As an adolescent superhero of black and Latino origin, Miles Morales strikes a blow for multiculturalism in the pages of Marvel Comics‘ “Ultimate Comics Spider-Man.”

And there’s just as much diversity behind those comic-book panels as inside them.

The title’s writer, Brian Michael Bendis, and his wife, who are white, have two adopted daughters, one from Ethiopia and one who’s African-American, in addition to a biological daughter. Meanwhile, the comic’s original artist, Sara Pichelli, is Italian.

Now, with Spanish-Irish artist David Marquez illustrating the book, the adventures of the wall-crawling avenger take on an even more diverse complexion. The Austin-based Marquez was born in London and raised in Houston.

You can see that multiracial synergy unfold in “Ultimate Comics Spider-Man” No. 9, which hits comic shops Wednesday.

Bendis says via email that although his family situation is different from Miles’, he knows firsthand that every household is “its own shape and size.”

“It informs me completely,” Bendis says.

Marvel made headlines last year when it revealed Miles as the biracial face behind the new Spider-Man’s mask. He took over the mantle after Peter Parker, the original Spider-Man, died in a blaze-of-glory battle with the Green Goblin in last summer’s “Ultimate Spider-Man” No. 160.

Mind you, this all occurred in Marvel’s Ultimate universe, a comic-book continuity separate from the main Marvel universe. The original original Spider-Man/Peter Parker is still alive and mostly well in Marvel’s core comic line.

Curiously enough, Hollywood had a hand of sorts in Miles’ “Ultimate” debut. Bendis gives some credit to “Community” star Donald Glover for “helping knock down the perception wall” before Marvel debuted the new Ultimate universe Spidey as a hero of color.

Glover, who’s African-American, campaigned online for the role of the arachnid hero in this summer’s big-screen reboot, “The Amazing Spider-Man,” a role that ultimately went to Andrew Garfield of “The Social Network.”

“I truly think (Glover) would have been a great Peter Parker and said so publicly,” Bendis says. “We had started our work on Miles. Then, as a cute little cutaway joke, they showed Donald on ‘Community’ dressed in Spider-Man pajamas and, I have to say, I thought he looks fantastic. That’s when I knew Miles was going to work. It just kind of looked right.”

Miles shares several qualities with his predecessor in addition to an alliterative name. Like Peter Parker, he got his superpowers from a super-spider bite. And, like Peter, Miles is self-deprecating and altruistic.

But whereas Peter was raised by his Aunt May and Uncle Ben, Miles is the 13-year-old son of a Hispanic mom and black father.

It’s a mixed lineage Marquez understands well. Marquez’s mom is Irish and his father of Spanish descent.

Marquez says when comic-book publishers in the past made concerted efforts to feature a more diverse or minority-dominant cast, the books tended to flounder. “Ultimate Comics Spider-Man” focuses on a young hero’s journey, not his racial background or diverse supporting cast, which in the comic is largely a mix of African-American, Asian and Hispanic.

“What you notice is it’s a really well-crafted story with intriguing characters that happen to be diverse,” Marquez says. “That’s obviously an effective way and the effective way to bring more diversity into what’s, generally speaking, a very white mainstream medium, which is superhero comics. But then I also think that applies to entertainment and media in general.”

That matter-of-fact multiculturalism plays out in today’s comics industry as well, he adds.

“You definitely see more diversity on the creator side as time moves on,” Marquez says. “Obviously, there’re a lot of South American creators coming in and Filipino and a lot more women as well.”

Bendis says it’s that contemporary diversity, a development that has taken place since he started working in comics, that truly empowers today’s comic characters in and out of Spandex.

“People write and draw what they know,” he says. “And the more people writing what they know from different places and different points of view just makes for better stories.”

rguzman@express-news.net

Elizabeth Catlett dies at 96; among 20th century’s top black artists

By MARY ROURKE AND VALERIE J. NELSON

Los Angeles Times

Elizabeth Catlett, a sculptor and printmaker who is widely considered one of the most important African-American artists of the 20th century despite having lived most of her life in Mexico, has died. She was 96.

Catlett, whose sculptures became symbols of the civil rights movement, died Monday at her home in Cuernavaca, Mexico, said her eldest son, Francisco.

Her imposing blend of art and social consciousness mirrored that of German painter Max Beckmann, Mexican muralist Diego Rivera and other artists of the mid-20th century who used art to critique power structures.

From the start of her career, Catlett “was part of a broad political milieu” that encompassed artists of many ethnicities who were committed to social justice, Melanie Anne Herzog, who wrote the 2000 biography “Elizabeth Catlett: An American Artist in Mexico,” told The Times in 2005.

Catlett’s decision to focus on her ethnic identity, and its association with slavery and class struggles, was bold and unconventional in the 1930s and ’40s, when African Americans were expected “to assimilate themselves into a more Eurocentric ethic,” art curator Lowery Stokes Sims said in a 1993 National Public Radio interview.

Confident that art could foster social change, Catlett confronted the most disturbing injustices against African Americans, including lynchings and beatings. One of her best-known sculptures, “Target” (1970), was created after police shot a Black Panther; it shows a black man’s head framed by a rifle sight.

But she also made far more hopeful statements with lithographs and sculptures of Harriet Tubman, a slave who led others to freedom, and Sojourner Truth, a slave turned abolitionist. Catlett often returned to the enduring theme of mother and child, and her 1946 series of prints called “The Negro Woman” reflected the heroic dignity she saw in her subjects.

“I wanted to show the history and strength of all kinds of black women,” Catlett told the St. Petersburg (Fla.) Times in 1992. “Working women, country women, urban women, great women in the history of the United States.”

Catlett’s early work was grounded in a figurative style that gave way to Cubism as she moved on to semi-abstract sculptures, which she came to prefer after studying the form as a graduate student in the late 1930s.

The American South and African-American history remained prominent in her sculptures. “Black Unity” from 1968 shows a burnished mahogany fist on one side and African mask-like visages on the other. “Homage to My Black Young Sisters” from the same year is a red-cedar abstract of a woman with raised head and fist.

The two simple, stylized pieces “became not only symbols of a movement, but also Catlett’s own signed missive that her head and heart were rooted deeply in the struggle,” Lynell George wrote in 1999 in The Los Angeles Times.

Usually in print form, Catlett also portrayed African-American male subjects – factory workers, middle-class men in jacket and tie, and prominent cultural figures such as the Rev. Martin Luther King Jr.

After moving to Mexico in the 1940s to study ceramics, she remained committed to African-American causes but also took up the struggles of Mexican workers. She referred to “my two people” and sometimes blended their physical features in her art.

In Mexico City, she quickly found artistic soul mates in the Taller de Grafica Popular, a collective known for mass-produced posters supporting populist causes. She gained a level of acceptance she never knew at home and married fellow workshop artist Francisco Mora in the late 1940s.

“There’s a different attitude toward art in Mexico,” she said in the St. Petersburg Times interview. “As an artist you’re greatly admired rather than looked at as something strange.”

Even after becoming a Mexican citizen in 1962, she continued to champion progressive black causes. Her lithographs from the late ’60s include images of Malcolm X and Angela Davis, two leading social activists of the time.

“Elizabeth Catlett is part of a history of protest art in America,” Tritobia Hayes Benjamin, director of the Howard University Gallery of Art in Washington, D.C., said in a 2005 Times interview. “She made statements in her art about the human condition, about social justice and injustice.”

The collective’s left-leaning political affiliations partly led the U.S. government to declare Catlett an “undesirable alien” in 1959, when she was briefly held in a roundup of Americans living in Mexico who were suspected of Communist activity.

Throughout the 1960s, she was denied a U.S. visa, a development that – combined with her race – made her a relatively obscure figure in mainstream American art.

The granddaughter of freed slaves, Catlett was born April 15, 1915, in Washington, D.C. Her father was a math professor who died before she was born, and her mother worked as a truant officer.

Turned away from the Carnegie Institute of Technology because she was “colored,” Catlett earned a bachelor’s degree in art in the mid-1930s from Howard University, a historically black institution.

She joined the Works Progress Administration, the Depression-era program that employed many starving artists, and was exposed to Rivera and his fellow Mexican muralist Miguel Covarrubias, whose politics influenced her future works.

Catlett taught art at a North Carolina high school for a time but was discouraged by the inequality in pay between black and white teachers. She left for what is now the University of Iowa, earning a master’s in fine art in 1940.

Faculty member Grant Wood – best known for “American Gothic,” his 1930 painting of an Iowa farm couple – mentored her. He encouraged Catlett to do as he did and use her culture and community as the subject of her art.

“I’d never been around white people in all my life except to fight with them,” Catlett later said of Wood’s unexpected support.

For her graduate thesis, she sculpted “Negro Mother and Child,” which won first prize in the 1940 Columbia Exposition, a Chicago exhibit of African-American artists.

When she was named chairwoman of Dillard University’s art department in New Orleans in 1940, African Americans were not allowed in the park surrounding the New Orleans Museum of Art. Catlett got around the prohibition by having her students bused to the museum door.

In 1941, Catlett became involved with the South Side Community Art Center in Chicago, a magnet for progressive African Americans. She met artist Charles White there and after they married they moved to New York City.

She joined the faculty of the George Washington Carver School, a community learning center in Harlem run by progressives and radicals. At Carver, her “conviction that her art should be directed to the masses of working people took root,” Herzog wrote in the Catlett biography.

By the late 1940s, the artist was in Mexico City and soon divorced from her first husband.

Through the print-making collective, she came to know Mora when he offered to teach her Spanish. He died in 2002.

She is survived by their three sons, Francisco, a jazz musician; Juan, a filmmaker; and David, an artist; 10 grandchildren; and six great-grandchildren.

In 1959, she became the first woman to chair the sculpture department at the National Autonomous University of Mexico, a position she held until retiring in 1975.

When the Studio Museum in Harlem staged a major exhibit of her art in 1971, the State Department granted Catlett a visa after receiving an outpouring of petitions on her behalf.

The exhibit bolstered Catlett’s growing reputation as a leading artist and voice for African Americans. Many other exhibitions followed in the U.S. and Mexico, and her work is collected by major museums.

When the California African-American Museum exhibited her work in Los Angeles in 1999, Catlett told The Times: “Seeing all those people sends a message that maybe I’m doing a little bit of what I wanted to do, which is to bring African-American people into museums. And I really believe that if it is something they can relate to, they will come.”

(Mary Rourke is a former Los Angeles Times staff writer. Valerie Nelson is a Times staff writer. Times staff writer Tracy Wilkinson contributed to this report from Mexico City.)

Read more here: http://www.kansascity.com/2012/04/03/3534552/elizabeth-catlett-dies-at-96-among.html#storylink=cpy

Sculptor Elizabeth Catlett dies in Mexico

 

MEXICO CITY—Sculptor and printmaker Elizabeth Catlett, a U.S. expatriate renowned for her dignified portrayals of African-American and Mexican women and who was barred from her home country for political activism during the McCarthy era, has died. She was 96.

Maria Antonieta Alvarez, Catlett’s daughter-in-law, said the artist died Monday in a house in Cuernavaca, Mexico, where she had lived since 1976.

Born in Washington, D.C., Catlett moved to Mexico in 1946, became friends with great Mexican muralist Diego Rivera and others in his circle, and married Mexican artist Francisco Mora.

She became known for her commitment to winning greater rights for blacks, women and workers in the United States and her adopted country. Catlett witnessed almost every important artistic and social movement of the 20th century and traveled in some of the same illustrious circles as the great American artist Jacob Lawrence and poet Langston Hughes.

She was arrested during a railroad workers’ protest in Mexico City in 1958 and in 1962 the U.S. State Department banned her from returning to the United States for nearly a decade because of her political affiliations.

Working in wood, stone and other natural materials, she produced simple, flowing sculptures of women, children and laborers, and prints of Mexicans and black Americans that she used to promote social justice.

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Bio Charles Bibbs

 

Bio

 

Contemporary Visual Artist Entrepreneur and Philanthropist

Internationally acclaimed artist Charles Bibbs, whose work is featured in museums, galleries, organizations, and homes of many collectors, displays a deep sense of Spirituality, Majesty, Dignity, Strength and Grace in his images, that is done in a combination of realistic and larger-than-life interpretations of contemporary subjects that are ethnically rooted.

Born in San Pedro, California, and raised in Harbor City, California, Bibbs managed to work an eight-hour job, and use his God-given talent in his spare time. But In 1991, Bibbs decided to leave his management position of 25 years, to form his own publishing and distribution company, B Graphics and Fine Arts, Inc. Today, Bibbs is one of the top-selling artists in the country, and his company has grown to be one of the leaders in the African American art print market.

Bibbs strongly believe that we are the “Keepers of our Culture,” and as such, have spent much of his time serving on boards of museums and art organizations to support the art community. He has lectured, and conducted panels and workshops in major cities, including the Charles Wright African American Museum in Detroit, Urban League of Pittsburg and the Riverside Metropolitan Museum. He has a sincere passion for supporting the youth, and as such, has mentored, taught and conducted numerous workshops for young aspiring artists.

In his quest to preserve and develop the visual arts, Bibbs founded Images Magazine, the first national publication dedicated to contemporary African American art, Art 2000 Visual Arts Association, Art on Tour, The Inland Empire Music and Arts Foundation, co-founder of the Creative Quarantine, an artist and residence program. In his professional artist career, Bibbs owned 6 art galleries, including the popular 626 Art Gallery at Studio B, located in the historic art district of Los Angeles downtown.

Bibbs continues to receive recognition and appreciation not only for his distinctive style images, but for his philanthropic spirit. Through his art, he has supported numerous scholarship fundraisers, and youth programs, and made substantial contributions to organizations nationwide, including the NAACP, United Negro College Fund, Associated Black Charities, Morehouse College, Howard University, PNC Bank, Tom Joyner HBC Scholarship Foundation, National Urban League, Alpha Phi Alpha and Delta Sigma Theta.

Bibbs is profiled in many publications, Ebony Jet, Upscale, Ebony Male, just to name a few, and has interviewed on numerous radio and television programs including the Tavis Smiley Show, Steve Harvey Radio Show, and TV One Studio. His work has been shown on the sets of many popular television sitcoms and movies. In 2008, Bibbs created the “Black Madonna” image for the Fox Searchlight film, “The Secret Life Of Bees,” and was the first visual artist to be hired to create for a Fox Searchlight film.

Bibbs’ work has been featured in several exhibitions at museums, galleries, schools and other art venues, including the California African American Museum in Los Angeles, The Metropolitan Art Museum in Riverside, The Museum of African American Art, The National Black Arts Festival, New York International
Art Expo, and the Tokyo, Japan International Fine Art Show.

He is the recipient of numerous awards and honors including the “Entrepreneur Of The Year” Award, presented by the African American Chamber of Commerce, United Negro College Fund “Honoree Award,” Hardy Brown Community Award, and has been presented the “Key to 6 cities within the United States.

Bibbs’ original works are featured in the homes of many collectors, businesses and organizations all over the country. His partial list of collectors includes Frankie Beverly, Najee, Steve Harvey, Bernard Kinsey, Marc Brown, Earl Graves, Queen Latifah, Drs. Frank and Marsha Glover, Dr. And Mrs. Charles Mitchell, University of Arizona and Fox Searchlight Pictures.

“My most important goal is to make profound aesthetic statements that are ethnically rooted, and at the same time, arouse spiritual emotions within us”

CHARLES BIBBS

Tranquility by Louis Delsarte

 

Louis Delsarte artist Personal Information Born September 1, 1944, in Brooklyn, NY Education: New York University, Pratt Institute, B.F.A., 1967; Louis J. Delsarte (born September 1, 1944 in Brooklyn, New York) is an African American artist known for what has sometimes been called his “illusionistic” style. introduction Louis Delsarte was born in Brooklyn New York in 1944. Believing that experimentation is the essence of art, he wrote: I. Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Atlanta (GA). Louis Delsarte’s work can be found in many public and private collections including The Metropolitan Museum of Art, The Cocoran Museum of Art, Fort Lauderdale Museum, Kanmsas.

Louis Delsarte Visual Artist

Louis Delsarte artist Personal Information Born September 1, 1944, in Brooklyn, NY Education: New York University, Pratt Institute, B.F.A., 1967; Louis J. Delsarte (born September 1, 1944 in Brooklyn, New York) is an African American artist known for what has sometimes been called his “illusionistic” style. introduction Louis Delsarte was born in Brooklyn New York in 1944. Believing that experimentation is the essence of art, he wrote: I. Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Atlanta (GA). Louis Delsarte’s work can be found in many public and private collections including The Metropolitan Museum of Art, The Cocoran Museum of Art, Fort Lauderdale Museum, Kanmsas.

Louis Delsarte was a figurative artist whose work reflected a departure from the realist style that was predominant among many of the African-American artists. A Closing Glimpse – September 12th, 4-6 PM. Curator’s Statement. Spirit Chasing Rainbows The Art of The Art of Louis Delsarte. Transitions, Louis Delsarte (2001) Location: Church Avenue. Spirit Chasing Rainbows: The Art of LOUIS DELSARTE. Bronislaw (Bruno) Bak was a Polish immigrant who, with his wife Hedi, established a printmakers workshop. Louis Delsarte: AskART art price guide for Louis Delsarte and 96,000+ American artists – Louis Delsarte fine art prices, auction results, auction images, value art, art. Stained glass and glass mosaic murals depicting neighborhood and ethnic scenes.

Landscapes by Robert Freeman

Landscape painting has always informed my eye about the natural patterns of light and dark, warm and cool, and balance of composition. These elements, found in all painting, are abundantly available for the artist to see in the world around us. Some artists are interested in recording exactly what they see, while others unpack the abstractions within the scene. My interest lies somewhere in between reality and the abstract.

To inquire about artwork displayed on this site, please contact us.

Portraits by Robert Freeman

portraits

Robert Freeman has extensive experience in painting formal portraits that grace corporate and university boardrooms, as well as more personal portraits of family members.

To inquire about commissioning a portrait, please contact us.

Just Yesterday by Robert Freeman

 

Robert Freeman Visual Artist

 

S.W.A.G. (sharp with art group)

S.W.A.G. (sharp with art group)

Sharp With Art Group (SWAG) is an organization of visual artists dedicated to creative artistic expression, community service, and freedom of speech. Founded in the summer of 2009 by six friends from the Philadelphia and New York art scenes (Tone Casso, Shiz, Neef, Rell Stylez, and Jae Martin)  SWAG was created out of the founding members awareness of the heightened interest in art throughout the country and the potential for a new artistic renaissance movement consisting of new young artists using their art to express themselves and their views of society. With all the  social ills in our world today, SWAG aims to use art as a tool for spreading the message of peace and respect for all cultures across the globe  to encourage a unified humanity.

Since its inception in 2009, SWAG has done a multiple number of art shows, live art appearances, professional art projects, TV appearances, and interviews. SWAG has grown into a movement that has expanded to include new members (The SWAG Family) and plans for a youth component called  Young SWAG that will encourage urban youth to use their art to guide them in positive productive direction.
The World is our canvas says SWAG members, and there is more blank spaces to paint.

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