Catalog for "Two Centuries of Black American Art" at the Los Angeles County Museum of Art in 1976.
Item
Title
Catalog for "Two Centuries of Black American Art" at the Los Angeles County Museum of Art in 1976.
Description
Catalog for "Two Centuries of Black American Art" by David C. Driskell with catalog notes by Leonard Simon at the Los Angeles County Museum of Art in 1976. John Rhoden was one of the artists included in this exhibition.
Identifier
MS.2019.01.3443
Type
text
Is Part Of
Curatorial files
Format
PDF
Date
1976
Creator
Rhoden, John (John W.), 1918-2001
Subject
exhibition catalogs
exhibitions (events)
African American art
Driskell, David C.
Los Angeles County Museum of Art
Rhoden, John (John W.), 1918-2001
Medium
paper
Language
13 3/4w x 17 1/2h
Rights
eng
extracted text
•
[Cover!
Aaron Douglas (b. 1898)
Buildi ng More Stately Mansions, 1944
Oil O il canvas
54 x 42 in. (121.9 x 91.5 em.)
Department of Art, Fisk University
Two Centuries of Black American Art
0\
II"
This exhibition has been made
possible by granls from the Nationa l
Endowment for the Humanities and
Philip Morris Incorporated.
•
•
Copyright © 1976 by
Museum Associates of the
Los AngelesCounty Museum of Art
AU rights reserved under International
and Pan-American Copyright
Conventions. Published in the United
States by the Los Angeles County
Museum of Artand Alfred A. Knopf, Inc.,
New York, and simult,lIlcousJy in Cannda
by Random House of Canada Limited,
Toronto. Distributed by Random House,
[nc., New York
Library of Congress Cataloging in
Publication Data
Driskell, David C.
Two centuries of Black Amerkan art.
Bibliography: p
Includes index.
1. Afro-American art-Exhibitions.
I. Simon, Leonard, dateII. LosAngeles Co., Calif. Museum of
Art, Los Angeles. III. Title.
N6538, N5D74 709'.73 76-13691
ISBN 0-87587-070-8
Manufactured in the United Slates of
America
First Edition
Exhibition dates
Los Angeles Cou nty Museum of Art
September30-November 21, 1976
The High Museum of Art, Atlan ta:
January8-February 20, 1977
Museum of Fine Arts, Dallas·
March 3O-May 15,1977
The Brooklyn Museum:
June 25-August 21,1977
Two Centuries of
Black American Art
David C. Driskell
With catalog notes by
Leonard Simon
Los Angeles County Museum of Art!
Alfred A . Knopf, New York, 1976
Contents
6 Lenders to the Exhibition
7 Acknowledgments
8 Foreword
9 Introduction
11 Black Artists and Craftsmen in
the Formative Years, 1750-1920
59 The Evolution of a Black
Aesthetic, 1920-1950
80 Color Plates
113 Catalog
206 Bibliography
220 Index of Artists
221 Photography Credits
•
p
Lenders to the Exhibition
C. R. Babe
Dr. and Mrs. William Bascom
Hans Bhalla
John Biggers
Mr. and Mrs. Sidney F. Brody
Dr. Selma Burke
Calvin Burnett
Prof. John Burrison
Dr. Margaret T Burroughs
OaudeClark
Mrs. Terry Dintenfass
Aaron Douglas
Prof. and Mrs. David C. Driskell
William A. Fagaly
Willie Starbuck
William Taylor
Robert H. Tessier
Alma W. Thomas
Mr. and Mrs. Peter H. Tillou
Mr. and Mrs. R. K. Van Zandt
Mr. and Mrs. Sid Wallach
Mr. and Mrs. Frederick L. Weingeroff
James L. Wells
Mrs. Edwina Harleston Whitlock
Mrs. DraG. Williams
Ed Wilson
John Wilson
Robert Wilson
Prof. Franklin Fenenga
Dr. Norbert Fleisig
Mr. and Mrs. H. Alan Frank
Mr. and Mrs. Melvin Frank
Dr. and Mrs. Richard Frates
Lewis Glaser
Mrs. Morton Goldsmith
Leonard Granoff
Mr. and Mrs. Earl Grant
Mrs. Palmer Hayden
Felralh Hines
Earl J. Hooks
Mrs. Grace Jones
George E. Jordan
Lawrence H. Koffler
Mr. and Mrs. Sol Koffler
Dr. and Mrs. Charles H. Mandell
Mrs. Delmus R. McGill
Archibald J. Motley, Jr.
Matthew Pemberton
Myla Levy Perkins
Mr. and Mrs. Joseph L Pierce
Mr. and Mrs. William Pierce
Dr. Lois Jones Pierre-Noel
Dr. Dorothy B. Porter
Private Collection, Harbor Gty,
California
Mr. and Mrs. John Rhoden
Gregory D. Ridley, Jr.
Louis K. Rimrodt
Donald J. Shein
Edward L. Shein
The Art Institute of Chicago
Brockman Gallery, Los Angeles
Cincinnati Art Museum
The Cleveland Museum of Art
The Detroit Institute of Arts
Dintenfass, Inc., New Yotk
Fine Arts Museums of San Francisco
Fisk University, Department of Art,
Nashville
Golden State Mutual Life Insurance
Company, The Afro-Amer ican
Collection, Los Angeles
Heritage Gallery, Los Angeles
Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution,
Washington, D.C.
Huntington Galleries
Martha Jackson Gallery, New York
Los Angeles County Museum of Art
Louisiana State Museum, New
Orleans
The Maryland Historical Society,
Baltimore
The Metropolitan Museum of Art,
New York
Midtown Galleries, New York
Museum of African Art
Washington, D.C. '
Museum of Fine Arts, Boston
Museum of Fine Arts, Houston
ational Collection of Fine Arts,
Smithson ian Institution,
Washington, D.C.
The Newark Museum
New O rlea ns Museum of Art
North Caroli na Museum of Art,
Raleigh
The Oakland Museum
The Phillips Collection,
Wash ington, D.C.
San Francisco Museu m of Art
San Jose Public Library, San Jose,
California
Smith College Museum of Art,
Northampton
Spelman College, Atlanta
Tennessee Botanical Gardens and
Fine Arts Center, Nashville
University Art Gallery,
State University of ew York,
Binghamton
University of North Carolina,
C hapel Hill
Whitney Museum of American Art,
New York
Angus Whyte Gallery, Boston
Frederick S. Wight Art Gallery,
University of Ca lifornia,
Los Angeles
"on
"', .
Acknowledgments
Warmest appreciation is extended to
the many individuals who have been
generous with advice, research, and
other essential aid. Especially helpful
were Dr. Gerald Ackerman, Ka ren
Adams, Terry Adkins, Prof. Carl
Anthony, Dr. Malcolm Arth, Rodney
Barfield, Will iam Edmund Barrett,
Peter Birmingham, Jacqueline
Bontemps, Dr. Margaret T.
Burroughs, Michael Cohn, the
curatorial staff of the Historic New
Orleans Collection, Prof. Gerald L
Davis, Thelma C. Driskell, John
Ellington, Prof. Franklin Fenenga,
Stephen Ferrill, Mr. Figgins, Prof.
Ausbra Ford, Robert S. Gamble,
Carroll Greene, Jr., Marcia M.
Greenlee, Robert Hall, Kennet h Hart,
Mrs. James T. Igae, Mary 150m,
Chrislene Johnson, Jane Matthews,
George McDaniel, Robert McDonald,
Leatrice McKissack, Eugene Ethelbert
Miller, Prof. James Miller, Carlton
Moss, Ford Peatross, Prof. Gregory S.
Peniston, Dr. Dorothy B. Porter,
Katharine Ratzenberger, Marie
Roque, Helen Shannon, Edward L.
Shein, Dr. Joshua Taylor, Clark
Thomas, Dr. RaymOl,d Thompson,
Gladys Truss, Forestine Venson,
Prof. John Vlach, Anna Wadsworth,
Jonathan W. Walton, Jr. , Ben F.
Willi.lms, Dreck Wilson, Muriel
Wilson , Robert Wilson, Eloise
Woodward, and Tony Wrenn.
Additionally, a specia l staff
assisting Professor Driskell and
Leonard Simon should be identified:
Allene Beard, Dr. Allan Gordon,
Steven L Jones, and Roderick
Owens. The efforts of the trustees,
directors, and staff members of the
Los Angeles County Museum of Art,
The High Museum of Art at Atlan ta,
the DaJlas Museum of Fine Arts, and
The Brooklyn Museum are happily
recognized. On the staff of the
orga nizing museum at Los Angeles,
where a gre.lt many individuals have
given special support to the guest
curator, particular gratitude is
extended to Jeanne D'Andrea, Head
of Exhibitions and Publications;
Nancy Grubb, catalog editor; Kristen
McCormick of the registrar's office;
Head Conservator Benjamin B.
Johnson; and Museum Head
Photographer Edward Cornachio.
Ms. Madelyn Mayo, museum intern
on a Smithsonian Fellowship, has
also provided admirable assistance.
Many others on the staffs of the
four exhibiting museums will be
intimately involved in the exhibition's
actual installation. To them, warmest
advance th.lnks as this catalog goes
to press months in advance of the
culmination of many efforts.
A final acknowledgment must be
made in the instance of the late
Claude Booker. Founder of the Black
Arts Council and a forme r staff
member of the Los Angeles County
Museum of Art, Mr. Booker long
insisted that an exhibition not unlike
Two Cimturies of Black American Art
come to pass.
R. A. S
r
Foreword
The black conlribution to the cu ltural
heritage of our natio n has too oft en
been overlooked and unrecognized.
But black artists, from Americ., 's
beginning, have made., profound
contribution to American art hi stor y.
Philip Morris Incorporated is proud
to be a sponsor of ''Two Centuries of
Black Americ,lll Art," the first major
historical survey of black involvemenl in America's cultural
accomplishments.
This unique and stimulating exhibition of paintings, sculpture, g raph iCS
and architectural and d ecorative 3rt
objeclsserves to remind us once again
of the diversity, aesthetic quality, and
humanistic strength of black creative
efforts through the centuries.
The fact thai black artists and
crafts people were able to make such a
creati\'e contribution- despite
deprivation and adversity-should
be an inspiration to us all in thi s
national bicentennial era.
We hope audiences are pleased and
challenged by this exhibition. We are
gra teful to Professor David Driskell
of Fisk University for his counsel in
selecting the works that are presen ted
here. And we extend our thanks to
the Los Angeles County Museum of
Art for its cooperation and assis tance
in mounting the exhibition for the
public to enjoy.
Joseph F. Cullman 3rd
Chairman , Philip Morris Incorporated
Introduction
Black is neither a true color nor an
entirely apt word in the title fo r this
exhibition. The artists represented
were not selected because of their
African ancestry alone, however
direct or mixed, but to consider how
this has obscured their contributions
to American art history. And so it is
not mere skin color thai gives this
survey a unity although it is true that
many of the artists represented
underwent uniquely personal
torments because of a majority
society's prejudices. Some escaped
through exile: Edmonia Lewis to
Rome, Henry O. Tanner to Paris,
William H. Johnson to Denmark. But
a larger number did not or could not.
One revelation of this present
assemblage is thaI the human creative
impulse can triumph in the face of
impossible odds, and at times
perhaps even because of them.
One irony that tends to bear this out
was an episode endured by Edward
Bannister. After he had submitted his
Under tile Oaks for exhibit at the
Philadelphia Centennial Exposition,
it won a bronze medal. But the artist
himself was nearly denied admission
to the gallery displaying his work,
because of his color. We are told also
that Tanner's embitterment with
America derived from the recognition
he received not as an artist. but as a
black artist. a kind of racial anomaly.
The real .momaly is that our society,
with few exceptions, has taken so
long to recognize these gifted
Americans who have strengthened
the cul tural fabric th.lt cloaks and
therefore enriches us all.
For those who know blac\...
American art only through contemporary exhibitions of the past
decade, it will come as d surprise that
so many earlier artists did not reflect
"the black experience" in their subject
matter. But from their portraits of
whites, biblical scenes, and
landscapes that have affinities with
Cole and Durand, it seems that
staying close to the mainstream of
American art was a way for black
artists to find acceptance and
commissions. Perhaps this conformi ty (or better, sublimation) was in
itself another kind of "black
experience."
This exhibition, although the
largest of its type held thus far, is
hardly complete. An endless regret is
that many black American works
have vanished, or lack documentation. Even in our own times there
are few public museums with
appreciable collections of black
American art. Hopefully this does not
reflect conscious bias as much as it
does unawareness. Lamentably rare,
also, are American art texts or
biographical dictionaries that list even
a few of the names encountered in
this exhibition and catalog. O ne can at
least be grateful that in our century
pioneer institutions such as the
Harmon Foundation; Atlanta, Fisk,
and Howard universities; the
Schomburg Collection of the New
York Public Library; and the Frederick·
Douglass Instih.!te, Museum of
African Art, among others, began
serious efforts to end the anonymity
of these American artists and to
encourage public awareness and
appreciation of their achievements.
Although the exhibition includes a
number of important works that have
not, until now, been seen by a large
public, therearestill regrettable g.lpS.
In some instances owners were
reluctant to lend; in others, surviving
•
10
works were deemed too fragile to
travel. We have already noted that
some may be lost forever, including
Tanner's original Dllllil'l ill the Liolls'
Dell, of which a later version by
his hand is in the exhibition.
This exhibition and its catalog
represent extensive research,
negotiation, selection, and thought
by Professor David C. Driskell,
chaimtan of the Department of Art at
Fisk University. An artist himself,
he is an acknowledged authority on
black American art and his university
is a leading repository. Assisted by
Leonard Simon, Professor Driskell
was presented with a mandate when
invited to serve as guest curator of
this exhibition: to locate a broadranged group of works reflecting the
efforts of the more significant black
American artists from slave times into
the mid-twentieth century. There are
some exceptions: works by living
artists who, although active before
1950, asked to be represented by
later examples.
When theconcepl of this exhibi tion
was first generated, initial research
revealed a paucity of serious literature
on black American art. Pari of this
mandate to Professor Driskell
therefore included the preparation of
a catalog text cap.1ble of filling a void
that has existed too long. Quite apart
from its direct relationship to the
exhibition and its contribution to
the literature, we hope that this
publication will stimulate further
r:search and scholarship that will
&Ve us a more complete history
of American art
The ~useum expresses particular
appreciation to nearly one hundred
lenders whose names appear on
page 6. Their willingness to part with
treasured possessions for more than a
year, permitting scores of thousands
of museum visitors to see them in
Los Angeles, Atlanta, Dallas, and
Brooklyn, represents both admirable
generosity and welcome enthusiasm
for this project. Two Centuries of Black
American Art could not have been
organized and presented without
substantial assistance from the
National Endowment for the
Humanities and Phil ip Morris
Incorporated. This combination of
government and corporate support
has p rovided vital succor for the
exhibition, this catalog, and a variety
of related educational activities.
Rexford Stead
Deputy Director
Los Allgeles County Museum of Art
John Rh oden
b. 1918
Sculptor. Born in Birmingham, Alabama.
Studied at the School of Painting and
Sculpture, Columbia University, New
York; and under Hugo Robus, Oronzio
Maldareli, Richmond Barthe, William
Zorach. Executed commissions for the
Harlem Hospital (Molll/menta/Bronze,
1966)and the Metropolitan Hospital
(Molluml'nta/ Abstraction, 1%8). Visited
more than twenty countries as an artist on
tour through the Department of Stale
Major Exhibitions: Fisk University,
Nashville, 1969; The Frick Collection,
New York, 1969; Brooklyn College,
1969; Atlanta University, 1970; The
Metropolitan Museum of Art, New York,
1970; Pennsylvania Academy of the Fine
Arts, Philadelphia, 1970; Art Institute of
Chicago, 1970; Museum of Fine Arts,
Boston, 1970; Whitney Museum of
American Art, New York, 19n; National
Academy of Arts and Letters, American
Academy of Arts and Letters, New York,
1971; Schneider Galieria, Rome, 1971;
FairNeather-Harden Gallery, Chicago,
1971; Audubon Annual, 1971; Saidenberg
Gallery, New York, 19n; AmeriCiln
Academy, Rome, 1971; Howard University
GalJeryof Art, Washington, D.C., 19n;
Camino Gallery, Rome, 19n; Brooklyn
College, 19n; University of Pittsburgh,
pieces in varying styles that show Rhoden
to be very aware of both thecJassic and
romantic elements of art. Heis a brilliantly
skillful craftsman in metal, whose work
always rcveals his keen eye for the
nature and possibilities of the material,
c,lptivating the viewer with its richness
/. TIIptd 11Itm.'II'W !Loth ltonord 5""".. , N-...brr /975.
166 Safni, 1958
Bronze
27)( 38 in. (68.6)( 96.5cm.)
Collection of the artist
167 Population Explosion, 1962
Teakwood
h: 60 in. (152.4 12m.)
Collection of the artist
168 Confrontation, 1969
Bronze
h: 96 in. (243.8cm.)
Collection of the artist
169 Abstraction, 1975
Bronze, jewel glass
h: 48 in, (121.9cm.)
Collection of the artist
170 Richanda, 1975
Bronze
h: 90 in. (228.6 12m.)
Collection of the artist
171 Sphere of Life, 1975
Bronze
48 x 6Oin. (Ul.9 x 152,4 cm,)
Collection of the artist
19n.
"Sculpture has to have a form, it has to
have some movement, something to
excite you one way or the other. When J
look at sculpture, I wonder, what is it
that that fellow has done that I can get
something out of." 1 In his home, which
also serves as his studio, there are many
170
187
[Cover!
Aaron Douglas (b. 1898)
Buildi ng More Stately Mansions, 1944
Oil O il canvas
54 x 42 in. (121.9 x 91.5 em.)
Department of Art, Fisk University
Two Centuries of Black American Art
0\
II"
This exhibition has been made
possible by granls from the Nationa l
Endowment for the Humanities and
Philip Morris Incorporated.
•
•
Copyright © 1976 by
Museum Associates of the
Los AngelesCounty Museum of Art
AU rights reserved under International
and Pan-American Copyright
Conventions. Published in the United
States by the Los Angeles County
Museum of Artand Alfred A. Knopf, Inc.,
New York, and simult,lIlcousJy in Cannda
by Random House of Canada Limited,
Toronto. Distributed by Random House,
[nc., New York
Library of Congress Cataloging in
Publication Data
Driskell, David C.
Two centuries of Black Amerkan art.
Bibliography: p
Includes index.
1. Afro-American art-Exhibitions.
I. Simon, Leonard, dateII. LosAngeles Co., Calif. Museum of
Art, Los Angeles. III. Title.
N6538, N5D74 709'.73 76-13691
ISBN 0-87587-070-8
Manufactured in the United Slates of
America
First Edition
Exhibition dates
Los Angeles Cou nty Museum of Art
September30-November 21, 1976
The High Museum of Art, Atlan ta:
January8-February 20, 1977
Museum of Fine Arts, Dallas·
March 3O-May 15,1977
The Brooklyn Museum:
June 25-August 21,1977
Two Centuries of
Black American Art
David C. Driskell
With catalog notes by
Leonard Simon
Los Angeles County Museum of Art!
Alfred A . Knopf, New York, 1976
Contents
6 Lenders to the Exhibition
7 Acknowledgments
8 Foreword
9 Introduction
11 Black Artists and Craftsmen in
the Formative Years, 1750-1920
59 The Evolution of a Black
Aesthetic, 1920-1950
80 Color Plates
113 Catalog
206 Bibliography
220 Index of Artists
221 Photography Credits
•
p
Lenders to the Exhibition
C. R. Babe
Dr. and Mrs. William Bascom
Hans Bhalla
John Biggers
Mr. and Mrs. Sidney F. Brody
Dr. Selma Burke
Calvin Burnett
Prof. John Burrison
Dr. Margaret T Burroughs
OaudeClark
Mrs. Terry Dintenfass
Aaron Douglas
Prof. and Mrs. David C. Driskell
William A. Fagaly
Willie Starbuck
William Taylor
Robert H. Tessier
Alma W. Thomas
Mr. and Mrs. Peter H. Tillou
Mr. and Mrs. R. K. Van Zandt
Mr. and Mrs. Sid Wallach
Mr. and Mrs. Frederick L. Weingeroff
James L. Wells
Mrs. Edwina Harleston Whitlock
Mrs. DraG. Williams
Ed Wilson
John Wilson
Robert Wilson
Prof. Franklin Fenenga
Dr. Norbert Fleisig
Mr. and Mrs. H. Alan Frank
Mr. and Mrs. Melvin Frank
Dr. and Mrs. Richard Frates
Lewis Glaser
Mrs. Morton Goldsmith
Leonard Granoff
Mr. and Mrs. Earl Grant
Mrs. Palmer Hayden
Felralh Hines
Earl J. Hooks
Mrs. Grace Jones
George E. Jordan
Lawrence H. Koffler
Mr. and Mrs. Sol Koffler
Dr. and Mrs. Charles H. Mandell
Mrs. Delmus R. McGill
Archibald J. Motley, Jr.
Matthew Pemberton
Myla Levy Perkins
Mr. and Mrs. Joseph L Pierce
Mr. and Mrs. William Pierce
Dr. Lois Jones Pierre-Noel
Dr. Dorothy B. Porter
Private Collection, Harbor Gty,
California
Mr. and Mrs. John Rhoden
Gregory D. Ridley, Jr.
Louis K. Rimrodt
Donald J. Shein
Edward L. Shein
The Art Institute of Chicago
Brockman Gallery, Los Angeles
Cincinnati Art Museum
The Cleveland Museum of Art
The Detroit Institute of Arts
Dintenfass, Inc., New Yotk
Fine Arts Museums of San Francisco
Fisk University, Department of Art,
Nashville
Golden State Mutual Life Insurance
Company, The Afro-Amer ican
Collection, Los Angeles
Heritage Gallery, Los Angeles
Hirshhorn Museum and Sculpture
Garden, Smithsonian Institution,
Washington, D.C.
Huntington Galleries
Martha Jackson Gallery, New York
Los Angeles County Museum of Art
Louisiana State Museum, New
Orleans
The Maryland Historical Society,
Baltimore
The Metropolitan Museum of Art,
New York
Midtown Galleries, New York
Museum of African Art
Washington, D.C. '
Museum of Fine Arts, Boston
Museum of Fine Arts, Houston
ational Collection of Fine Arts,
Smithson ian Institution,
Washington, D.C.
The Newark Museum
New O rlea ns Museum of Art
North Caroli na Museum of Art,
Raleigh
The Oakland Museum
The Phillips Collection,
Wash ington, D.C.
San Francisco Museu m of Art
San Jose Public Library, San Jose,
California
Smith College Museum of Art,
Northampton
Spelman College, Atlanta
Tennessee Botanical Gardens and
Fine Arts Center, Nashville
University Art Gallery,
State University of ew York,
Binghamton
University of North Carolina,
C hapel Hill
Whitney Museum of American Art,
New York
Angus Whyte Gallery, Boston
Frederick S. Wight Art Gallery,
University of Ca lifornia,
Los Angeles
"on
"', .
Acknowledgments
Warmest appreciation is extended to
the many individuals who have been
generous with advice, research, and
other essential aid. Especially helpful
were Dr. Gerald Ackerman, Ka ren
Adams, Terry Adkins, Prof. Carl
Anthony, Dr. Malcolm Arth, Rodney
Barfield, Will iam Edmund Barrett,
Peter Birmingham, Jacqueline
Bontemps, Dr. Margaret T.
Burroughs, Michael Cohn, the
curatorial staff of the Historic New
Orleans Collection, Prof. Gerald L
Davis, Thelma C. Driskell, John
Ellington, Prof. Franklin Fenenga,
Stephen Ferrill, Mr. Figgins, Prof.
Ausbra Ford, Robert S. Gamble,
Carroll Greene, Jr., Marcia M.
Greenlee, Robert Hall, Kennet h Hart,
Mrs. James T. Igae, Mary 150m,
Chrislene Johnson, Jane Matthews,
George McDaniel, Robert McDonald,
Leatrice McKissack, Eugene Ethelbert
Miller, Prof. James Miller, Carlton
Moss, Ford Peatross, Prof. Gregory S.
Peniston, Dr. Dorothy B. Porter,
Katharine Ratzenberger, Marie
Roque, Helen Shannon, Edward L.
Shein, Dr. Joshua Taylor, Clark
Thomas, Dr. RaymOl,d Thompson,
Gladys Truss, Forestine Venson,
Prof. John Vlach, Anna Wadsworth,
Jonathan W. Walton, Jr. , Ben F.
Willi.lms, Dreck Wilson, Muriel
Wilson , Robert Wilson, Eloise
Woodward, and Tony Wrenn.
Additionally, a specia l staff
assisting Professor Driskell and
Leonard Simon should be identified:
Allene Beard, Dr. Allan Gordon,
Steven L Jones, and Roderick
Owens. The efforts of the trustees,
directors, and staff members of the
Los Angeles County Museum of Art,
The High Museum of Art at Atlan ta,
the DaJlas Museum of Fine Arts, and
The Brooklyn Museum are happily
recognized. On the staff of the
orga nizing museum at Los Angeles,
where a gre.lt many individuals have
given special support to the guest
curator, particular gratitude is
extended to Jeanne D'Andrea, Head
of Exhibitions and Publications;
Nancy Grubb, catalog editor; Kristen
McCormick of the registrar's office;
Head Conservator Benjamin B.
Johnson; and Museum Head
Photographer Edward Cornachio.
Ms. Madelyn Mayo, museum intern
on a Smithsonian Fellowship, has
also provided admirable assistance.
Many others on the staffs of the
four exhibiting museums will be
intimately involved in the exhibition's
actual installation. To them, warmest
advance th.lnks as this catalog goes
to press months in advance of the
culmination of many efforts.
A final acknowledgment must be
made in the instance of the late
Claude Booker. Founder of the Black
Arts Council and a forme r staff
member of the Los Angeles County
Museum of Art, Mr. Booker long
insisted that an exhibition not unlike
Two Cimturies of Black American Art
come to pass.
R. A. S
r
Foreword
The black conlribution to the cu ltural
heritage of our natio n has too oft en
been overlooked and unrecognized.
But black artists, from Americ., 's
beginning, have made., profound
contribution to American art hi stor y.
Philip Morris Incorporated is proud
to be a sponsor of ''Two Centuries of
Black Americ,lll Art," the first major
historical survey of black involvemenl in America's cultural
accomplishments.
This unique and stimulating exhibition of paintings, sculpture, g raph iCS
and architectural and d ecorative 3rt
objeclsserves to remind us once again
of the diversity, aesthetic quality, and
humanistic strength of black creative
efforts through the centuries.
The fact thai black artists and
crafts people were able to make such a
creati\'e contribution- despite
deprivation and adversity-should
be an inspiration to us all in thi s
national bicentennial era.
We hope audiences are pleased and
challenged by this exhibition. We are
gra teful to Professor David Driskell
of Fisk University for his counsel in
selecting the works that are presen ted
here. And we extend our thanks to
the Los Angeles County Museum of
Art for its cooperation and assis tance
in mounting the exhibition for the
public to enjoy.
Joseph F. Cullman 3rd
Chairman , Philip Morris Incorporated
Introduction
Black is neither a true color nor an
entirely apt word in the title fo r this
exhibition. The artists represented
were not selected because of their
African ancestry alone, however
direct or mixed, but to consider how
this has obscured their contributions
to American art history. And so it is
not mere skin color thai gives this
survey a unity although it is true that
many of the artists represented
underwent uniquely personal
torments because of a majority
society's prejudices. Some escaped
through exile: Edmonia Lewis to
Rome, Henry O. Tanner to Paris,
William H. Johnson to Denmark. But
a larger number did not or could not.
One revelation of this present
assemblage is thaI the human creative
impulse can triumph in the face of
impossible odds, and at times
perhaps even because of them.
One irony that tends to bear this out
was an episode endured by Edward
Bannister. After he had submitted his
Under tile Oaks for exhibit at the
Philadelphia Centennial Exposition,
it won a bronze medal. But the artist
himself was nearly denied admission
to the gallery displaying his work,
because of his color. We are told also
that Tanner's embitterment with
America derived from the recognition
he received not as an artist. but as a
black artist. a kind of racial anomaly.
The real .momaly is that our society,
with few exceptions, has taken so
long to recognize these gifted
Americans who have strengthened
the cul tural fabric th.lt cloaks and
therefore enriches us all.
For those who know blac\...
American art only through contemporary exhibitions of the past
decade, it will come as d surprise that
so many earlier artists did not reflect
"the black experience" in their subject
matter. But from their portraits of
whites, biblical scenes, and
landscapes that have affinities with
Cole and Durand, it seems that
staying close to the mainstream of
American art was a way for black
artists to find acceptance and
commissions. Perhaps this conformi ty (or better, sublimation) was in
itself another kind of "black
experience."
This exhibition, although the
largest of its type held thus far, is
hardly complete. An endless regret is
that many black American works
have vanished, or lack documentation. Even in our own times there
are few public museums with
appreciable collections of black
American art. Hopefully this does not
reflect conscious bias as much as it
does unawareness. Lamentably rare,
also, are American art texts or
biographical dictionaries that list even
a few of the names encountered in
this exhibition and catalog. O ne can at
least be grateful that in our century
pioneer institutions such as the
Harmon Foundation; Atlanta, Fisk,
and Howard universities; the
Schomburg Collection of the New
York Public Library; and the Frederick·
Douglass Instih.!te, Museum of
African Art, among others, began
serious efforts to end the anonymity
of these American artists and to
encourage public awareness and
appreciation of their achievements.
Although the exhibition includes a
number of important works that have
not, until now, been seen by a large
public, therearestill regrettable g.lpS.
In some instances owners were
reluctant to lend; in others, surviving
•
10
works were deemed too fragile to
travel. We have already noted that
some may be lost forever, including
Tanner's original Dllllil'l ill the Liolls'
Dell, of which a later version by
his hand is in the exhibition.
This exhibition and its catalog
represent extensive research,
negotiation, selection, and thought
by Professor David C. Driskell,
chaimtan of the Department of Art at
Fisk University. An artist himself,
he is an acknowledged authority on
black American art and his university
is a leading repository. Assisted by
Leonard Simon, Professor Driskell
was presented with a mandate when
invited to serve as guest curator of
this exhibition: to locate a broadranged group of works reflecting the
efforts of the more significant black
American artists from slave times into
the mid-twentieth century. There are
some exceptions: works by living
artists who, although active before
1950, asked to be represented by
later examples.
When theconcepl of this exhibi tion
was first generated, initial research
revealed a paucity of serious literature
on black American art. Pari of this
mandate to Professor Driskell
therefore included the preparation of
a catalog text cap.1ble of filling a void
that has existed too long. Quite apart
from its direct relationship to the
exhibition and its contribution to
the literature, we hope that this
publication will stimulate further
r:search and scholarship that will
&Ve us a more complete history
of American art
The ~useum expresses particular
appreciation to nearly one hundred
lenders whose names appear on
page 6. Their willingness to part with
treasured possessions for more than a
year, permitting scores of thousands
of museum visitors to see them in
Los Angeles, Atlanta, Dallas, and
Brooklyn, represents both admirable
generosity and welcome enthusiasm
for this project. Two Centuries of Black
American Art could not have been
organized and presented without
substantial assistance from the
National Endowment for the
Humanities and Phil ip Morris
Incorporated. This combination of
government and corporate support
has p rovided vital succor for the
exhibition, this catalog, and a variety
of related educational activities.
Rexford Stead
Deputy Director
Los Allgeles County Museum of Art
John Rh oden
b. 1918
Sculptor. Born in Birmingham, Alabama.
Studied at the School of Painting and
Sculpture, Columbia University, New
York; and under Hugo Robus, Oronzio
Maldareli, Richmond Barthe, William
Zorach. Executed commissions for the
Harlem Hospital (Molll/menta/Bronze,
1966)and the Metropolitan Hospital
(Molluml'nta/ Abstraction, 1%8). Visited
more than twenty countries as an artist on
tour through the Department of Stale
Major Exhibitions: Fisk University,
Nashville, 1969; The Frick Collection,
New York, 1969; Brooklyn College,
1969; Atlanta University, 1970; The
Metropolitan Museum of Art, New York,
1970; Pennsylvania Academy of the Fine
Arts, Philadelphia, 1970; Art Institute of
Chicago, 1970; Museum of Fine Arts,
Boston, 1970; Whitney Museum of
American Art, New York, 19n; National
Academy of Arts and Letters, American
Academy of Arts and Letters, New York,
1971; Schneider Galieria, Rome, 1971;
FairNeather-Harden Gallery, Chicago,
1971; Audubon Annual, 1971; Saidenberg
Gallery, New York, 19n; AmeriCiln
Academy, Rome, 1971; Howard University
GalJeryof Art, Washington, D.C., 19n;
Camino Gallery, Rome, 19n; Brooklyn
College, 19n; University of Pittsburgh,
pieces in varying styles that show Rhoden
to be very aware of both thecJassic and
romantic elements of art. Heis a brilliantly
skillful craftsman in metal, whose work
always rcveals his keen eye for the
nature and possibilities of the material,
c,lptivating the viewer with its richness
/. TIIptd 11Itm.'II'W !Loth ltonord 5""".. , N-...brr /975.
166 Safni, 1958
Bronze
27)( 38 in. (68.6)( 96.5cm.)
Collection of the artist
167 Population Explosion, 1962
Teakwood
h: 60 in. (152.4 12m.)
Collection of the artist
168 Confrontation, 1969
Bronze
h: 96 in. (243.8cm.)
Collection of the artist
169 Abstraction, 1975
Bronze, jewel glass
h: 48 in, (121.9cm.)
Collection of the artist
170 Richanda, 1975
Bronze
h: 90 in. (228.6 12m.)
Collection of the artist
171 Sphere of Life, 1975
Bronze
48 x 6Oin. (Ul.9 x 152,4 cm,)
Collection of the artist
19n.
"Sculpture has to have a form, it has to
have some movement, something to
excite you one way or the other. When J
look at sculpture, I wonder, what is it
that that fellow has done that I can get
something out of." 1 In his home, which
also serves as his studio, there are many
170
187