Catalog for "Black Artists/South" from the Huntsville Museum of Art in 1979.
Item
Title
Catalog for "Black Artists/South" from the Huntsville Museum of Art in 1979.
Description
Catalog for "Black Artists/South" by Ralph M. Hudson from the Huntsville Museum of Art in Huntsville, Alabama from April 1 through July 29, 1979.
Identifier
MS.2019.01.3444
Type
text
Is Part Of
Box 1 Folder 25
Format
PDF
Date
1979
Creator
Rhoden, John (John W.), 1918-2001
Subject
exhibition catalogs
exhibitions (events)
African American art
Rhoden, John (John W.), 1918-2001
Huntsville Museum of Art
Hudson, Ralph M.
Medium
paper
Language
13 1/2w x 17 3/4h
Rights
eng
extracted text
SOUTll11
IBILA\OK
A\IRlrll§lr§ / §OllJlriHI
DEDICATION
AARON DOUGLAS
MASTER ARTIST
1899 - 1979
This catalogue is dedicated to the memory 01 Aaron
Douglas. The title of his painting in this exhibition,
" Building More Stately Mansions", lent by the Fisk
Un iversity Art Department, which he made nationally
famous, epitomizes his unique contributions to art and
cu lture and ethnic understanding in America.
..
,
lB1LA\C1K A1RT11§T§ / §OUT1J-l1
By Ralph M. Hudson
Guest Curator
HUNTSVILLE MUSEUM OF ART
HUNTSVILLE, ALABAMA
-
...
Museum Board
Joyce Grillin, Chairman
L. Tennent Lee, Vice Chairman
Ruth Linde, Secretary
William Thomas. Treasurer
John E, Hoar
William L. Marks
Clifton Pearson
J. Ellis SparkS
Ernst Sluhlinger
DediC
Museum Staff
Carolyn H. Wood, Interim Director, Curator
Bruce E. Grant. Business Officer
Grace Eleazer, Registrar
Margaret Ausfeld, Curator of Education
Mary Shaughnessy, Assistant Educator
lois Phillips, Slide Technician
James Sanders, Preparator
Dominico Baratta , Assistant Preparator
Katherine Gates , Sales Gallery Manager
Audrey Lycan. Executive Secretary
Melanie Belew. Secretary/ Receptionist
Jack Patterson, Chief of Security
Sophye l. Young, Ubrarian
Diane Burkett, Bookkeeper
Lend
Ackr
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Pro
April 1 • July 29, 1979
HUNTSVILLE MUSEUM OF ART
700 Monroe SI. SW, Huntsville, Al
35801
All rights reserved
COPYright c 1979 by the Hunts~ille Museum of Art
Library of Congress cataloglHl card number: l.C. 79-63689
Catalogue designed by Ralph M Hudson
Catalogue Printed by: Golden Rule
Photographs by Jim Ale~ander. Wilham Anderson, Oh~er Baker. E. trv lng
Bloomstrann. GeoUrey Clements, Gregg _Gels. Ralph M. Hudson Lloyd
~,:~g~I~~'~:;~:~~:sl~:Olk. Kathy MOrris, Josef Scayled. Aee~es StudiOS,
Ca
TAIBILlE OlF CONTIENT§
Page
Dedication
Museum Board and Staff
4
Lenders to the Exhibition
6
Acknowledgments
7
Foreword
8
Black Artists/ Black Art
... A Point of View
9
Prologue
11
The Artists
17
Catalogue
59
LENDERS
The following collectors. museums. gallerieS and
institut ions have generously len \ works to thi s
exhibition The mdlyidu al artist lenders are Ident ifi ed
separately In the biogra phiCal sket ches and In the
catalogue listmg
Pro fessor and M rs David C Ons kell
Dr and Mrs. Ro bert H. Harvey
Dr. and Mrs. Arthur H igg s
Mr. Larry Hilton
Pro fessor and Mrs. Earl J. Hoo ks
Professor and Mrs . Ted Jones
Mrs. Hazel Lmton
Commissioner and Mrs. Michael Lomax
Mr. and Mrs. Deberry McKissick.
Dr, Clifton Pearson
Mr. Richard Pope
Dr. and Mrs. W.J .A. Power
Professor and Mrs. Gregory Ridley
Aaron Douglas Collection , Religious Communities for
for the Arts, New York.
Alabama A. & M . University, Art Department.Normal
America's Folk. Heritage Gallery (Jay Johnson). New
York
Arkansas Arts Center, little Rock
Allanta UniverSity Afro-American Collection
Birmingham Museum of Art
Detroit Institute of Arts
Downtown Gallery. New Orleans
Fairweather-Hardin Gallery, Chicago
Fisk University, Art Department, Nashville
Gallery K (Komei Wachi), Washington, D.C.
Golden State Mutual Life Insurance Co., Los Angeles
Isaac Hathaway Studio, Tuskegee Institute, Alabama
Hampton Institute, Virginia
Heritage Gallery. Los Angeles
Martha Jackson Gallery, New York
Merton Simpson Gallery. New York
Mississippi Art Museum, Jackson
National Gallery of Art, Washington, D.C
National Park Service, Tuskegee Institute National
Historic Site. Alabama
National Portrait Gallery, Washington, D.C
Newark Museum of Art
North Carolina Museum of Art, Raleigh
Ann Haflthas Robinson Gallery , Houston
Tennessee Botanical Gardens and Fine Arts Center at
Cheek wood, Nashville
To~galoo College, Art Museum. Mississippi
Whitney Museum of Art, New York
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ACKNOWLEDGMENTS
Black Art lSIS Sourh IS perhaps the only major
exhibition o f the wo rk o f black American artists
developed witho ut outside funding . Since it is the
largest exhibition of Afro-American art to ~e
assembled In the South to date, the exhibit and Its
catalogue become a rather remarkable achievement
for a non metropolitan city museum . Without theaclive
interest and enthusiastic support of more than 135
living artists and more than 40 collectors, museums,
galleries and institutions. the exhibit presented in this
catalogue, which will be viewed by thousands of
school children and adults du ring its four month
tenure, would nol have been possible.
Special thanks are due the following for, their
assistance In providing addresses of artists, furnIshing
exhibition catalogues, and / or enlisting the
cooperation of th eir colleagues: Benny Andrews, New
York Ci ty: J. Edward Atkinson, Carnation Co., Los
Angeles: Dr. John Biggers, Chairman of the Texas
Southern University Art Department, Houston :
Andrew Bucci, Washington, D.C.; Mary Schmidt
Campbell , Director, Studio Museum in Harlem;
Edmund Barry Gaither, National Center of AfroAmerican Artists, Roxbury; Earl S. Clanton, III ,
Director of Public Information , Hampton Institute; Joe
Crawford, Editor of Black Photographers Annual; Dr.
David Driskell , Chairman , Art Department, University
of Maryland ; Elton Fax , Long Island City, N.Y. , Eugene
Grigsby. Arizona State University, Tempe; Dr. Oakley
Holmes, Jr .. Jacksonville (Alabama) State University;
Prof. Earl J . Hooks , Art Departmen t Chairman, and
Robert L. Hall. Art Gallery Curator. Fisk University.
Nashville : John M . Howard, Chairman, Art
Department. University of Arkansas at Pine Bluff: Ann
Jacob of Ann Jacob Gallery, Allanta; Ted Jones, Art
Department Chairman and faculty colleague. Gregory
Ridley, Tennessee State University, Nashville: James
Kennedy, Chairman, Art Department, and
administrator. Ethnic American Art Slide library,
University of South Alabama, Mobile: Lois Mailou
Jones, Wash i ngton, D.C.; Prof. Richard A Lo~g,
Director of the African and Afro-American StudIes
Center of Atlanta University ; Corinne Mitchell.
membership chairman of the National Conference of
Artists , Washington . D.C.; Elizabeth Catlett Mora.
Cuernavaca. Mexico: William Pajaud and Norman
Houston, Golden State Mutual life Insurance Co. , Los
Angeles, who provided Information on the Golden
State Collection and photographs of thei r Ha le
Woodruff and Charles Alston murals: Dr. Clifton
Pearson . Chairman of the Alabama A. & M. University
Art Education Department ; Ronald Schnell. Directorof
the Tougaloo College Art Museum; Clifton Webb, New
Orleans: Hale Woodruff. New York City; and Doris
Woodson, Colonial Heights, Va.
On behalf of the 152 artists inclu ded in the exhibition.
apprecia tion is extended not only to those listed
above. but also to the personnel in all the museums,
galleries, and insti tutions. and the individuals cited in
the list o f Lenders who helped make Black
Artists/ South possible.
Ralph M. Hudson
t!!!!!FOREWORD
II is a special privilege lor the Huntsville Museum of Art
to present Black Artists/South. the largest exhi,bition
of works by black artists to be assembled In the
Tennessee Valley area. An exhibition such as this,that
documents the signilicant contributions of AlroAmerican artists to the developmental American arl, is
long over due in this region . A large percentage of
black artists in America were born or have lived in the
South. bullew remain in the South and still fewer are
recognized by the ci tizens of their region of birth or
residence. The mandate of this exhibition is, therefore,
to promote a greater awareness and appreciation
among the people of this region for the richness and
diversity of the creative contributions to the visual arts
made by black artists. It is hoped also that the
exhibition will serve as asource of inspiration for all art
students _ black and white - in the Tennessee Valley
Black Artists /South was designed as a survey
exhibition documenting the achievements of black
artists from the early 19th century through the present
day. It is roughly chrOnological in organization and is
didactic in intent. Works important for the history of
Afro-American art but impossible to include in the
exhibition , (muralS, for example), are brought to the
visitors' attention through photographs. Illuminating
comparisons to such art forms as African masks are
also highlighted in this manner. The exhibition,
therefore, is clearly designed as a teaching tool for
those who have never been exposed to the creative
expressions and artistic sources of Afro-American
artists.
P.e~haps the greatest lesson that will be learned by
VISitors to Black Artists /South will bethe inventiveness
and diversity to be found in the artists represented
Some ~f these a~tists have national and internationai
reputallons. while others are young artists at t he
beginning of their careers. As one might expect, some
of the works. have strong ethnic overtones, while
othe f ~ treat universal themes or personal insights. This
combination of the expected and the familiar with the
unknown and the new contributes to a balanced
comprehensive exhibition .
'
The Huntsville Museum of Art was most fortunate to
have Dr. Ralph Hudson as the Guest Curator for BI
Artists / south. His
and
Y
understanding of Afro-American art, his friendshi
with
of the artists, and above all, his
~ommltment and devot.lon to the cause of promotin
Incr.eased understanding
sensitivity to
achievement among all Americans. guaranteed th
success of this exhibition.
e
thor~ugh
~any
an~
sCholaar~k
ObViOU~
blac~
exhibition. of this magnitude required th
skills of each staff member at th:
HuntSVille Mus.eum of Art. Among ~hem, Audrey
Lycan, wh.o.asslsted the ~u~st Curator In every phase
of organizing the exhibition . and planning the
catalogue, .deserves o~r. speCial recognition and
commendation. LOIS Phillips and Carol Barger also
gave of their time and talents to the exhibition and the
catalo~ue. We are. grateful to Dr. Clifton Pearson for
hiS enllg~tening discussion and personal insights on
the exhibition, and of course, wegreatly appreciate the
cooperati?n a.nd ge~erositY on the part of each of the
participallng institutions and individual artists
An
special~zed
." " F
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Carolyn H. Wood
Interim Director
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IBIllA\Ci"< A\IIHII§T§ / IllIll A\Ci"< A\IIH
.. . A POINT OF VIEW
Ie r~
rne~
9 th,-lor in~
d ",,:
What will the more than two thousand school age
children with whom the Huntsville Museum of Art
works, learn from this exhibition featuring artists of
African and American ethnic origins? WilJ they learn
that blacks in art do unique types of work? Will they
learn to differentiate one artist from another or to
assess style as a function 01 motivation and technique?
Will they learn that black imagery and the construction
or illustration of a " black experience" can be produced
by non-black artists? Will these children , their parents
and thousands of others who see this exhibit leave
impressed or confused?
'€tOg"
:arol9.:."
'!xhiblLo"
ifton ~
sanal',
t~ ~"
aliafeo:
ualaniS!
With the vast quantity of work done relative to the
"visual black aesthetic". a void continues to exist in the
simple closure of definition . Thusly, the term "black
art" continues to be an over simplification for a
complex, rich and wonderful phenomenon.
"The black artist if forced to make a choice, or strike a
balance between various modes of expression : Is he to
be first an artist and secondly a black American; or is
he to be a black American responsive in his work to the
injustices, hypocrisies and indignities suffered by the
black man as a second class citizen?" (Driskell: 1971).
"The black man was dragged to this country against
his will, stripped of his African heritage, given a nondescript name, called a Negro instead of an African ,
called a boy instead of a man. His racial characteristics
were rejected. a servile personality was imposed on
him, and he was coerced into believing he was
inferior. " (Brazier; 1969).
"The cultural and racial images that have been
projected
are largely those of white people. The
images become extensions of the wh ite man's best self
and he assigns value and worth to himself upon
viewing the images around him which he proudly
claims. He defines himself in terms of others like him.
He discovers his identity and self-closure within that
group, whose images he sees reflected in himself."
(Toldson and Pasteur; 1975).
According to Carolyn F. Gerald (1971), blacks see a
zero image of themselves. They cannot judge
themselves unless they see a continuity of themselves
in other people and in things and concepts. Blacks
question their very right to exist without other
existences. This is why image is so important; black
people live in a white world . The black man sees wh ite
which
cultural and racial images projected
accounts for the zero image he sees of hi mself.
~h ~Uld the black man resign to producing images
Ind.lcatlve of his seemingly conceptual universe?
K~lght (1968) wrote on black aesthetics in the Negro
Digest that the "black artist" who directs his work
toward a white audience is guilty of aiding and abetting
the enemy .. . like a worker in a foundry who forges his
own chains.
Perhaps then the black artist should restrict hiS
energies to the production of works that specifically
relate to aspects of black American life. What then
prevents a non-black artist from assessing the style
and producing works in the aforementioned format?
An analogy of this situation can be shown with
examples from music and literature. There is an
increasing concern in the world of popular music
relative to the utilization of the elements of soul
rhythm and blues sounds by non-black individuals.
A poem by Langston Hughes very vividly expresses
this concern:
You've taken my blues and gone,
You sing them on Broadway
You Sing them in the Hollywood Bowl
And you mix them up with symphonies
And you make them so they don't sound like me
The American society (black and non black) exhibits
somewhat retarded closure in reference to the true
nature of "black art". The first backward step was the
acceptance of the given classification of " art
according to artist". In other words, "black art" is art
done by black people
"There exist countless black Americans whose works
do not relate to a "visual black aesthetic". Fine (1973)
calls these artists mainstreamers: they work in the
generally recognizable contemporary styles
The second step backwards was the acceptance of the
ambiguous term " black " without insistence on
clarification. "Black " is a social term that grew out of
the sixties and seventies. II personified the charged
feelings of those times and gave persons of African
and American origins a renewed sense of pride. The
lerm also became a racial identifier and connoted
elhnic heritage.
II is impreative to determ ine if by the phrase " black art"
or " black art ist " one is referrin g to sociological
connotation or the eth nic connotat ion.
, .Black art' In the sociOlogical connotation IS derived
from the black protest movement, the black
experience In America. the motifs, symbolS and colors
01 Africa and black separatist politiCS," (Fme: 1973).
The " black artist " accordmg to Knight ( 1968) has a
duly \0 make his heart beal with the same rhythm as
the hearts olthe black people. Unless the " black artist "
establishes a " black aesthetiC" he will have no future .
The black artist must create new forms, new values,
and sing new songS. The " black artist", in creating his
own aesthetic must be accountable lor it only to the
black people. Finally. the motive behind the "black
aesthetic" is the destruction or replacement of the
while ideal. white ideas and while ways 01 looking at
the world. The new aesthetic is mostly predicated on
an ethics which asKs the question: Whose vision 01 the
world is finally more meaningful ... What is truth? or
more precisely. whose truth shall we express (La rry
Neal : t97t).
Dr. Clifton Pearson. Chairman
Department of Art Education
Alabama A. & M. University
REFERENCES
Brazier, Arthur M. Black Self-Determination. Wm B
Publishing Company, United States:
;;~~~an's
Fine, Elsa Honi~ . The Afro.-American Artist: A Search
for Identity. Holt, Rinehart and Winston N,
YorK, 1971.
'
,
w
Kni9ht. Etheri~ge . Negro Digest. "Gelling On With th
e
Get On ,January. 1968
Neal, Larry. The Black Aesthet" "S
on the BlacK Aesthetic" IC;.. ome Reflections
York. 1971.
. nchor Books. New
Pasteur. A. B. and Toldson I
"
Stages of Black Self Di~ . l. .. Dev~lo~mental
Using Black Art Forms ci~v~~~~mpllcatlo~s for
Journal Of Negro Educati n
p
1975; pp. 130-138.
0 . Vol. 441 , Spring,
Int~ractl?n".
Spriggs. E. S. and Driskell D
.
Contemporary Amefl~a~'ABlack Dlme.nsions in
New York, 1971.
rt. J. E. Atkinson. ed.
10
IPIROILOGUIE
IPIROILOGUIE
There are some who might think that an exhibition 01
artists related to the South would be primarily a matter
of local or regional concern and not of national
significance. But many of the artists included in ,this
exhibition who are connected with the South by birth,
study. teaching, or a period 01 creative residence are
nationally and even internationally known.
Curr~nllY , however, many groups and individuals are
seeking bridges between ethnic, religious, and
national groups that will provide understandil1g and
respect, and the sharing of the communality 01 the
quality of humaneness. One of the few viable avenues
to the problems of sharing a country or a
neighborhood are the cultural ventures and activities
which develop acceptance and peer respect. It is in the
cultural arena that each ethnic group may retain its
unique inheritances which can enrich the fabric of the
total complex. Exhibitions such as the present one can
function in this wider cultural role.
More than 250 nationally recognized black artists have
lies to the South , but only one-fourth of them
currently live in this area to which so many can trace
their roots. In one of the earliest exhihitionsof black art
to lour American museums, Contemporary Black
Artists, almost half of the artists had a connection of
some kind with the South; but only one of the artists
was still living in the region , The parents of many of
these artists had left the rural South in the early
decades of the century to work in factories in the
industrial North, in the massive migration so
graphically depicted by artist Jacob Lawrence in his
"Migration Series" panels, A second migration in later
decades centered on California, and consequently
many of the artists in the exhibition are now living in
the West.
Indicated above is the continuing need, particularly in
the South, for exhibitions of the work of American
artists of African descent and for the resulting
exhibition catalogues which provide dissemination
beyond the museum walls.
While the exhibition includes a number of the "Old
Masters" among Afro·American artists, it also
functions as a discovery show, providing a showcase
for new talent. The artists range in age from the 80's to
the early 20's. Represented are artists who exemplify
the population shift reversal trend of the past four or
five years. Afro·Americans, particularly in the upper
echelons of educational background and/or economic
status are moving from the North, East and West to the
South. In some cases these are retired persons coming
back to places of childhood or family residence, in
other cases, and most significantly, young adults are
coming South to find career opportunities in many
fields, including the arts.
In 1876, Edward Bannister of Providence, Rhode
Island, won a major award for a landscape in the
Philadelphia Centennial, but the award was at first
refused to him because he was black
When the Whitney Museum of American Art did not
include the work of Afro·American artists in its 1968
show of the art of the 1930's in America, a rebuttal
show entitled , Invisible Americans: Black Artists of the
1930's was almost immediately organized for the
Studio Museum in Harlem, itself a landmark in AfroAmerican Art. In 1975, the Whitney mounted a major
exhibition of the work of Afro-American artists, In a
few short years the exposure situation for black artists
has changed dramatically, but much more progress
needs to be achieved.
Historically, the best known of the early artists was
Joshua Johnston , (1765·1830), listed as a "free
householder" in Baltimore directories of the early
1800's. He did portraits of white heads of families and
their children in Baltimore and vicinity. His work is
included in the exhibition by "Mr. Baylor", lent by the
National Gallery of Art in Washington, D.C.
Recenlly a teacher in Miami asked the children in an
integrated classroom if they recognized any of the
names on a list of major African American artists she
provided forthem. None of the children , black or white,
could identify any of the artists. In such fields as sports
and entertainment African Americans are well known
in every segment of the population. This is not
presently true for those who are outstanding in the
visual arts. Until recent years, ethnic oriented
publications gave only token attention to two or three
visual artists. The NAACP was not involved with an art
exhibition until 1969, and even at that time did not have
an art collection.
For various reasons, there was a dearth of black artists
in the slave-holding states during the first three
quarters of the nineteenth century. Easel painting was
not a marketable commodity to the slave owner. The
crafts productions of slaves or freedmen is only
recently being explored in depth. The first major
national traveling exhibition of these arts, The AfroAmerican Tradition in the Decorative Arts, on tour
from February 1978 to December 1979, includes only
"
-
one Southern museum (Birmingham Museum of Art).
The exhibition, organized by the Cleveland Museum of
Art, includes objects produced primarily In the South.
Dr. John Michael Vlack. curator l or the exhibition. has
pointed out that objects were not Included from some
sections of the South because there had been so httle
interest and research on the crafts and artisans of
these areas.
In recent years folk art museums and study centers in
the South have been newly established or have
enlarged their activities. A card file of alt the holdings
of the Old Slave Mart Museum in Charleston has
recently been published. Important folk museums and
centers have been established in Memphis, Tennessee
and in Jackson, Mississippi. in this reg ion,
Within the past few years exhibition ca talogues of
black art have included John James Audubon (17851851). artist-naturalist who traveled in the South as a
guest in several homes and occasionally gave lessons
in the polite arts.
In the North and East before the Civil War. several
artists were supported in their careers by abolitionists
or patrons whose humanity exceeded their prejudices.
Among these artists were: Patrick Reason (18 17-1850);
Robert S. Duncanson (1821-1872); Edmonia lewis
(1843-ca. 1900). the first black woman to obtain fame
in sculpture with a career in Rome; and Henry Ossawa
Tanner (1859-1937) . In the South opportunities for
black students to secure art training did not exist. But
even in the North and East it was difficult for black
students to receive professional art training. Henry
Tanner. for example. was Thomas Eakins' only black
student at the Pennsylvania Academy of Fine Arts.
A major exception to the lack of African American
artists in the South before the Civil War was in New
Orleans. a melting pot within rather rigid restrictions of
racial and national groups. John lion. a portrait
painter who introduced the daguerreotype process in
New Orleans, and Julien Hudson, also a portrait
painter, were two black artists whose careers
flourished in the unique cultural climate of New
Orleans.
Four of the,most important exhibition opportunities for
Afro-American artists in the United States from the
1920's into the 1940's were the Harmon Foundation
exhibits in New York; the Baltimore Museum's show in
19~9 ; the Art of the American Negro exhibition in
Chlca~o, 1940; and theAttanta University An '- uals that
began In 1942. These exhibitions provided ashowcase
of black artists for the black community and the
American public and also enabled the artists
themselves to compare their efforts with those of their
peers. For most artists, except for the complete
"pnmllive" , II IS difficult to develop In Isol ation.
The Harmon Foundation in New York City, established
by William E. Harmon, lirst ventured an art show in a
storeroom in 1925, By 1928, however. annual
exhibitions were installed in the International House,
and by 1935, the Harmon Foundation established
contacts with some 400 black artists across the
country. Fifty years have elapsed since the first
exhibition. Some of the artists represented in the early
Harmon Foundation exhibitions included in Black
Artists/ South are: Archibald Motley, winner of the
Harmon Gold Medal in 1928, Matvin Gray Johnson
William H. Johnson, Robert Pious, Nancy Elizabeth
Prophet, Ellis Wilson, Aaron Douglas, Charles Alston
Wilmer Jennings, Richmond Barthe, James l. Wells'
Frederick C. Alston, Hale Woodruff, lois Mailo~
Jones, Beauford Delaney, William Artis, and Elton C
Fax. 11 is remarkable that almosl half of the artists
named are slill producing.
Mention should be made also of Karamu House in
Cleveland, Ohio, founded in 1915, which sponsored
exhibitions and other art activities for the black
community and provided many of the cultural services
that made the Harmon Foundation so important.
The Baltimore Museum exhibition in 1939 was the first
all-black exhibition in a major museum. Featured in
this exhibition was Jacob lawrence's dramatic sixty
panel series on Toussaint l 'Ouverture (the " George
Washington of Haiti"). Mary Beatty Brady, director of
the Harmon Foundation, assisted by Alain locke,
arranged with the Baltimore Museum for this singular
recognition of the young artist to take place. lawrence
conducted his research for the series at the Arturo
Schomburg Collection of the New York Public library
(West 135th St. Branch), the largest collection in the
world on black history and literature and the primary
research resource for the development of black culture
in America . The Schomburg Collection was
established in 1926.
The Art of the American Negro, 1851-1940, hetd in
Chicago in conjunction with the 1940 American Negro
Exposition, was the first major Afro-American art
exhibition of the Mid-West. In addition to the work of
established artists, such fine talents as Charles White,
Elizabeth Catlett, and Hughie lee-Smith were
represented. The Chicago exhibition was organized by
Alonzo Aden, then at the Howard University Art
Gallery, with the aid 01 the Harmon Foundation and the
W,P.A Federal Arts project Aden laler established the
II
o,
11',
l",
SO.a-
Barnett-Aden Gallery in Washington, D .C. which
became the subject of a Smithsonian Institution
exhibition in 1973 at the Anacostia Neighborhood
Museum in Washington, D.C ..
The Atlanta University Annuals , the most important
annual exhibitions in the South during the mid-20th
century. attracted artists from across the United
Slates. These Annuals were started by Hale Woodruff,
a Master artist-teacher who came to Atlanta in 1931.
Although Woodruff left Atlanta in 1946, the exhibitions
continued until 1970. In 1973, sixty-six selections from
the Atlanta University Collection of some 350 works
accumulated partially through purchase prizes from
the Annuals, were shown in the High Museum of Art in
Atlanta. After this opening, the exhibition traveled to
seven other museums and art centers. Eight works
from the Atlanta University Collection are included in
Black Artists/ South through arrangements made by
Prof. Richard A. Long. These works by Malvin Gray
Johnson, William Artis, Charles White, James Watkins,
Jimmie Mosely, John Rhoden, Henri Linton, and
Maurice Strider represent work done from the 1930's to
the present decade.
THE HARLEM RENAISSANCE
The "Negro Renaissance" (as it was then called) was a
Harlem-based movement that flowered during the
1920's and brought to the forefront of black
consciousness the significance of the ancestral arts
and culture of the African homeland. Langston
Hughes was the poet of the new movement and Aaron
Douglas carried the banner for the artists. A
philosophic basis and orientation was provided by
Alain Locke, a Phi Beta Kappa graduate of Harvard and
the first black Rhodes Scholar, who taught Philosophy
at Howard University from 1917 to 1954. The
humanistic, philosophic and historical relevance of
African culture for the "Negro Renaissance" was
emphasized by Locke in his pioneering book of 1925,
The New Negro. Locke went on to write The Negro and
His Music and Negro Art: Past and Present in 1936,
both of which were reprinted by Arno in 1969. His next
major contribution to the literature of Afro-American
art came in 1940 with his The Negro in Art (reprinted by
Hacker Art Books in 1968). The subtitle indicates the
content: "A Pictorial Record of the Negro Artist and of
the Negro Theme in Art". The book consists of three
parts: " Th e Negro as Artist", "The Negro in Art", and
"The Ancestral Arts", each with a brief introductory
text. James Porter's Modem Negro Art (1943,
reprinted by Arno in 1969), covers many of the same
artists included in Locke' s The Negro in Art.
Aaron Douglas , one of the major artists of the " Negro
Renaissance", was the only artist included by Alain
Locke in The New Negro. Douglas completed four
murals in the Countee Cullen Branch of the New York
Public Library in 1934, which presented in sequence,
patterns from the ancestral African heritage, the
period of slavery, its abolition and the aftermath. the
great migration to the urban and industrial North , the
"New Movement" in the arts of the 1920's, and the
Depression at the end of the decade. These murals,
like many during this period by black and white artists
were created under auspices of the W.P.A. Artists
Program . "Building More Stately Mansions" by
Douglas uses the same prismatic patterns with rays of
light and silhouetted figures which the artist developed
in his Countee Cullen Branch Library murals.
The dedication of this exhibition catalogue to the late
Aaron Douglas is not the first tribute paid to the artist
in a publication . Cedric Dover, sociologist and
international esthete, a colleague of Douglas at Fisk
University for a year, in his American Negro Art
published in 1960, acknowledged the artistic vision
projected through craftmanship of his friend Aaron
Douglas.
Aaron Douglas, Langston Hughes, and Alain Locke, of
course, were not the only contributors to the " Negro
Renaissance" movement. A literary basis for the
movement was provided through publications of
poetry and spirituals by James Weldon Johnson,
poetry by Claude McKay and Countee Cullen , and
novels by such writers as W.E.S. DuBois. Blues and
jazz rhythms with ethnic origins became popular
during this period. A blues anthology by W.C. Handy
(now claimed by Memphis) was published. The
photographs of Carl Van Vechlen caught the spirit of
the times. Van Vechten (for whom the Fisk Univerisity
Art Gallery is named) adopted the cause of the
emerging black culture and became an influence in it.
A large percentage of the artists exh ib iting in the
1930's and 40' s were involved in W.P.A. Federal and
State projects. The majority of these artists had also
received needed exposure in one or more of the
Harmon Foundation annuals between 1928 and 1935.
More than twenty of these artists are included in Black
Artists/ South. Most of the " Old Masters", as they might
be called , who were still active in the 1960's and 70's
(and a surprising number were) had their i ni~i a l
exhibition opportunities in the Harmon Foundatl ~ n
annuals and were provided the chance to continue In
art activity during the Depression through the various
Federal and State Art Projects.
Il
-
THE W.P.A.
The Public Works of Art Project (W.P.A.), set in motion
In 1933, was an outgrowth of the New Deal programs to
help the unemployed. This became the Federal Art
Project the following year as a division in the Works
Progress Administration . The Federal Art Project
commissioned murals. supported easel painting
activity, sponsored art workshops and cooperated in
developing special exhibitions. The value of this
support was immeasurable in sustain ing act ivity in art
and making possible continued creative development
lor hundreds 01 artists. black and while. Another value
was the opportunity provided for artists with different
socia-economic and ethnic backgrounds to work in
creative activities together. While some of these artists
are still alive, a study of the efficacy of this kind of
integrated cultural experience in breaking down
prejudices and developing mutual respect could make
a useful sociological study with lessons that would be
applicable to problems of discrimination and attitude
conflicts today. One of the largest of the Federal Art
Project workshops in the country was the Harlem
Community Art Center directed by the indomitable
Augusta Savage with t500 enrollees in the 1930's. She
sacnliced opportunities to insure her own success in
sculpture to seek out and develop talent in black youth.
Among her workshop proteges was William Artis. She
also fostered the careers of such artists as Jacob
lawrence, Norman lewis and Ernest Crichlow. Oneof
the residual benefits of the Federal Art Projects was the
distribution of thousands of works of art produced
during the projects to government and other museums
and collections. The Federal Art Projects were
disbanded in 1943, during W.W. II
•
culture and art have taken place. The Presence
Alflcame; Revue Culrurelle du Monde Nair, an
international Journal, published special editions in
English on the First Intern~tlona/ Congress of Negro
Wnters and Artists held In Paris in 1956 (Picasso
deSigned the p.oster for this event) and the seCond
Congress held In Rome in 1959.
In recent years World Congresses celebrating African
cultu re have been attended by a number of American
African artlst~ and cultural leaders. The First World
B/ack and Alflcan Festiva/of Arts and Cu/(urewas held
in Dakar, Senegal in 196~. The second, Festac 77. took
place in lagos, Nigeria, hosted by the Nigerian
government. Contingents from forty-seven nations
took part in the festivaL Dr. Jeff Donaldson, Chairman
of Howard University'S Art Department, headed the
American delegation. The next Festac is scheduled lor
t981 in Ethopia.
~ubli~ations on African art and museum activity in this
field, Important during much of the 20th century in
European centers, have mushroomed in the United
Stat.es in recen.t decades. The National Gallery's
exhibition of African Art in 1970 produced increased
awareness in ~merica 01 the significance and quality
of African tnbal ~rts. One. of the . most visually
sti~ulating publications of African art IS the quarterly,
A/flcan Arts, published at the Un iversity of California
in Berkeley.
The burgeoning Black Studies programs in American
colleges and universities include black art among
programs on black culture. The need for orientation in
Black Studies programs and to make academic
faculties aware of the value of such programs, resulted
in a symposium on Black Studies at Yale University in
1968. The proceedings were published in a paperback
by the Yale University Press. The growth in these
programs has resulted in the formation of a National
Council 01 Black Studies which held its second annual
convention in April, 1978. T his Council has its own
newsletter, Voices in B/ack Studies.
Had it not been for the Harmon Foundation Annuals,
The Baltimore Museum Show of 1939, the Chicago
exhibition of 1940, the Atlanta University Annuals, the
publications of locke and Porter, and the Federal Art
Projects of the Depression years, the ranks of
recognized Afro-American art would be much thinner
than they ~re today and the richness and diversity of
Afro-American art would not have had Sufficient
opportunities to evolve and mature. If the AfroAmerica~ art.ist had to wait for establishment galleries
and publications to display or review their works the
frustrati~n. of being ignored would have discour~ged
and stuilified some of the promising talent of the mid20th century. This survey exhibition could not have
been as extensive or as inclusive if these publications
and exhibitions had not existed.
The ."National Conference of Negro Artists",
organized in 1959 had two goals: the encouragement
01 creativity by black artists and the lostering of a
positive support by black people lor art by black
artists. Such contemporary museums as the Studio
Mu~eum in Harlem is doing just thaI. The present day
NahOnal Conference 01 Artists is broadly based with
members and local groups across the U.S.
Sinc~ . t~~ initial support of Pan African ideas and
senSitiVities ~y Alain locke and others during the
Harlem Renaissance, increaSing contact with African
F~undation Fellowships during the middle decades 01
this century and since supported artists in career
development and provided study opportunities
present, seven 01 the major books, resource guides,
and impressive catalogues of traveling exhibitions
have appeared.
The survey of Afro~American and related culturat
activities since the early 19th century provided here
shows increasing acceleration in quantity and quality.
The brief artists' sketches in this catalogue show that
most artists active today have college and university
degrees and/or professional art school training . Most
are or have been teaching in a college or university.
Utopia has not been reached, however - it is not even
around the corner ~~ but improvements in the total
situation have been dramatic compared to the past, or
even thirty years ago.
This exhibition will not solve any of the existing
controversies about what black art should or should
not be, what black artists should or should not create,
or to whom their works should be directed . The
interest and enthusiasm 01 the exhibiting artists have
stimulated the museum staff to exert special efforts in
behalf of the exhibition. It is hoped that all viewers of
the works on exhibit will allow each artist to
communicate directly with him or her without posing a
priori notions about the artists or the works.
The significant achievements in art revealed in this
exhibition of American artists of African descent. past
and present, deserve the respect of all Americans.
Since all sincere art comes out of the life experiences
of the artist. the work of these artists project meanings.
ideas, and feelings important for all Americans in the
1970's to sense and comprehend.
Ralph M. Hudson
'"
utilized in subsequent creative projects. An example is
the study-travel in the South done by Charles White
through a Rosenwald Fellowship in preparation for his
Hampton Institute mural completed in 1943.
(Photographs of this mural and others by John
Biggers, Hale Woodruff, and Charles Alston are
included in Black Artists /South). Many of the major
Afro-American artists of the mid-century received
fellowships from such foundations as the Rosenwald,
Tiffany, John Hay Whitney and Guggenheim. In recent
years the National Endowment for the Arts and other
private foundations have provided funding programs
related to individual artists. International fellowships
have also helped African American artists. John
Biggers used a UNESCO fellowship to gather material
in Africa for his book Ananse (University of Texas
Press 1962) illustrated with more than eighty of his
drawings.
present, sev~n of the major books, resource guides,
and ImpressIve catalogues of traveling exhibitions
have appeared.
The survey of Afro-American and related cultural
activities since the early 19th century provided here
shows .increasing acceleration in quantity and quality.
The bnef artists' sketches in this catalogue show that
most artists active today have college and university
degrees and/or professional art school training. Most
are o.r have been teaChing in a college or university.
UtopIa has not been reached, however -- it is not even
around the corner -- but improvements in the tolal
situation have been dramatic compared to the past, or
even thirty years ago.
This exhibition will not solve any of the existing
controversies about what black art should or should
not be, what black artists should or should not create,
or to whom their works should be directed. The
interest and enthusiasm of the exhibiting artists have
stimulated the museum staff to exert special efforts in
behalf of the exhibition. It is hoped that all viewers of
the works on exhibit will allow each artist to
communicate directly with him or her without posing a
priori notions about the artists or the works.
The National Endowment for the Arts, the National
Endowment for the Humanities, State Arts Councils
and private foundations have taken the place of the
Harmon Foundation and the Federal Art Projects of the
Depression years in fostering ethnic art exhibitions
and activities.
In 1967 the largest exhibition of Afro-American art held
up to that time, The Evolution of Afro-American Art,
1800-1950, was shown at City College, NYC,
sponsored by the City University of New York, the
Harlem Cultural Council, and the New York Urban
league. Aomare Bearden and Carroll Greene, Jr.,
were co-directors. Several exhibit ions were held in
1968 and 1969, but publications on Afro-American art
and exh ibitions with elaborate catalogues since 1970
have exceeded any comparable productions in
previous decades. large traveling exhibitions have
also occurred since 1970. Between 1973 and the
The significant achievements in art revealed in this
exhibition of American artists of African descent, past
and present, deserve the respect of all Americans.
Since all sincere art comes out of the life experiences
of the artist, the work of these artists project meanings,
ideas, and feelings important for all Americans in the
1970's to sense and comprehend.
Ralph M. Hudson
IS
'"
16
TIHIIE AIRTIISTS
TIHIIE AIPHII§T§
Charles H. Al slon
Born
In
1907 In Charlotte. N.C. The late
Charles Alston was a versatile artist. He is
besl known lor his !fcntall/lew ligures In
stoic poses, but he also did a series of
"Blues" studies that swing With the jazz
rhythms created by black musicians. His
range in sculpture varied from early
cubist abstractions to realistiC
portraiture. As a W.P.A. artist he worked
ten persons honored by special awards at
the annual meeting of the National
Conference of Artists In 1975. HIS pamt
handling IS impressiomstlc, Thetilleof his
painting m the exhibition , " Nobody
Knows the Trouble I've Seen·· IS a theme
that would apply tothe hvesand struggles
of many black Americans who chose art
as a way of hie
on various prOJects. including murals. He
has also been acaver artist and illustrator
Charles Alston has been a major figure in
Afro-American art since the period of the
"Harlem Renaissance" of the 1920's and
the exhibitions sponsored by the Harmon
Foundat ion. His exhibition credits are
numerous. from the 1930's into the
A . &M
College. Knoxville College
(while vIsiting artist). and since 1971 al
Savannah Stale College. HIS work s In
sculpture and photography have been
exhibited and are In collections In the
Southeast and else w here William
Anderson·s " Mlnonty Man'·. In the
exhibi tion. an over li fe size head, hewn
from lignum vitae. IS charactenshc 01 the
sculptor' s method of lelling Ihe character
of the medium and carving technique help
express the feeling prOjected m rela\lon to
the subject. Chflstian symbolism
associated With Chnst further Imbues
'·Mlnonty Man'· With a prOjection of
sadness resulting Irom enduring
suffering inltlcted by men of lillie
understanding.
p resent decade. In pain tings like "The
Family" in the collection of the Whitney
Museum of American Art. he imbued his
subjects w ith a sense of dignity. A photocopy enlargement of his mural in Los
Ang eles, done for the G olden Stal e
Mutual life Insurance Co., is in the
exhibit.
Emma Amos
Frederick C. Al ston, Sr.
Born in 1895 in Wilmington, N .C. He
studied at a number of schools. including
Shaw University in North Carolina,
Philadelphia College of Art, Washmgton
University, and Art Students League. He
taught in the School 01 Architecture at
Tuskegee Institute lor two years. In 1963.
after teaching art in St. Louis high schools
lor 38 years, Frederick Alston was one of
Born in 1938 in Atlanta. she received an
A.B. degree f rom Antioch College in O hio
and an M .A. from New York University in
1966. In London she studied at the Cen tral
School 01 Art and the Slade School of Art.
Her work has been in exhibitions and IS
included in collections in London and in
Ihe United States. Emma Amos creates in
a variety of media moving freely Irom one
to another in : painting. etching, silk
screen and weaving. She manipulates
placement of fabriCS in woven
compOSitions as heely as a painter
arranges blocks 01 color. She Includes
labric conage in her oil paintings and
combines silkscreen with intaglio in other
compositions . Her works in thiS
exhibition include examples in the
engraving. etching. and silkscreen media.
She tives now in New York City.
WlIIiam Anderson
Born in 1934 In Selma, Alabama. Received
B,S. from Alabama Stale University:
BF.A. from Layton School 01 Art. and
M .F.A. from Institute Allende. in Mexico.
He has taught at the University of
Wisconsin. Grambling College, Alcorn
"
"
Benny AndreWS
Born m 1930 In MacliSon. Georgia From a
share-Cropped farm In Georgia to hiS
presenl recogmtlon as an artist. and hiS
leadership role 10 black art groupS and
movements 10 Amenca. are achievements
that would hll more tl'lan one book He
anended Fort Valley (Georgia) State
College and under a G I Bill secured a
BFA at the Art Institute of Chlcago(t958)
He IS a pamter. sculptor. art educator.
authOr and art critic (Encore MagaZine)
HIS recent book. Berween rhe Lmes (N V ..
Pella. 1978) Includes several of hiS essays
and 70 reproductions 01 hiS draWings He
has served as guest curator of tWO major
exhibitionS of black American art
Followmg the Attica prison disaster he
became mvolved With an art program for
prisoners
Among his numerous
fellowShips and grants are a John Hay
Whitney Fellowship and repeated
MacDowell Fellowships. HIS work
extensively exhibited. IS in more than a
dozen major museum collections All of
hiS work reflects and prolects the black
expenence in Amenca, often bilingly
satmcal No "Es tablishment " status quo
American can feel comfortable 10 the
presence of Benny Andrew's work. HIS
expressive use of collage combmed With
011 pamtlng can be seen In the exhibition.
Richmond Barth~
teaching and administrative experience
before COmmg to Clark College In
addition to exhibitionS 10 Ghana. hiS work
has been shown m ColumbuS. 01'110.
Atlanta, Seallie. Washmgton. and In
North Carolina Shown 10 thiS exhibition
IS a pamtlng shOWing preparallon of a
meal In Afnca set 10 pnsmatlc rhythmS of
Intersectmg hues
William E. Artis
Born 10 WaShington. North Carolina
Study was done at a number of
Institutions Including Chadron
(Nebraska) Sta t e College (B S ).
SyracUSe University (B,FA and MFA)
Alfred UniverSity. Long Beach Slale
College. Pennsylvania State University.
and Arts Students Leag,ue,(1932-35) He
was one of the proteges 01 Augusta
Savage m the Federal Art PrOject
WorkshOp in Hartem in the 1930's One of
th e younger " Harlem Renaissance
artists, he was in the Harmon FoundatIOn
Annual of 1933 and mcluded 10 th e t940
Negro ExpOSition exhibit In Chicago. HIS
carved gramte "Mo ther Love" received
the first award 10 scutpture 10 the t963
Atlanta Unlverslly Annual He had won
prizes and been mcluded in several other
of the Atlanta annuals beginning 10 1944
The artist and his work have been
mcluded 10 more Ihan 60 articles. books
and exhibilion catalogues HIS teachmg
appOintments mclude Chadron State
College and Mankato (Mmnesota) State
College. He is one of the nationally
recognized artists In ceramics and
ceramiC sculpture. as altested by hiS list
of exhibitions and collections. The vase
and covered Jar in the exhibition from Fisk
UniversIty show his skill and feeling lor
deSign m poltery. "Head With Kerchief"
lent by A tlanta UniverSity and "Michael"
Irom the North Carolina Museum of Art
are examples of hiS ability in portrait
sculp ture and his senSitive rendenng of
ethniC subjects.
Born In t901 10 B~y St LOUIS, MisSissipPI .
Richmond Barthe IS a major Amencan
sculptor and In the 1930's and 40'5 was
one 01 the most recognized black artists.
HIS art tralnmg was receIVed at the
Chicago Art InshluteandtheArt Students
League HIS Ilrst work was in pamting. but
he soon turned to sculpture for which he
had a nalural allmlty. HIS " Alflcan
Dancer'· , of 1933 was the Whitney
Museum s first acquISItion by a black
artis t HIS equestrian portrait of General
Oessallnes was made lor Port-au-Prince
Haiti, where Sarthe.llke Ellis Wilson. lived
and worked for many years. He is now
back In thiS country (Calilornia) where he
IS stili producmg sculpture. Although his
sculpture IS traditional and representallonal. rt
expresses the essence of the subject - speaks
for Itself Without the mtrUSlon of ego onented
wt~ty on the part 01 the sculptor His
"Blackberry Woman" in the exhibit, leot by the
\Nl1ltney Museum of Amencan Art. has a
qUI8t1y evocative character. This piece was
also an early entry mto the Museum's
collection.
...
,
"
"
Emmanuel V. Aslhene
I.
AI
Emmanuel V. ASlhene IS a native of
Ghana. West Afnca, coming from a family
of noted arhsls. He holds the degree of
Ph .0 . In art education from 01'110 State
Umverslty. Currently he is chairman of
the art department of Clark College in
Atlanta. He had acquired a variety of
"
18
"
Romare Bearden
Herman Beasley
Born m 1914 m Charlotte, NOrlhCarOlma
Romare Bearden IS one of the major
artists m America , one of the most
exhibited , and the first black artist to be
honored with one of Abram ' s farge books
on contemporary artists (1973), Bearden
grew up In Harlem , then an excltmg place
to be and the focal pomt of a
mushrooming black culture that
produced the "Negro Renaissance", as It
was later called. HIS mother became the
'Irst president of the Negro Women's
Democratic ASSOCiation. After high
school In Pittsburgh he received a 8.S
degree at N ew York Universi ty. He
became a cartoonist. but after working
With George Grosz al the Art Studenl"s
league he developed an inlerest m
painting. In the late 1930's he wa s part of a
group that included artists. writers. and
musIcians (la wrence, Cnchlow. Alston.
Douglas, lewis, Augusta Savage, and
other artists. and writers like Claude
McKay ). His ' Irst one-man show m New
York was at the Samuel M. Kootz Gallery
In 1945. HIS early work was figurative and
included Southern rural scenes on brown
paper, and religious themes. some of the
latter done in a cubist linea r format . Afte r
study in Paris on the G.I. Bill he took up
song wfltlng and hiS paintings became
more abstract. The collage Idea
developed by Bearden was used in his
firs t one-man show, "Projections" in this
medium, held at the Cordier and Ekstrom
Gallery In New York In 1964. This exhibit
also included photo enlargements
Bearden had created a new fine tHts
medium t hat became inseparably
Identified With hiS development, just as
the formats of style or technique
developed by such artists as Jacob
lawrence. Jackson Pollack. Stuart Davis.
Robert Gwathney. and John Marin.
became personal modes of expression. In
hiS collages, Bearden produces a sense of
ancestral imagery In contemporary
settings, projecting poised moments in
the ac tivity of black people that convey
universal Significance. The tomb painters
In anCient Egypt were able to do IhlS, as
were the cave painters of Lascaux and
Altamira . Perhaps no other medium
would enable Bearden to visually relate a
'eelmg of African cultural roots to modern
African American lile.
Born m 1943 In New Albany . MISSISSiPPi
B A degree received from Jackson Stale
College (MISSISSIppI) , M A degree from
George Peabody College In NashVille,
and Ed.D degree from IllinOIS Sta te
University. Af ter teaching art In publiC
schools In MISSISSIPPI he taught at Fisk
UniverSity for a year before JOIning the
Tennessee State UniverSity art faculty In
1974. Herman Beasley works In the areas
of drawing, printmaking. and ceramiCS
An example of hiS work In ceramiCS IS In
th.s ellhlbltlon
other Alrlcan countries made pOSSible by
a UNESCO Fellowship. A IISI of hiS
exhibits. awards, and grants would
require several pages Between 1946 and
1976. John Biggers created nine murals,
the last of these In the New Studen t Life
Center at Tellas Southern University,
done m tempera, bemg 64 feet long. The
photographiC reproduction on reduced
scale In thiS ellhlblt IS 01 hiS 1953 mural m
the Btue Triangle YWCA Branch of
Houston depicting "Negro Women m
American life" A characteristic of hiS
drawmg m the ellhlbttmn and the mural
compOSi tion IS the rhythmiC lIow 01
tranSi tions from light to dark and dark to
light-_m the murat a kmd of !ite putsatlon .
HIS "Three Kings. Ghana" IS a masterful
use of the drawmg medium to give
characteflzatlons
"
John T. Biggers
80rn in 1924 in Gastonia, North Carolina
College tramlng started at Hampton
Institute followed by study at
Pennsylvania State UniverSity from which
8 .5., M S., and Ed.D. degrees were
received, the latter In t954. He was
appointed head of Ihe art department of
Texas Southern UniverSity In 1949 and
named distingUished professor in 1969.
John Biggers has done for Houston and
Texas Southern University in developmg
young talent, what Hale Woodruff did in
earlier decades m Allanta. A pictOrial
summary of that development is captured
in the book Black Art In Houston by
Biggers and hiS colleague, Carroll Simms,
published by Texas A & M . University
Press in 1978. John 81ggers has been
Involved m wrltmg or illustrating. or as
subject in more than twenty books His
Ananse: The Web of Lrle In Africa
(University of Texas Press, t962) IS a book
of hiS drawmgs. and commen ts on
tourneys to discover and record a riCh
ancestral heritage in Ghana, Nigeria and
"
"
"
Arlhur L. Brill, Sr.
Belly Blaylon
Born In 1934 in Cuthbert. Georgia. HIs
8.S degree was received In 1959 at
Alabama State College (now University),
where he IS presently serving as chairman
of the art department. An M.F.A. was
receIVed at the UniverSity of New Mexico
and a Ph.D (1974), at Florida State
University. He has also done special study
m Nlgena, Ghana. and Mexico. He has
been an athletic coach and headed an art
program in a state penitenhary, as well as
teaching art In colleges and universities in
five states. His paintings and sculpture
revolve around ethnic themes. at times
using exptosive patterns lor explosive
subjects. His recent Africa series rellect
his travels in that region. In the exhibit. is
an exampl e of a pain ting reflecting his
awarene ss of socio-economic problems
faced by th e poor
Born in 1937 in Williamsburg, Vlrgmla
Study at Syracuse UniverSity (B.F.A"
1959), Art StudentS League and Brooklyn
Museum Art School Betty Blayton Taylor
became nationally known as director 01
the Children's Art Carnival In Harlem
founded by the Museum of Modern Art m
1969. The project has mvolved parents m
the creative concepts of the Carnival. Her
first one-artist show was held in 1966. The
artist"s palnllngs and pflnts have been
shown in group shows. coast to coast, In
museums and college and private
galleries. She has been active In such
institutions as the Studio Museum In
Harlem. as a symposium participant and
lecturer. Her round paintings and prin ts,
like the etching. " Emergen t Forms" of
1973 in the exhibit. lent by Tougaloo
College. often suggest tensioned
biomorphic forms like nerve fib ers (as
seen under a microscope) or muscle
fibers. pulling at fight angles to each
other.
Shirley Bollon
Born in 1945 in Lexington. Georgia. Her
three degrees were received al the
University of Georgia: B.F.A., M.F.A., and
Ed.D., (1970). Shirley Bolton is currently
on leave from her art faculty position at
the University of West Florida. making a
courageous fight against illness. She
received awards in the Atlanta University
Annuals. t964-70, and has been included
in High Museum of Art exhibits in Atlanta,
and the " New Vitality in Art: The Black
Woman" show in 1972 at Mount Holyoke
College, to mention only a few . This past
semester, Spelman College gave Shirley
Bolton a one-artist show. Her early work
was figurative. This was follo wed by the
collages of her "Tenement'· series. An
example o f her more recent work in this
exhibition is a composition done wi th an
airbruSh to produce con trasting and
merging rhythms of color resulting in
Visual analogies to movements in music
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Wendell T. Brooks
30
20
"
Born in 1939 in Aliceville, Alabama. He
followed up a B.S. degree (1962) with a
Master's degree in printmaking (1971) at
Indiana University where he received the
firs t Martin Luther King. Jr. fellowship to
be oHered atl.U. He is presently teaching
at Trenton (N.J.) State College .
Previously he had taught at Alabama A. &
M. University. His intaglio prints are in a
number o f collections including the
Library of Congress. The print in the
exh ibition is from a period of his visually
violent protests In intagliO against
discrimination in America. Some of the
prints 01 this period were autobiographiCal including a self portrait and ominouS
symbols 01 death and late -- skeletons and
the blackbird. The title. "A Silent Scream"
suggests even more vividly an emotional
horror than would the idea of "Scream"
involved with noise.
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Boo,
fOun(
Tusk,
agile
lorbl
Wast
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Arthur Carraway
Yvonne Parks Catchings
Born in 1927 in Fort Worth. Texas. Study
includes San FranCIsco Art Institute and
University of California. His work and
study in Africa (Zaire, 1961-63) and
re search in Ghanaian art (1971-72)
provided o rienlation for choices of
imagery and directions Of expression in
his art. Since 1973 hehas taught studio art
and Alrican / African-American studies in
institutions in San Pablo and San
Francisco. His paintings, prints and
drawings have been shown in a number of
California shows since 1953 and in suCh
African-American e xhibi tions as
Dimen sions of Black (La JoUa). Blacks
U.S.A.: 1973 (New York), and DirectIons
in Afro-American Art (Cornell). Among
his one-artist exhibitions was his 1978
show at the Studio Museum In Harlem
Arthur Carraway prefers to work in
related series, seeking to develop
variations on a motif with meanings of
universal significance for people 01
African descent. The gouache, collage.
and mixed media composition in the
e)(hibition. "Ancient Mother - Ancient
Father" of 1976-77 is a development of his
"Language Series" involving a tanguage
of form and symbol motifs for w hich th e
artist has evolved a speCific
composit ional vocabulary.
Bo rn III Atl anta Yvonne Catchings
secured an A B degree at Spelman
Co llege and Masters d egrees In an
education from Columbia UniverSity and
In Museum practice from the Un iverSity o f
Michigan. Art teaching has been done In
Atlanta and In Detroit where she now
lives. Like A lex Haley. she has been
concerned with . roots" and has
researched her family back to Iheseventh
generatIOn, She received awards m Ihe
Atlanta University Annuals during the
1950·s. tn addition to e)(hlbltlng her work
she has published articles on art sublects
and had leadership roles in cultural
aCtiVities Her " Blacks Trapped In the
City" IS her response. in coUage format
with charred remnants. to Inner city riots
like those thai occurred III DetrOit
31
Elizabeth Catlett
Born III 1915 III Washington. 0 C. She
received an A B. degree In art at Howard
UniverSIty. AI the University 01 Iowa
where she studied pallltln9 under Grant
Wood she received the flfst M.A. degree
o ffered III Fine Art s She had additional
training In a variety of media III several
Inst it utions . Elizabeth Catlett has
received grants and fellowships and
numerous pflzes and awards lor her
sculpture and prints which are III
collections In many countries. Includln9
RUSSia and China
She has been
professor of sculpture and head of the
sculpture department at the National
UniverSity School of Fine Arts in MeXICO
City. the frrst woman to hold such an
appointment. In tea Ching In various black
colleges and umverSltles In the South and
elsewhere she encountered dlSCflminal ion againsl the Visual arts on the part of
administrators
She has been a
naturalized Citizen of MeXICO for a number
of years and IS mamed to the painter and
prlntmaker. FranCISco Mora In her
sculpture and prints Elizabeth Catlett has
reacted vigorously against dlscflmination
and oppression in both the Untted Slates
and Me)(lco She makes her wo rk speak
for both her disadvantaged peoples
Irrespective of sex or race. she IS one of
the major artists working today III either
hemisphere Examples of her evocative
work In both sculpture and printmak ing
are In the exh ibition
George Washington Carver
George Washington Carver, the pioneer
agricultural scientist (1864-1943).
developed al Tuskegee Institute in
Alabama. several hundred products from
peanuts. sweet potatoes. and soy beans.
as well as experimenting extenSively with
earth clays. The lives o f Carver and
Booker T . Washington (1856-1915). ItS
founder, are indelibly Intertw ined with
Tuskegee Institute and the history of
agricultural and mechanical educatIOn
for black Americans in the South, George
Washington Carver was also an artist as
indicated by his modest lillie draw ing of
'"Roses" in the e)(hlbltion lenl by the
recently established Tuskegee Institute
Nat ional Historic Site administered by the
National Park Service. Carver also did
watercolors
21
Don Cincone
Born 10 1936. 10 Alto. LOUISiana Don
Wills. who has adopted the name Don
Clncone. followed the advise of a gallery
owner 10 California whO suggested that
Clncone composed of multiples of three
would furnish good luck EVidence of
early talent brought him a scholarship to
Southern University Mlhtary service In
Germany provided opportunity for study
10 Stuttgart The Old Masters 10 the
museums Oriented him toward this style
of palOtlng After later study in Cahfornla
he received a commission to do 85
palntlOgS lor "The Art 01 Love" by
Universal Films. Presently he operates the
CinconeGallery and SChOOl of Painting in
Monroe. LouiSiana. HIS paintings. done 10
the traditional manner that he admired in
European museums. have received a
good response from collectorS and won a
number of awards in exhibitions. An
example is "The Burden" in the exhibit
which reflects the artist's memory of his
childhood. 10 a family in which each one
shared in the burdens involved in any
work activity
color scheme. His painting, "My Church",
in the exhibition. is an example 01 his
preference for rich colors
Claude Lockhart Clark
Born in 1945 in Philadelphia.
Pennsylvania. He and his father. Claude
Clark. are the only father-son artists in the
exhibition. He studied at the University of
Calilornia, Berkeley, and recei ved a B.A.
degree from the California College of Arts
and Crafts. Oakland_ His first job was in
marketing fresh fruits and vegetables in
Talledega, Alabama. at the age of 8
Claude Lockhart Clark established the
House of Vai in Oakland to distribute on a
wh olesa le basis litera ry and art work. craft
equipment, and African art imports. In
1970 he co -authored with his lather, Black
Art Perspective. a guide for black studies
teachers. Since 1970 he has taught
African and African-American art history
in Bay area colleges and universities. He
has exhibited actively since the 1960's. In
his work he has developed the use 01 felt
pen and ink drawing as a serious art
medium. His "Ace", in this exhibition,
depicting inner city conllict. is an
example
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Claude Clark
Born 10 '9t5 10 Rockingham. Georgia.
Studied al Philadelphia Museum School
Barnes Foundation. Allred University:
Sacramento Stale College (A.B.).
UnIVerSity of California. Berkeley (M.A ..
1962). A Carnegie Grant-in-Aid. summer
1953. provided Claude Clark the
opportunity 10 palOt in Puerto Rico and
the West Indies. In the lale '930's and
early 40's he did graphiC arts in the
Philadelphia Federal Art Project. From
1948-55. he taughl art at Talladega
College In Alabama. Since 1957 he has
been teaching art in Calilornia. His work
has been exhibited extensively beginning
with the New York World's Fair of 1939
Am0ng hiS one-arhsl exhibitions wer~
two CirCuit exhibits with some 50
showings, and a retrospective in 1972 al
Fisk UniverSity. HIS wOrk is in such
collechons as Ihe Library of Congress,
The NatIOnal Collection of FlOe Arts
Oakland Museum, and Atlanta and Fisk
UnlverSlhes. HIS patnttngs often show
African Amencans and Caribbean
peoples tn scenes Irom dally hfe. African
art has exerted a strong IOlluence on hiS
work. A bold outline lechnlque has been
used tn II,9uratlve subjects with a bflght
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Benny Cole
Benny Co!e is a folk artist who was living
in HuntSVille, Alabama. in 1971 when he
created his composition of carved wood
horses pulling a wagon in which res ted a
glass covered coll!n holding the reclining
figure ~f Or. Marttn Luther King. Like all
~Olk artists, he was concerned with r eality
In so far as he was able to produce it
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2
Tarrence Corbin
Earnest Crichlow
Earnest J. Oavidson, Jr.
Born In 1946 In Newton , Pennsylvania
Study included certificate program, Art
Academy of Cincinnati, MFA (1975),
University 01 Cincinnat i. Several
scholarships and fellowships held while
attending this insti tution. Member of art
faculty of University of Arkansas at Pine
Blull Since 1975. Among exhibition
awards has been the lirst award in the
Delta Show at the Arkansas Arts Center,
t975, where a group of his painllngs were
recently exhibited. Tarrence Corbin says
that through his paintings he "explores
the aesthetics 01 art as Object. as Symbol,
and as Visual Metaphor, and as a selfreferential entity." His paintings are large
and non-objective, With surlaces alive
With prismatiC patterns of vibrant cotor
His "Ghent Landscape" In the exhibit is
approximately 17 leet long. "Ghent"
refers to the flch reds and blues also used
by the Flemish painters of the 15th
cen tury
Born In 1914 In New York City Studied at
New York UniverSity and the Art Students
League. Ernest Crichlow was one of the
arllsts who benefited from the Augusta
Savage school In New York early In hiS
career He worked In the Federal Art
PrOjects In New York and in Greensboro.
N.C He taught at Shaw UniverSity In
Raleigh: the Brooklyn Museum; N.Y. State
UnIVersity. New PaUz; and City College of
New York. Along With Romare Bearden he
was one of th e co - founders of Ihe CIOQue
Gallery 10 New York. established to give
black arhSIS a place to exhibit. HIS
exhlbilion activity began 10 1938 and has
continued since. H IS paint ings and pflnts
are In a number of collections In
paintings like hiS "White Fence·· senes, he
used hiS art to picture the dichotomy
be tween the opportunities available to
black versus while Children and Ihe
artifiCial barners separa ting their life
spheres. HIS etching. ··Day Dreams", IS
from the Tougaloo College Collection
The subject here Isconlemplatlveand not
involved in protest.
Born In 1946 The artist attended High
School In North little Rock and received a
B A degree from Philander Smith College
With art study at the Arkansas Arts Cenler
10 Ll\tle ROCk. An M.F A. degree With a
malor In sculpture was received from
Syracuse UniverSity (1972). He lomed the
art faculty of the UnIVerSity of Arkansasat
Pine Bluff as a teacher of sculpture 10
1972 HIS sculpture has wo n awards 10
several Arkansas exhlblhons Unusual
recognition o f art by a public utility
occurred when the arllSl, hiS sculpture.
and students were shown on the cover In
color of the Pme Bluff Telephone
Company directory. HIS ··Croucher" In
the exhibit In cast aluminum Shows an
IOtfl9UlOg combination of Ideas and
der ivations. The head form reflects a
conSCiousness of Afflcan mask forms
The bent leg POSition IS frequently used 10
Afflcan sculpture
G,C. Coxe
Born in 1907 in Carlisle, Pennsylvania
The first lessons G.C. Coxe received inart
were at the hands of his father, a
Presbyt er ian minister and school
principal who had moved. about 1917 ,
from Pennsylvania to a farm near Mebane.
N .C . After chores, he and his three
brothers were taught the rudiments of
drawing and composition. Coxe was the
first black student to Win an Allen R. Hite
scholarship at the University of louisville,
then recenlly integrated. where he
received a B.F .A. degree with honors In
1955. He was 48 years Old. Sam Gilliam,
Kenneth Young. Greg Ridley and the late
Bob Thompson were among Ihe black
students at the University of louiSVille
during this period who went on to
successful careers in art. Coxe
pefloolcally burned a number of his
paintings because 01 lack of a place to
exhibit them outside his sign shop and
church basements. In 1969 he was a cofounder of the louiSVille Art Workshop
which provided disadvantaged black
artists, models o f Quality work and a place
to show. The palnhng in Ihe exhibit,
"Mam'l" IS an example of hiS abstract
penod. 1967-1969. (Foregoing, based on
a Fisk Unlversily catalogue of an
exhibition of paintings by G .C. Coxe,
1972, by Fred F. Bond),
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"
Murry N. DePiliars
Joseph Delaney
Bo rn In 1904 In Kno xville T~nnessee
J oseph Delaney slUdied al the Art
St udents League t929-35under Thomas
Benton and others He IS one 01 the artist
vetera ns of the W P A An PrOJecl s ,t934 40) and the H armon Found,l1 lon shO WS I n
Ihe HarmOn Foun dation cat alogue of
t935 he IS listed prima ri ly as a po rtra it
pamtel Today his palntm gs 01 bus tling
New York City. ItS parad es and park s are
more often repr oduced An examp le 00
the exhibit IS Washingt o n SQare Park
where he exhibited 00 the early outdoor
shOWS DUring hiS art career 01 more Ihan
45 years he has exhibited extenSively and
a number 01 museums and collectors
have aCQulfed hiS work Recently_ as one
of the artists employed 00 New York Clty's
CETA Art ists PrOjec t he has been
documenting operas done In the Henry
Street Settlemen t PrOlect In hiS por trait
of a young lady In the Blac/< ArIIst South
exhibit. he uses a lively painting
technique to express the lIvelmess of the
sub,ect ThiS contemporary work makes
an mterestlng contrast With hiS city scene
period piece
James Denmark
Born In t936 In Winterhaven, FIO"dil
From Flonda A & M Unl'Vt.'rSI!y Ile H'c(>lv(>d
a B A and from Prat11nshlllW an M FA
He IS a pamter, p"n tmakef. sculptol
designer, and art educator He has b(,("n In
more than 50 one -m an and g rouP ShO WS
and hiS work IS In the Metropolitan
M useum and o t her collections
No lewo rt hy abou t the work of James
D enm ark IS hiS versat ility ranging Irom
bold efl lgy for ms In steel scu tpt l "(' to
pllnts and coll ag e com pOSi tions that
co mbmC co lorfu l fa<;hl o n Pll nts an d
Afncan forms With strong co ntraSt III light
and dark He lives In Brooklyn, where tli S
studiO IS tocated
BOln In 1938111 Chic ago. il linOIS B A and
(j,'q.('t'S s('cu rcd at Roosevelt
M A
UnlVI'r<;.ty Ch icago Ph D , t976 ) Iro m
p"Iln::;ylvanla State UniverS ity Smce 1971
h(' h,IS b('('n on the facu lty of V"9'01a
Common weally U niverSity In Richmond .
cur ren tly serv ing as D ean of the School 01
the A rt s H IS Icadcrshlp pOSitions Include
the N atIOnal Conlerence of ArIlSIS. 197377 H(' has been aClive as a consultant and
lectu re. on ethOic. SOCial and cultural
aspects o f art and art education. DUfing
the pe flod 1970- 1976. tliS work was
mcluded III more than 25 e~hlbltlons
s(' ven being o nc·an,sl shows One of
!i1es(> III 1976wilS at the StudiO Museum In
H:HI('m A number 01 book cover deSigns
i"l nd Illustrations for bOOkS have been
excculed by the arllst HIS draWing, '"Aunt
Jem ima". In the ex h ibi tion , IS a Visual
attack on slereotype roles tha t have been
Imposed on b lack people. a matter 01
concern lor a number of blac k artlsls
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Hayward R. Dinsmore. Sr.
Born 10 1913 In Moulton. Alabama He has
lived 00 OhiO. starting In Clnclnnall. Since
the age of Ihree. HIS BA and MA (t949)
degrees were received from OhiO State
UniverSity DUling t950 he studied In
Rome Several summers were spent In
study al vaflous univerSities Five years
were spent In CinCinnati as a commerCial
arhsl HIS lI(st art teaching. starting In
t948. was at Morns College In South
Carolina
He began hiS career as
chairman of the art department at
Ce!1Iral Sta te UniverSi ty In 1955. a
POSi tiOn Irom whiCh he retlfed In 1978. A
retrospective of h iS wo rk 1930-1978 was
pa rt of the ded ication of the Pa ul Robeson
Cultural Center at Ce ntr al State
UniverSity He IS a versatile ar tiSt, haVing
done 011 pa inting. mosaics. found
sculpl ure and wo r k 10 other media HIS
work has been IOcluded in ma,o r
exhibitions SlOce t940 and was shown In
three of the Atlanta University
Annuals Two examples of lound
sculpture by Hayward Dlnsmoreare In the
exhibitIOn. both remar kable reffectlons of
African trlba t sculpture In assemblages
built from discarded metal obiects. HIS
"Berlin Wafflor" in scrap metal spans the
time lapse of 500 years from the anginal
Benin bronzes
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Aaron Dou91as
Jefl R. Donaldson
Born in Pine Blufl, Arkansas. Degrees
from Arkansas A. & M., Illinois Institute of
Technology, and Northwestern
University (Ph.D. 1974). Presently
chairman of the art department, Howard
University. Dr. Donaldson has had a
leading role In many Afro-American
organizations and activities, including
Afri-Cobra and the 2nd World Black and
African Festival of Arts and Culture
(chairman, United States/ Canada zone).
He served as chairman of the American
delegation at FESTAC '77, Lagos,
Nigeria. He was one of the artists who
painted the "Wall of Respect" in Chicago
in 1967. one of the major inner city wall
murals of the period. Theartist uses color,
texture and compositional patterns to
express his concerns about the status of
and conditions faced by black Americans.
Born in 1899 in Topeka , Kansas. Died
February. 1979, In Nashville. Hesecured a
B.A. degree from the University of
Kansas, a B.F.A. from the UniverSity of
Nebraska. an M.A. from Teachers
College, Columbia, and studied at ,.
Academie Scandinave in Paris. He
studied with and was an assistant to
Austrian painter Wlnold ReiSS (1925-27) ,
who did portraits of black personalities of
the Harlem Renaissance now in the
National Portrait Gallery. Douglas was
the pioneering artist of the Harlem
Renaissance of the 1920's and the only
artist included by Alain Locke in The New
Negro, a special edition of the Survey
Graphic in 1925 for which Reiss and
Dou glas did illustrations. He was the
major muralist of this period. doing
mu rals at Fisk University (contracted in
1930) an d fou r large murals in 19341n the
Countee Cullen Branch of the New York
Public Library. The murals, with figures
silhouetted against a rayed background,
surveyed the history 01 the African
American from life in Africa to the
American depression. These murals were
one of the W.P.A. Art Projects of the
period. Among his book illustrations were
those for Harlem poet James Weldon
Johnson's God's Trombones in 1927, and
Paul Morand's Black Magic . Subject
matter for some of his paintings came
from study travel in Europe. Haiti. and
West Africa. Douglas received a Barnes
Foundation Fellowship in 1928 and two
Rosenwald Fellowships (1931 and 1938).
His paintings were included in significant
early eXhibitions of black art such as the
Harmon Foundation Annuals of 1928 and
1935. the Baltimore Museum show 01
1939. the American Negro ExpOSition of
1940 and the Atlanta University Annual of
1944: He was given a one-artist show at
the Caz-Delbos Gallery in New York In
1933. Douglas came to Nashville in 1929
and served as chairman of Ihe Fisk
University art department from 1939 unlll
his retirement in 1966. He was given a
retrospective exhibition in the Van
Vechten Gallery at Fisk in 1971. Aaron
Douglas' lile was an example of the thrust
of his teaching: cultural awareness and
involvement, vision. and craftmanship.
"
"
Marion A. Epting
William Edmondson
David C. Driskell
Born In 1931 In Ealonlon Georgia
DegreeS were received Irom Howard
University IA B ) and Catholic UnIVersity
Washington. D C 1M F A 1962) He also
sludled al Skowhegan (Maine) School 01
Painting as have many 01 hiS lellow
arhSIS. and In Holland HIS leadership In
exhibition curatorship and scholarly
publicatIOns IS retlected In two hOnorary
doctorates from Tougaloo and Daniel
Payne Colleges HIS teaching. curatorial.
VISiting-artiSt. consultan t and gallery
director eltpenences nave been elt tenSlve
and vaned. beginning With the art
chairmanship at Talladega College In
1955. succeeding Claude Clar k Before
gOing to Ihe UnlverSllyOl Marylandwhere
he IS now cha irman 01 th e art department.
he directed Ihe art deparlmenl and gallery
programs at Fisk UniVerSity, succee ding
Aaron Douglas He was at Howard
UniverSity Irom 1962-1966 HIs latest
guest cura torshiP was lor Two Centuries
of Black AmerlcanArtthe ma,ortravellng
show of black arl to date. assembled at the
los Angeles County Museum , lor whiCh
an Impressive catalogue was published
Among Amencan artis ts hiS record is
outstanding In such areas as fellowships.
grants. awards. board memberships.
lectureships. and publlcahon credits
Under State Department sponsorship he
lectured and trave led In Africa
Remarkably tliS exhlbilion credi ts and
work in collections have kept pace With
his Olher profeSSional activi ties HIS
paintings and pnnts prolec t Afllcan and
Afncan American Imagery In colorful.
Imaginative palterns H,s " Ghello Wal l"·.
lent by the 8lfmlngham Museum of Art, IS
an elta mple
Born In 1882 In Oavldson County
Kentucky He died In NashvlUe In 1951
Edmondson worked 10 railroad shOPS 10
SI LoUIs and the Mid-South mto the flfst
decade of the cenlury Followmg the
raltroad work. he did odd Jobs and worked
In a hospital In NashVille He began
carvmg religiOUS Images In stone. 10 the
early 1930's. followmg Instructions Irom
Jesus to sing the praises of the Lord and
10 carve He and hiS work were discovered
by LOUIse Dahl-Wolte. a New York
photographer. and the neltt year he was
given a one man show In New York's
Museum of Modern Art (1937). HIS stone
carVings, of subjects that could be used to
embellish cemetelles, were done by
dlrecl cu tting on the Slone. Without any
preliminary sketching or marking Many
01 his pieces convey the ImpreSSIOn of
figures just barely released from Ihe
stone . bemg square or bolt-like Even
these are vigorously elt pressive H,s Eve.
In thiS exhibition. lent by the Tennessee
80 tannlcal Gardens and FlOe Arts Center
a t Cheek wood, NashVi lle, is fully
rounded, w ith a very generous Ilg leaf
rather tightly adhered
Renaissance
artists portrayed Eve as a more realistiC
lemale, but none produced an Eve that
could say " I am Eve" With any more
COnVIctiOn.
26
Born In 1940 In Forrest. MISSISSIPPI
Studied at InstitutionS In Los Ange les.
Includln!J OtiS Arttnstllute (M F A . 1969)
Curren t POSi tion ASSOCiate Prolessor 01
Art at th e UniverSity of California al
ChiCO The artist and hiS pnnts have been
Included 10 such recent publications as
An Aftlcan Amencan (1971:\) by Samella
LeWIS Pnnts by Maflon Epting have been
In a number 01West Coast elthlblhons He
IS IMcluded In the collections of the
Oakland and Seallie Museums. Library 01
Congress. Whitney Museum. and others
Travels 10 the Near East. Far East, and
Europe have prOVided sub,ect ideas lor
hiS pnnts " Mlfab" and "Kaba" In the
eXhibitiOn are examples. The sacred
fIIche, emphaSized architec tu rally in the
Moslem mosQue, becomes the center of
Interest In the etchmg "Mlrab" th rough
perspective and other compositional
deVices
Burford E. Evan s
Born 1M 1931 1M Gollnda, Teltas. He had
l ive years 01 study at the Ecoledes Beaux'
Arts In Pans (1950-55) and later study In
Houston, w here he now lives. Most olthe
some 55 exhibi ti ons in which hIS
pamtlMgs have been shown, have been In
Teltas, but hIS work has been mcluded
also 10 showS In several other states and In
Europe and MeXICO. His list of work 1M
collections includes ttle Lubbock
Museum 01 FlOe Arts and the Johnson
Publishing Co. collection . His paintmg in
the exhibition, " My Son. My Son" shows
ttle art lsfs skill 10 representa tional
painting and in conveying Iheemotlonsol
Ihe subject. The particular stimulus lor
the a rt ist was seeing a young man in Ihe
Situation depicted: the broader stimulus
was a deslle 10 express the leelings of a
human bemg caugh t in a back-to-the·
wall , no escape conlron tation
Sam Gilliam
alii more. B.F A Irom
y. He is an arttst.
t
arid traveler. In the.
lallin College in S.C "
w.
In
Greensboro. N.C
as visiting artist and
of institutions in the
a, and Russia . HIs 17
. and Black Artists 01
ion (1977) present
01 37 artists. HIs
suiting f rom travel in
el Union, have been
h Black Eyes (197 4 )
ns. He lives on Long
"
"
Born 11"1 1933 In Tupelo. MISSISSiPPi 8A
and M.A . (1 961 ) degrees received from
University of Louisville. He was one of the
talented group at the UniverSity 01
Louisville that included Bob Thompson
and others who are represented In thiS
exhibition. Teachmg appOintments
Include the Maryland Inslltute 01 Art and
the Corcoran School of Art. Awards and
Fellowships have been received from the
National Endowment for the Arts and the
Guggenheim Foundation
HIS early
compositions linked him to the
Washington Color School. HIs reputation
became internallonal with his color
spattered canvases, some more than 20
feet long, which were hung by draping. In
addition to many e)(hibltlons In this
country his work has been shown in
South America and at the Vemce Blennale
(1970). His light reflecting panels of 1975
contrast with his so-called black
paintings 01 1977. In the e)(hlbll is one 01
his fan series of 1971 , a walercoloron rice
paper. lent by the MIssIssIPPI Art
Museum . The rice paper. folded in an
irregular fan pa tt ern. has sketchy accents
of watercolor. The effect of the whole is
oriental in spite of ItS imprecise form
Elton C. Fax
Sam Gilliam
Born In 1909 in Baltimore BFA from
Syracuse UniverSity He is an artist .
author, lecturer. and world traveler In the
1930's he taught at ClaWn College in SC.,
and at A & T College In Gr eensboro. N C .
Elton Fax has served as viSiting artist and
lecturer in a number 01 Institutions in the
United Slates. Africa. and Russia. His 17
Black Arlists (1971). and Black Arl/sts of
the New General/on (1977) present
penetrating studies of 37 artists. His
sensitive drawings resulting from travel in
Africa and the Soviet Union. have been
published in Through Black Eyes (1974)
and other publications. He lives on Long
Island. N.V
Minnie Evans
Born in 1892. in Long Creek, Pender
County in North Carolina, in a I~g ca~in.
She had done drawings as a ch ild whi ch
were discouraged by her teacher, but her
first adult experience in arl occurr ed in
1935, following the commands of voices
in visions. Her early work was linear. as in
the example in the exhibition. My Firsl, My
Second. done in 1935. lent by theWhltney
Museum of American Art. Later she used
oil paint and collage to produce a kind of
embroidered pallern expressing her
visions and whimsies in which 1I0ral,
foliage. and geometric patterns are
intertwined around frontal view human
and animal faces. Fo r more than a quarter
of a century she collected admissions at
the gate to Airlie Gardens Estate in North
Carolina. Since her discovery by Nina
Howell Starr, Minnie Evans' work has
been exhibited in such museums as the
Museum of Modern Art (1972) and the
Whitney Museum of American Art ( 1975).
60
"
27
Born In 1933 In Tupelo. MISSISSIPPI BA
and MA . (1961) degrees received Irom
Umverslly of LOUIsville. He was oneol the
talented group al the Umverslty of
LOUisville that Included Bob Thompson
and others who are represented In thiS
exhibition Teaching appointments
Include the Maryland Institute of Art and
the Corcoran School of Art. Awards and
Fellowships have been receIVed from the
National Endowment for the Arts and the
Guggenheim Foundation
His early
compositions linked him to the
Washington Color School. His reputation
became international With his color
spattered canvases. some more Ihan 20
leetlong, which were hung by draping. In
addition to many exhibitions in thiS
COunl ry his work has been shown in
South America and al the Venice Biennale
(1970). HIS light reflecting panels o f 1975
contrast With his so-called black
paintings of 1977. In the exhibit is one of
his fan series of 1971. a walercoloron rice
paper. lent by the MISSIssippi Art
Museum. The rice paper. folded In an
irregular fan pattern. has sketchy accents
of watercolor. The effect of the whole IS
onental in spite of ItS imprecise form
J. Eugene Grigsby. Jr.
Born In 1918 In Greensboro, North
Car olina HIs study Includes B A trom
Mo rehouse College, Atlan ta, MA trom
O hio Slate University. and PhD Irom
New York UniverSity He studied with
Hate Woodrull at Morehouse College In
the 193O"s. Art teach ing has been done at
Bethune-Cookman Co llege In Flo rida ;
Carver and PhoeniX Unio n high school s
in PhoeniX; and since 1966 al Arizona
State UmverSIty In Tempe He has
conducted ms\l1uleS and seminars and
served as a consultant 10 several stat es At
the U.S. Pavilion at th e Wo rld 's Fair m
Brussels (1958) he taught at Ihe
Children's Creative Center sponsored by
the Museum 01 Modern Art, New York
Lectures on Afro-American art. ethnic
oriented art educa tion, and African art
have been given in East Africa, South
America, Caribbean Islands, and at
various institutions and museums in Ihe
United States, A recent book by Grigsby,
Art and Ethmcs, Wm.C. Brown, 1977,
provides a background lor ethniC
dimensions in art and art teaching In
America . He has been active in
professional art and art education and
ethnic organizations althe national level
H is pamtmgs in various media have been
exhibited in several one-artist shows, the
fi rst being in Luxembourg in 1945. His
"Sain ts and Smners" in the exhibit is a
composition 01 mask lorm laces with
ligure details reflecting the ambigUity 01
the title. " Alflcan Journey: the Bfldge". by
Grigsby. IS a sertgraph 01 1977, one 01 a
series based on hiS experiences in Atflca.
Robert L. Hall
Born in 1950 In Miami, Flonda Degrees
mclude B.S m Art, Fisk UnlVcrSlty and
MAT. In Museum Education (1975),
George Washington UniverSity N EA
grant received lor graduate study as well
as internship at National Collec tion 01
f ine Arts, Smi thson ian. dUfing the sprmg
01 1975. Since 1976 Robert Hall has been
at Fisk University wh erc he IS education
curat o r. c urator lo r the Fisk Art Gallen es,
and instru cto r In Muscolog y For Carl Van
Vec hten Art Gallery exh ibits at Fisk he has
pro duced several exhibition c ata logues
Since 1970 his pamtmgs have been
included in shows in Miam i. Ten nessee.
K ansas and Dallas. His p a inting
"Chattanooga" in the exhibi tion is a kmd
01 abstrac t landscape rellecting th e
terra in and geology of Chaltanooga uSing
anthropolog ical lorms
.
the art program at Savannah Stale
College Presently he teaches paint ing
and doslgn at Southern illinOIS UniverSity
III Edwardsville. AI Savannah Stale
University he received the '"Teacher-olIhe-Year"' award In 1967 He has been
Involved In art related commurllty
actlvi l ies and profeSSiOnal art
orgallizations In both Georgia and
""nols Between 1950 and the present hiS
paintings and pflnts have been exhibited
m shows In several states and III
wash ington, D.C. HIS paintlllg," Flfe Jive
Fly", in acrylic and plastics media ca tches
the lIickering lummescent "jive" ol lirelly
pal terns
I sa ac S. H athaway
Born in 1872, in Lexington. Ken tucky. His
career began as a school principal al the
age of 19 in Kentuc ky . He-studied in the
East. in Cincinnati, and Pittsburg. Kansas.
His lirst work was in painting but he
turned to sculpture which he pursued
thro ughout his career. He introduced
ceramics in 1915 at Arkansas A. & M
Co nege, Pine Bluff, taught at Tuskegee
Institute from 1937-1947, and was at
Alabama State Conege trom 1947-1962.
where he provided training in ceramiCS
and sculpture to a generation of yo ung
student artists. His lirst studio was 10
Washington, D.C., 1907- 1915, and his lasl
One in Tuskegee Institute. Alabama,
where he created a museum and a portrait
sculpture productIOn center. Pflor to his
death in 1967 at the age of 95, he could
look back on a unique career in portrait
sculpture. In 1946. he was commissioned
to do the model lor the Booker T.
Washington Memorial hall dollar and in
1951 he produced the model lor the
George Washing ton Carver and Booker
T , Washington Memorial hall dollar
Among his many p rot rail busts were
t hose o t Frederick Douglass and George
WaShington Carver. replicas of which
have been distnbuted over the United
States. Hathaway also did a bust portrait
of Dr. J .F. Dr ake, president 01Alabama A
& M . Col
"
Ph illip J. Hampton
Born in 1,922 in Kansas City. MissourI.
Prmclpal institutions at which he studied
include. Kansas State College, Drake
UniverSity, Kansas City UniverSity, and
the Kansas City Art Institute Irom which
B.F.A. and M.F.A . (1952) degrees we re
received From 1952 to 1969 he dlfec led
28
"
Wilbur Haynie
,,
•
~
Born In 1929 In Camden, Arkansas He
aUended Wiley CoUege In Te:o:as, and arl
schools In OaUas and Glendale and
received his M.F A degree from the OtiS
Art Inslltule, Los Angeles, In 1959, An
teaching has been done at California
State Untverslty, Northridge. and
Pasadena City CoUege. The artist hves In
Afladena, California. He IS one of the 25
arllsts Included In Black DimenSions 01
Contemporary Art edited by J. Edward
Atkinson ( 1971 ) who are represented In
Black Artists/ South . Most Of thealmosl40
group shows In which he has been
included belwef"n 1948 and September,
1977, have been in California museums
and gaUeries. His acrylic painling o f 1975
in the e:o:hiblt, "Androgyny" is an example
of his "hard edge" painting format. It is an
intriguing expression In pattern of the
male-female relationship indicated by the
tille.
are detailed by Elton Fax In his Black
Artists of the New Generaiion (1977)
Hinton secured an MFA
3. the
University of Clncmna.1 In 1970, and
taught ar. at Western Michigan UnIVerSity
lor mos. 01 the peflod. 1970-1977, With
fellow artist Reginald Gammon He IS
presently a member 0' .he ar. faCulty of
the UniverSity 0' Michigan. Ann Arbor He
has had ten one-artist e:o:hlbltlons and hiS
WOrk has been shown In numerous group
shows_ His draWings and paintings were
figurative in hiS undergraduate penod but
have evolved into abstract compOSitions
His " Impflsoned Landscape" In the
exhibition is one of a series which,
partiaUy, at least, may reflect hiS
e:o:perience as a teacher of ar.to p ri soners
in Jackson State Pflson in 1973-74, Th e
viewer is barred from a luU view of the
landscape. The bars break up Into smaller
str ips, warm colored, lying at an angle like
a fa llen snow fence, the n reappear, ghostlike. in the foreground
"
~d!
Born In 1927 In Baltimore, Maryland A
B A degree was received from Howard
UniverSity Additional study was done at
Catholic Unlversdy. Washington, DC.
Rochester InShtute of Technology. and
School of Ameflcan Craftsmen. New
York HIS va fled teaching expeflence has
Included Shaw University (1953-54),
Raleigh, Indiana UniverSity. Gary public
schools. and Fisk University since 1968
Presently he IS chalfman 01 the Fisk art
department. Earl Hooks, the Oldest of
eleven children, grew up In the section of
Baltimore that was most burdened by
poverty. Elton Fa:o:. In his 17 Black A rtlSIS
(1971 J, relates the struggle Earl - aided by
the encouragemen t of his mother - had to
ob tain a star t In art training . AchieVing a
career In ar t was no less dilficult under
COnditiO nS faced by hiS generation of
asplflng black ar tists. His ImpreSSive
exhibition record makes him one of the
most widely e:o:h iblted ceramic artIsts III
the Mid-South. The artist has developed
the technical skill in ceramic processes to
bflng 11110 being hIS creative innovations
III ceramiC forms_ Such pieces In the
exhibition as "Ma ternal Famlty". '" Father
and Children". and "Current Forms" are
unusual expressions of the black
expenence III the ceramiC medium Other
e:o:amples of hiS vaned creative concepts
can be seen III the e:o:hlbl\lon.
'.
..
.,'"'
li ~
Earl J. Hooks
Allred Hinton
Born in 1940 in Columbus, Georgia. He
spent 11 of the ne:o:t 14 years in Sagmaw,
Michigan . His footbaU prowess In high
school brought him a lootbaU scholarship
atlhe University of Iowa where In 1961 he
was named to the Coaches AU-American
team and the AU Big Ten team. He played
pro football In Canada, HIS interest in art,
developed early in hfe, was in competition
wilh football - art finally won out, partly
because of the disillusioning racist
altitudes he encountered as a player.
These and other traumatic e:o:periences
"
"
•
"
Fann ie L. H olman
Born 10 Somerville Texas A B S degree
was received Irom Prairie View UniverSity
and BFA and M A degrees were
secured al Texas Soulhern Unlverslly
Additional study has been done at Ihe
University of Sou thern Calil ornia and
WisconSi n University Af ter teachmg a
number of years In I he Houston schools
she JOined the art laculty al Texas
Sou then University where she IS now
teachin g teKt lle arts The art ist uses the
anClenl cra ft o f weaving to produce
conlemporary COl or patterns, lextures,
and shapes Her " mask" In the exhibit IS
woven so I hat a three dimenSional form IS
produced relating to the ethniC Image
Earnestine Rainey Hull
Jean Paul Hubbard
Born In Bedford. Virginia Degrees were
received Irom Wilberlorce UniverSity
I B S ) and OhiO Stale UniverSity 1M A I
Addi tional study was done althe Dayton
Art Instllute. UniverSity 01 Cahlor nla
(Berkeley). Tulane and OhiO State
UniVerSities More than 30 years 01
college and unIVersity ar t teachong has
been done at Tennessee State University
N ashville (19 4 7-50): Cen t r a l S ta te
Colleg e (1950 - 55). and Sou t hern
University Bal on Rouge begonnmg 10
t 955 Smce 1964 he has been ctl alfman o f
the art department In add ition to g rou p
showS hiS work has been ex hibited In
several one- ar tist exhibiti o ns HI S lat es t
mural prOjec t was executed with Jac k
Jordan as co-artis t. for the new edu cation
building at Southern UniverSity In New
Orleans in 1975 . HIS paontmgs are
traditional in technique. done In a
painterly manner . and prov ide c olorful
ImpreSSions of the sublect HIS acryli c
pamtlng of "Grande Isle". In the exhibiti o n
IS an example
Born In At lanta. G eorgia Hercareeronthe
arts has been versalile. Involvmg ballet,
moder n da n c e
mUSIC reCitals ,
professional modelmg. palntmg and
dra w mg She studi ed at the Allanta
College 0 1 Art. Geo rgia State University
a nd Shaw Uni v ersity
Among
com m isSions she received was one Irom
the Stal e 0 1 N o rth Carolina to Illustrate a
book on Ihe history of the contflbutlons 01
blac k peo ple to the state Her work has
been In cluded on Illms and numerous
art icles In addi tion to exhibits m thiS
co untry. her draWings and paon tlngs have
been shown In Canada, MeXICO, Germany
and Saudi Arabia Currenlly she IS acting
director 01 the Southern ASSOCiation 01
Fine Artists In Win ston Salem. The mural
size mixed media drawing-paintings by
Earneslme Rainey Hull are remar kable,
not on ly for the realism produced by
detailed rendenng techniques but also lor
thel( expressi veness. Her " Madonna and
Child" In the exhibit Illustrates these
qualities
John W, H oward
Born In '9'2 in Alcorn, MissIssIPPi. Af ler
study at Alcorn College and Atlanta
University, John Howard wen t to
Arkansas A, & M. College to develop an
art pr09ram .in '939 when he was 27years
old. He IS stili head of the art department
01 the presen t UniverSity of Arkansas at
Pme Blull. In place 0 1 the original five
students there are now 300 students
taking art. At the '978 convention of the
Southeastern COllege Art Conference
held in little Rock, John H oward was
honored with a cita tion for hiS long years
of service to art in the region, presented
by the guest curator tor thiS exhibition. In
the painting. " Girl with Violin", I he arllst
uses the geometric vocabulary and
counterchange method of cubism to
crea te a paltern that uses Atri can mask
forms like those incorporated by Picasso
10 hiS cubist pamtlngs beglnnmg 10 1907.
The pamtlngs 01 John Howard are flchly
hued w ith well organized patterns.
30
s
James Hull
Born in 1949 in Elberton. Georgia, He
studied at Georgia State and North
Carolina State Universities wilh a
bachelor's degree from Shaw University.
Since t965 the drawings and paintings of
James Hull have been e:o:tensively
e:o:hibited in Georgia. North CarOlina and
elsewhere. His studies of older black
people catch the dignity of the subjects.
He has also depicted young subjects with
equal sensitivity. His work relates to the
photo-realism in vogue in the last decade
but he imbues h is su bjects with more of
an individual character than is o ften the
case in the work o f some o f the artists
worki ng in this directio n. In pencil stu dies
his techn ique provides te:o:tu rat effects
and fo rm relationships that particu larize
th e subject and at the same time projec t
the ch aracter 01 th e person an d convey a
sense 01 his life history. H is "Quest fo r
Knowledge" in the e:o:hibit shows the
expressive skill with which the artist is
able to handle the pencil medium in large
scale work. James Huff and Earnestine
Rainey Huff are the only husband - wife
artists in the e:o:hibition. Their work is in
both public and private collections.
story 01 Melrose Plantation which began
as Yucca Plantation in 1750 through a
land grant given Marie There'Se CoinCoin, a freed Congolese slave.
Clementine Hunter paints whatever "hits "
her from among her memories of more
than 85 years along the Cane River. She
considers painting a cotton picking scene
much harder than picking the cotton. Her
lirst paintings brought 50 cents - now they
sell for hundreds 01 dollars. Fame has lell
her relatively untouched. She is her own
person. She has painted her memories
over and over - the hanky-tonk beyond
the boundaries of t h e plantation,
b aptiz i ngs, weddings, lunerals,
plantation activity, religious themes, and
st ill-life paintings. Her signature has
become more sophisticated now with a
reversed C. Her vision is direct. focuss ing
on essentials, in conveying her narrative.
Figu res are usually in profile or lu ll
I rontal. fn processions she uses ground
lines one above the other, like primary
level child ren do, or as the Egyptian wall
pain ters did. Three paintings lent by the
Downtown Gallery, New Orleans and the
Fisk University Art Collection enable
viewers to share with Clementine Hunter
h er West louisiana Cane River Country.
A.B. Jackson
85
Clementine Hunter
Born ca. 1883, on little Eva Plantation ,
Natchitoches, Louisiana. For many years
she picked cotlon and cooked In the
kitchen 01 Melrose Plantation. She began
pain ting in the 1930's when she tried her
hand on an old window shade with some
brushes and tubes 01 oit paint telt behind
by a visiting artist. The story 01
Clementine Hunter is on ty riva led by the
A.B. Jackson is a Virginia artist whO works
in painting, drawing, and sculpture. From
Yale University he received a B.F,A. in
painting and an M.F.A. in applied design
(1955). He hastaughtand servedasartislin-residence in a number of colleges and
universities including Southern
University in Balon Rouge, and at
Dartmouth College. Since 1967 he has
been professor 01 art al Old Dominion
University in Norlolk. His work has won
numerous awards and he is represenled
in a large number of collections. In the
field of drawing he is a masterdrallsman.
"
combining skill in technique and
e:o:pressiveness in projection. His
paintings convey a sense 01 e:o:citement in
the manipulation of paint. One sees an
evocative pain ting first and then the
subject concept is realized. His painting
" Morning Duty", in thee:o:hibit is one of his
"Porch People" series. He e:o:presses his
impressions of human beings in an urban
environment with empa thy.
.
Wilm er Jennings
Born in 1910 in Allanta, Georgia.
Received B.S. degree (1931) from
Morehouse College, Atlanta. He worked
in the Federal Art Project, 1935-38. His
work was included in such early
pioneering e:o:hibitions as: Harmon
Foundation (1933-35), Baltimore
Museum (1939), Negro Exposition,
Chicago (1940), and Atlanta University
(1942). He studied for three years under
Hale Woodruff in Atlanta where his
technical facility in woodcuts and
linoleum cuts was developed . In the
e:o:hibition, his white line wood engraving,
"Still Life",lent by the Newark Museum of
Art. includes an African carved lig ure.
This contrasts with the boldness 01 some
of his linoleum cuts. The detailed
rendering in his "Slill Life" is like thai in
the while line wood engravings of James
Lesesne WellS which are also in the
e:o:hibition.
William H, Johnson
Malvin Gray Johnson
Bill Johnson
Bill Johnson, a native of Tennessee, has
B.S. and MA Ed degrees He IS art
chairman of the McGavock High School
In Nashville. He has had a number of
exhibitions and is In collections In the
Nashville and mid-South area. In the
1950's he traveled in Canada lor three
years studying Eskimo and Indian art. an
area of special interest for a sculptor He
workS both in wood and metal. In his
sculpture In wood he utilizes natural
growth forms to create evocative images
In his "Wounded", executed in elm wood,
he sought to express the emotions of
Christ thrust In the side with a spear.
Born In 1896 In Greensboro. North
Carolina. Hedled in 1934 In New York City
as plans were underway for a one-ar!!st
show at the Delphic Stud iOS, of the
paintings done al Brlghtswood, Vlrglnta.
the preceding summer The memorial
exhibition assembled by DelphiC Studios
in 1935 also Included sculpture by
Richmond Barthe and Sargent Johnson
He studied at the National Academy 01
Design desplle 'inanClal hardships. Along
With Hale Woodrulf he was one of the first
black artists to use Cubist patterns In
painting. He was one of the "Harlem
Renaissance" painters who exhibIted In
the early Harmon Foundation Annuals of
1928. 1929, 1931, 1933, and other
pioneering shows of the penod. He
worked in the New York Federal Art
PrOJect. 1933-34. His self portrait of 1934
in the National Collec tion of FineArts has
been IreQuent ly exhibited. The artist's
painting "Ermia", of 1934, in the
exhibition is lent by Atla nta UniverSity.
"
"
Harvey L J o hnson
Born In 1947 in Port Arthur, Tex as.
Received B.A E. degree from Texas
Southern University and M.F.A. (1973)
from Washington State UniverSity. He has
been on the art faculty at Texas Southern
University since 1973. The artist was
Included In a Washington State travel
Show and in several exhibitions in Texas.
HIs work is In Texas Collections and the
Golden State Mutual Life Insurance
collection in Los Angeles. A Ford
Foundation grant was received in 1977 for
a study of black traditional arts and crafts
in Texas and Louisiana. His lithograph in
the exhibition "The Harvest" has a
curving, swee ~ing move~ent reflecting
cycles of planting and reaping, and man's
st ruggles to cope w ith natu re and its
seasons.
.
32
Born In 1901 In Florence. South Carolina
HIS Interest in art led him to copy cartoons
early In hie, perhaps paving Ihe way for
hiS late peflod slmpltlled caricatures
DUfing hiS live years 01 pnze-wlnntng
study at the National Academy of DeSign
in New York (1921-26) he Supported
himself by doing odd Jobs. Friends 01 hiS
leacher Charles Hawthorne, raised a lund
10 help Johnson study In Europe in 1926
where he was Influenced by Cezanne and
Soutlne. He returned 10 New York in 1929
and won the Harmon Gold Medal
Re turning to Europe in 1930, he marned
Holcha Krake, an arllst-craftswoman
whom he had met the year before. and
during 1933-38 their art journeys took
Ihem through Europe, North Afnca and
Scandinavia. HIS paintings became more
expreSSionistiC With the flbboned linear
emphaSIS and saturated color 01 Van
Gogh. In 1938, to escape war they
returned to New York where Holcha died
In t943. Johnson VISited Florenceagaln in
1944 and went back to Denmark where he
had his last show In 1947, On hiS return to
N ew York he was hospitalized. never 10
recover. He died in 1970. While in New
Yo rk in Ihe late 1930's and in the 40's he
worked in the W.P.A. Art Project. Hlswork
became more direct. simplified, and
"primitive" HIS late paintings on black
poli tical history and religiOUS themes With
black subjects have bold and expressive
compOSitions. His w ork is in many
collections in thiS country and abroad
The Florence. SC., Museum has recently
opened a William H. Johnson Gallery. In
1970 the National Collection 01 Fine Ar ts
held a retro spective exhibition selecting It
from more t han 1,100 Items given the
Collec tion by the Harmon Foundation A
silk screen print 01 one of his Southern
ru ral scenes, "Going to Church". in the
exhibiti on. an example 01 his "primi tive"
period. is cha rg ed w ith w armth and
humor.
)€C"
Joshua Johnston
James Edward Jones
Born ca. 1765 and died ca. 1830. Actlveas
a portrait painter In Baltimore ca. 1790'slate 1820's. Joshua Johnston was listed as
a "Iree householder"' and a "!ree
househotder of colour"' In two 01 the
Baltimore directories 01 the early 1800·s.
The pioneering work of discovering and
documenting Joshua Johnston as the
first major black port rail painter of the
19th Century was done by J. Hall
Pleasants in articles in 1939 and again in
1942 (the laller in the Maryland Hisloncal
MagaZine). The 1942 article identifies 21
paintings by Johnston. Several muse,ums
now own paintings by this artist, with a
number in the possession of the Maryland
Historical Society in Baltimore. " Mr
Baylor", in the exhibition, is a recent
acquisition of the National Gallery of Art
in Washington, D.C. This portrait of ca
1810 has the kind 01 charm characteristic
of his other paintings of white aristocracy
in the Baltimore area, perhaps enhanced
by his lack 01 fluency compared to the
Peales who were his contemporaries In
the region. The artist suggests that the
subject is a man of refined tastes and
sedentary pursuits and not a man of
action in a seafaring or military sense.
"
96
Born in Paducah. Kentucky. A B,FA
degree was received Irom Ihe
Philadelphia College of Art and an MFA
was secured at the University of
Pennsylvania (1962). A scholarship and a
fellOwship was awarded by each
institution, respectively. He is aSSOCiate
professor of art at Morgan State
UniverSity, Baltimore. Between 1962 and
1978the ar\iSl"s paintings and prints have
been shown in 60 exhibitions on the Easl
Coast, in Ihe Midwest. and in the South
His work is included in a number of
permanent collections, ·'Ethel'·. a 1978
etching and aquatint in the exhibit,
presen ts an image of a person whose
dignity has survi ved struggles and
privations which we can onl y guess al.
William E. Joh nston
Born in 1917 in Salem, Ohio. Study at
Alabama State University (B.5.. t963):
Rochester Institute of Technology
(M.F.A., 1970): diploma from John Herren
Institute: and elsewhere. He went to
Mississippi Vocational COllege in t963
and is now art chairman at the present
Mississippi Valley Sta te University in Ilta
Bena. He has received various citations
and awards connected with his teaching.
His work has been shown in several oneartist shows since 1962 when he had a
show in the Tribune Tower, Chicago. His
paintings in collections include the
Barnell-Aden G allery in Washing ton,
D.C. (1963), The artist's participation in
group shows began wi th the Atlan ta
Universit y Annual of 195 1, He was
included in three o th er Atl anta Annuals.
Among o ther group sho ws have been:
"Discovery 70". Cincinna ti; "U.S.A.;
t971-72", Carnegie Institute, Pittsburgh,
and the 15th Delta A nnual, Little Rock.
William Johnston's painting in the
exhibition ("'Untilled", 1978-79) was
developed using a variety of media 10
produce a surface in relief. The artist
explores Iwo philosophical areas in the
painting: a personal search for identity:
and meaning in man's evolution.
3J
"
c
lois Mallou Jones
lawrence A, Jones
Born In 1910 In lynchburg, Virginia HIS
study ex tended over a 39 year penod. The
Impetus for hiS initial study at the Art
Institute 01 Chicago came from while and
black CitizenS of Lynchburg who raised
several hundred doUars to help the young
artist. the oldest 01 12 children, begin his
study at Ihe Art Institute from wh ich he
received continuing scholarships,
Charles White (Included In this exhibi t)
and Eldzler Cortor were fellow students.
In 1939 he secured a B A degree at Dillard
UniverSity and In 1971 the M.A. degree
from the UniverSity 01 Mississippi. He had
two years al the Taller de Graflca in
MeXICO City In 1941-43. He headed art
departments al Dillard UniverSity (193941) and Fort Valley College, Georgia.
(1 942-48) . From 1935-39 he had been art
director at Hull House in Chicago. He
served more recently as art chairman al
Jackson (MISSIssippi) State University.
For the tOOth Anniversary of Jackson
State in 1978, he did a 14 panel Centennial
Mural. In the 1940's he received
Rosenwald and Carnegie Fellowships to
study mural painting in Mexico and
MeXican pottery. In the 40 year period
gOing back to 1938 hiS work has been
exhibited and won awards in a number 01
shows He was included in a graphic arts
show by black American artists that
toured Europe and Russia in 1944.
Lawrence Jones is one 01 the artists
Included In 17 Black Artists by Elton Fax
HIS "Image" lent by Tougaloo Collegf'
presen ts a black man wearing an African
mask painted while. This evocative
painting will be accorded as many
interpretations as there are viewers
Born In 1906 In Boston, MassaChusetts
She studied at the Boston Museum
School 1923-27, on a scholarship. Study
con tinued at Boston Normal Art School,
Harvard and Columbia UnrverSltles,
Howard UniverSi ty (B.A.). Academie
Julien, and Ecole des Beaux Arts, PariS
(1 937-38), and in Rome. Teaching
included Palmer Memorial Institute,
Sedalia, N.C. (1928-30) and Howard
University from 1930 until her retirement
in 1977 as Professor Emeritus of design
and watercolor paintin9
She was
awarded the General Education Boards'
foreign study fellowship for 1937-38. In
1962 she was elected a Fellow in the Royal
Society o f Arts. London , Her exhibition
prizes and awards have been numerous-If'! the Atlanta University Annuals
beginning in 1942 and the Corcoran
Gallery shows starling in 1941. She
received a I,rst honorable mention for an
oil painting in the French Society 01
Artists exhibition in Paris in 1962. By 1977
her work had been shown in 49 one-artist
exhibitions. In 1973 she was given a onear tist show by the Boston Museum of Fine
Arts. the first black artist to be so honored.
She has been very aclive in behalf of black
women and their recognition in the ar ts. A
prolusely illustrated book on Lois Jones
with 110 of her paintings was published in
France: Peintur(JS - Lois Mailou Jones,
1937-1957. She has in progress curren tly ,
a book on Caribbean and Alro-American
women artists. Her current ShOw IS a
re trospective 01 her work 1935-1978. like
Alma Thomas her work continues to
evotve creatively and reflect her
enthusiasm for art and life. An example of
the paintings in her Cezanne period of the
late 1930's and the 1940's is "Panorama of
Grasse, France·'. 1952. This has
con trasting warm and cool hues and the
clarity of forms in space characteristic of
the artist's landsca,pes of this period. Her
"Moon Masque", acrylic and collage, of
1971 was exhibited at FESTAC '77 in
Lagos. Nigeria. It reflec ts the artist's
design ability and interest in color and her
skill in combining African motifs in an
integrated composition. This in one of a
series 01 paintings resulting from travel in
Africa
"
Ted Jones
Born 10 193810 New Orleans, LOUISiana
Received B.A, from Xavier UniverSity;
M.A. from Michigan Stale UniverSity
(sculpture and pamting): and M.F.A. from
Montana UniverSity, 1968 (printmakin9);
With additional work In museology at Fisk
University. He held assistantships during
his graduate work. He taught at Florida A.
& M, Unrversity (1965-68) and has been at
Tennesse~ State University since 1970,
where he IS art chairman He has been a
touring artist With the Tennessee Arts
Commission smce 1970. Since 1963 hiS
paintings, prints and sculpture have been
in 40 exhibitions rn the United States and
have received a number of awards. Twool
the print processes lor whiCh he has
developed advanced techniques are
direct printing in silk screen and cuI
masonite prints. He has published a book,
Thoughts and Verses. illustrated With his
block prmts. One of his masonileprrnts in
the exhibition is "Biko ", 1978, a dramatic
presentation 01 the subject An unusual
work in sculpture is "In the Spint of My
Ancestors", a round seven foot totem with
Af rican images carved in relief. His "Boy
Holding a Pigeon" shows a creatively
unique solution to carving a vertical shaft
01 wood.
Jack Jord an
Born In 1925 In Wichita Fatts, Texas
Degrees received from Langston
University (B A.); University of Iowa
(M A) and MFA
(1953); Indiana
UniverSity M S and doctorate In art
educatIOn Teaching appOintments
Langston UmverSlty and Southern
UniverSity, New Orleans, where he IS
chairman of the art department He was
chairman of the National Conference of
Artists for several years A book on the
hlslory of the conference from 1959-1975
IS being aUlhored by the arllst. Jack
Jordan IS a prolific artiSI in sculpture,
painting and pnnts. He has exhibiled In
four countnes and more than 30 of the
United Stales, and has had over 40 oneman showS. In the Atlanta University
Annuals. from the 1950's to 1970. his
sculpture received ten awards . In
sculpture he works in a variety o f media
welding. casting and wood carving. In
t978 he produced 18 pieces of wood
sculpture in his "Roots I Remember"'
senes. In 1975 Jordan and Jean Paul
Hubbard. art chairman at Southern
UnIVersity In Baton Rouge, painted a
mural at Southern UniverSity In New
Orleans on the "Con tribution of Blacks to
LOUISiana History" "Ghetto Family" by
Jack Jordan. IS a bronze sculpture of
sllhouelled figures arranged In a Circle to
give a feeling of family closure.
..
,
""
James E. Kenned y
Born in 1933 in Jackson. Mississippi.
Studied al Alabama State University
(B .S.). Indiana University (M.A.T., t964),
Beaux Arts . Academy, Paris (1956-57),
and Springhill Cottege. Secondary school
~rt teaching and administration in Mobile
Involved 1958-1968. He joined the art
faculty of the University of South
Ala~ama in 1968 and became department
chairman In 1978. tn addition to a number
of shows in Alabama his work has been
included in the 20th Atfanta UniverSity
Annual (1963) and al the UniverSity of
West Florida (1973). The Johnson
Publishing. Co. Collection In Chicago
Includes hiS work as do a number of
private collections. A mafor contribution
made by James Kennedy to the
knowledge and understanding of ethniC
art in America IS hiS involvement in the
Universi ty of South Alabama's Ethnic
American Slide Library (Afro-Amencan.
Mexican American. and NaliveAmerican)
which has been a source o f study and
l eachi ng slides fo r hundreds of
individuals and institutions in th e coun try.
The Kress Founda tion contr ibu ted more
than $121.000 to this project. James
Kennedy has served as lecturer, panelist
and consultant for variOUS groups many
times since t970. His awareness of
African cultural ancestry IS indicated by
hiS work in progress of which one,
"African Series #1". IS in the exhibition.
Virginia Jackson Kiah
Born in East SI. louis, Illinois. Studied at
Philadelphia Museum School of Art
(1927-31) and Art Students League, New
York. B.A. and MA. degrees were
received from Columbia UniverSity, the
latter from Teachers College in 1950. She
did high school teaching In Baltimoreand
J5
Savannah (1953-64). Virginia Klah has
been active In Such art organizations as
the National Conference of Art!sts and
has organized exhibitions for student
artists. In t958 she established the Kiah
Museum In Savannah which she stili
dlfects She also founded and is codlfector of the lillie Carroll Jackson
Museum (a Museum for the Masses) in
Baltimore. Since 1933 she has been a
portrait painter. Her more than 80
portraits have been widely exhibited and
received a number of awards Her oil
painting. "Ghett o Boy", was painted In
Cambridge, Maryland. She exp resses in
the painting the pathe tiC and forlorn
character of this little boy who frequenlly
passed her house.
Simmle L. KnOk
'"
Born in 1937 in Aliceville, Alabama. Study
at University of Delaw are and Temple
University (B.FA, Magna Cum Laude;
M,F.A., 1972). His varied teaching and
museum experience includes Uncoln
UniverSity (Penn sylvania), Bowie State
College, The Museum of African Art, and
th e Duke Ellington School of the Arts in
Washington, D.C., his present post. He
has had a dozen one~man shows.
Commissions in the past four years for
very large portraits include " Frederick
Douglass", Museum of African Art;
'"Martin Luther King". Bowie State
College: "Dr. Mary McCteod Bethune"
State House. Columbia, S.C.: and ·'Alex
Haley," State House, Nashville, Tenn. The
portrait 01 Dr. Bethune IS the first portrait
of a black woman to be hung permanently
in a State House in America. The
paintings of Simmie Knox have been In
many group shOWS and are in anumberof
collections. His '·Re tlrement" ' In this
exhibition reflects his background of
experiences in the fural South.
Larry Francis Lebby
LawrenCe Compton Kolawole
Born In 1950 m olxlanne. South Carohna
Studied al Allen UnlverSlly and UniverSity
of Souln Carohna B A and MFA (1976)
Smce 1963 hiS exhlblllon activity has
been increasing. He IS one of several
young artists m Ihe e~hlbitlOn whose
careers have been launched With
considerable promise. His emphaSIS now
is on lithography. a skill which he
developed under Boyd Saunders at the
UniverSity of South Carolina HIS
hthograpn in \he exhlbltlon . "'PrOject New
Day" (a tflbute to all collective black
views). was recently completed alter
eleven months o f work. The subjects are
the artiSt's uncle and aunt with hiS
daughter, Amanda. This print offers more
than the "'photo realism" format. popular
in recent years. It has a quality 01
personality prOjection and humanity that
is universal in nature.
Born In 1931 In Beaumont. Texas Studied
al San FranCISCo Artlnslltute Traveled In
Germany and Nlgena (1965. 1966. 1967)
and lived In Paris (t968-74). While m
Europe hiS work was mcluded m 30
exhibitions, among these the Venice
Blennale of 1978 In Munich he learned
gUlldmg and furrllture res torati o n ~hlle
m N lgena he adopted hiS Nigerian
surname Kolawole. HIS paintings and
prints have been shown m more than 20
one-artist exhibitions His oil painting.
·'Sun-4". 01 1977. IS one 01 a series on thiS
theme. Precise patterns 01 lines and
geometric shapes are placed on a reddish
surlace against the background drenched
With yellow Tne ellect IS surreal
"1
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Hughie Lee-Smith
J ean Lacy
".
n'
Born in 1933 in Washington, D .C . SM
received a B.F.A. degree Irom Southern
Universily in Baton Rouge and has
studied at theArt Students LeaQue in New
York , and the OtiS Art Inslltute in Los
Angeles. Current actiVities mclude
illustrator lor the United Methodist
Church Southern California - Southwest
Conference in Dallas: curator of African
American Cultural Heritage Museum in
Dallas: and docent at the Dallas Museum
01 Fine Arts. She has also developed
special exhibitions forthe Bishop College
African American Museum. Her work has
been exhibited in Texas and is in a
number of collections in Texas, California
and elsewhere. Her collage compositions
based on the black experience combine
archi tectural cons tr uctions, folk art figure
types, and at times. sophistica ted
painting. Her collage and acrylic
composition, "Noah's Ark. No. I", of 1971.
shows a black Noah in exhortation as he
points to the scriptures. It conveys a kind
of African wry humor and superficially
relates to Horace Pippin , but is too
sophisticated lor that level of Imagery
J6
Born in 1915 in Eustis, Florida . Studied in
Detroit and at the Cleveland Institute of
Art (high honors). Alte r N avy service in
WW II, received a B.S. at Wayne State
University in 1953. He has taught at
Claflin College, S.C., in Michigan and
New Jersey. and at the Art Students
League. New York . He was honored by
election to the National Academy of
Design in 1967 . He was artlSHnresidence at Howard University, 19691971 . Hughie Lee-Smith had his first oneman Show in Chicago in 1945. Since 1938,
he has received a series of exhibition
awards and prizes. His work is in
museums in this country and in La90s.
Nigeria. Charles Burchfield in the 1930's
and William Stuemplig more recently ,
caught the feeling of lost grandeur and at
times desolation in their pamtIM9S of old
houses and decaying buildmgs But
Hughie Lee-Smith adds a human
dimension of pathos in hiS pamtlngs of
inner city blight with children and you n9
people in Isolation. conveying a sense of
deprivation and loneliness. The eroded
walls or rubble strewn vacant loIS or
recrealion slles from which the musiC or
fun and eXCi tement have gone focus
attention on the lonely mdividuals left on
the stage - often unaware or obliVIOUS 01
the other's presence. This feelln9 IS
generated by the artis\'s paintlMg 1M thiS
exhibition "'Jazz Concert / Dukes Theme"'
''''
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Samella S. Lewis
Oscar Logan
Sorn In New Orleans Studied at Dillard
University. Hampton Institute (85).
Pennsylvania State UniverSity. Ohio State
UniverSity. (M A. and PhD. t95t). Tung
Hal University. Taiwan. New York
University. and UniverSity 01 Southern
Calilofnia (1964-66). Currenlly she IS on
the lacully 01 SCriPPS College In
Claremont
Prevlousty a variety 01
educational appOintments were held
(LoS Angeles County Museum 01 Art.
Colleges and UniverSities In Cahfornia
and New York, FlOrida A & M. University,
Morgan State College, and Hampton
Institute.) In addition to college and
univerSity scholarships she received
three fellowships for Chinese language
and Asian cu lt ure study. (The Fulbright
provided for study in Taiwan). Her
publications and films have been o f
enormous benefit to both the black and
white communities in making the
significant work of African American
artists better known and in providing a
showcase for developing talent. Black
ArtJsts on Art. Volumes 1 and 2. were coauthored with Ruth Waddy. Her Art
African Ameflcan, Harcourt Brace, was
published In t975, Her publication
involvements Include Slack Art. a
quarterly now In ItS third year. She has
been guest curator for lour shows on the
West Coast. With all her actlvilles Samella
Lewis has lound time to create paintings
and pnnts lor exhibitions and permanent
collections. Her t9740il painting. "Oulof
a Dark and Glonous Past". affirms pride In
the ethnic past and the identity it prOVides
for the new life that Will face the luture.
114
Born In 1950ln Columbus. MiSSISSippi, He
received a BS. degree Irom Jackson
State University and M.A. and M FA
(1976) degrees from the UniverSity of
Wisconsin With a major In sculpture In
the arl education area. hiS major for the
B.S, and M.A. degrees, he is interested in
programs which respond more
adequately and are more relevant to the
SOCially and economically deprived
Oscar Logan uses a vanetyof media in hiS
sculpture: ceramic, cast metal. welding,
and fiberglass HIS themes are satlriC31
and ohen provide confrontation With
white establishment mores and values
"No' Mo" in the exhibi t is an example of
hiS satirical treatment of subject theme
and both thiS and the aluminum partial
torso show his multi-media skill in
sculpture.
Henri Linton
Born in t944 in Greene County, Alabama
He studied with scholarships at the
Columbus (Ohio) College of Art (196266): Stillman College; Boslon University
(B. F.A.); and UniverSity of Cincinnati
(M. F.A .. t974). He has been on the art
faculty of the University of Arkansas at
Pine Btull since t969 HIS exhibitions
have been primanly in the South and MidWest. He received three awards in the
Atlanta University Annuals lOr work In
graphics and painting (1966 and t968).
His expressive ligure study " Alone ", lent
by Atlanta UniverSity. received the t968
purchase award. ThiS paintmg IS
illustrated in Black DJmenSJons m
Contemporary American Art (t97t). The
oil painting "American Forever", lent by
the artist. received the firs t award in the
Arkansas Art ists competition. An older
black man wearing a purple heart IS
shown against a background of American
flags. The artis t uses selling and pose 01
figures to create through the total
composition the feeling that he Wishes 10
express
'"
J7
u,
Jesse Lott
Born In Simmesport, LouIsiana Jesse
Lott attended Hampton Institute In
VlrgJnla In the early t960's. While living In
Cahlornla until t969 he did additional
study. He nas traveled e)(tenslvely in the
Southwest and Pacific Northw est.
creating "relics of the future" out of
discarded matenals (wood , wire. et
cetera) lor vanouS outdoor sites. His
present home IS Houston. His
assemblages are an extension 01 "Dada"
01 the early decades of the Century, but
without a tongue-In-check attitude. The
Robinson Galleries in Houston held an
exhibit 01 Lott's work in 1977 titled:
"Urban Environment, Relics 01 the
Future", which included animal and
humanoid forms and abs t ract
compositions created with urban scrap'
wire, broken glass, and other discarded
remnants Of current technogical waste.
His "Sun worshipper" in the exhibit.
crea\lvely recycled from urban junk,
holds a mirror up lor twentieth century
America to view itself.
Phillip lindsay Mason
Nina Lovelace
80rn In t95t In Florence. Alabama Study
at Skowkegan School In MalOe ( t970),
Fisk UniverSity (8S.), and IIhnols State
UniverSity (M.S,), t976. She has been an
Instructor in art at Tennessee State
University since 1977 Previously she was
an illustrator for Meharry Medical
College. Freelance graphic art has been
done since 1970. During her period of
study she received scholarships or
assistantships at each 01 the institutions.
Since 1973 her paintings have been
shown in Nashville, Black Expo In
Chicago (1976) and at Washington State
University (1978). Her 1978 watercotor
panels " Ebony Man - Golden Woman"
make a pair that are innovative in the
relationship to each other and in the
pictorial ideas involved. The theme "Black
in Beautiful"is e)( pressed here with a high
level of fluency in the watercolor medium.
Edward McCluney. Jr.
Studied at VirgiOia State College (B.A.)
and University 01Massachusetts (M.F. A .)
He has taught at VirglOia Stale College
and the University 01 Massachusetts
Presently he is leaching at the
Massachusells College 01 Art in Boston
HIS etchings have been shown in such
e)(hibltions as "Alro-American Artists:
New York and Boston" (t970) and are in
several collections "lady In Black
Stockings" is a 1971 etching from the
Tougaloo CollectIon. The black stockings
serve to connect the bent dark figure.
leaning on the cane as each step is taken.
with the black cast shadow.
".
Born In 1939 In St Louis, Missouri. SF A
In palnhng With High DiStinction and
MFA (1970) Irom Cahlornia College 01
Arts and Cratts; further graduate study at
Ohio State U.nlversity Art teaching
positions in CaliforOia between 1968 and
Canterbury School,
1972 Included
Walnut Creek: Lane Mountain College:
Calilornla College 01 Arts and Crafts: and
Laney College. He taught at Indiana State
UniverSity, 1972-73, Vincennes
University. and North Carolina Central
UniverSIty, Durham, 1973-77. Presently
he is professor 01 art at Fisk UniverSity
One-ar\lst shows 01 his work have been
held at StudiO Museum in Harlem (1975),
Virginia Union University (1 978). Indiana
Stale UnIVerSity, Fisk University, and
elsewhere. His paintings, prints, and
drawings have been included in 25 group
shows since 1967. among these were
exhibits at: Oakland Museum: Howard
University: " Expo '70", Osaka, Japan: the
Whitney Museum: and Cornell University,
Prizes and awards were received 10
several 01 these shows. His large acrylic
paintings exemplify "Black is Beautiful" In
an impellln9 way. "Woman as Body /Splfll
01 Cosmic Woman" in Ihe exhibition
presents the physical beauty of black
women and conveys a feeling of spirit and
soul through symbols of a red rose, the
brightly hued disc above the figure, and
the "presence" radiated by the subject
The contrast of the satura ted blue
background and the warm accent hues
relate to the impression created.
"'.
'"
<
-
Sieve Matthews
M. Marianne Miles
Steve MaUhews is a young man who lives
Born In 1941 Attended high school In
Austin. Texas. Received A B In art Irom
Fisk Unlveslty. and M A In art from New
Vork UniverSity In 1968 Her vaned
leaching experience has been at
Cameron H igh SchOOl In Nashville and at
Fisk UniverSity and Tennessee State
University in Nashville from 1963-1973
For three years preceding her gOing to
Huston-Tillotson College In Aus tin.
Tex as in 1977 she was in personnel
manage ment lor a mUSical production
company. The artist's draWings. pnnts.
and paintings have been shown In ten
o ne-artist exhibits since 1956. Her
pain ting s were included In four of the
Atl an ta U nivers ity Annu als. Her painting
" Pockets" in th e ex hibition IS a character
study w ith cl othing being part o f the
personality project ion.
in
Murfreesboro,
Tennessee
He
IS
completely sell-taught. He has enjoyed
drawing as long as he can ~emember
Recently he tned his hand at 011 painting.
with rather astonlshmg results as the
observer will note In viewing Ihe portrai t
of hiS nephew.
None of .:he nalv~
conventions 01 the self-taught pnmltlve
are present in his painting.
Lev Mills
Grady Garfield Miles
Born in 1944 in Birmingham, Alabama. He
received a BS. degree from Alabama
Slate UniverSity. an M.A. in urban
educ ation from the University of
Roches ter, and an M.A. in a rt education at
Ohio Stale UniverSity In 1977. He also
received
certificates
from
study
,,.
In
photography, cartooning and ta xiderm y
During 1969-7 1 he taught al Dillard
University Since 1975 he has been
teachln9 art at Barber-Scotia College in
North Carolina. Paintings. drawings and
photographs have been exhibited In more
than 35 shows since t962. His drawing in
the eXhibi tion. ··SecurityT. humorously
queshons the assumption 01 security
based on the presence 01 a guard
J9
Born In 1940ln Wakulla. FlOrida Received
B A degree hom Florida A & M
University and M A and MFA (1 970)
degrees from the University 01 WisconSin
(Madison) With amaJor In printmaking He
received a Ford Foundation grant In 1970
to continue study at the Slade School of
Art. University College. london. and to
attend Atelier 17. Paris. lor work With
Stanley W Hayter The artist taught SIX
years (1962-68) In the Broward County
PubliC Schools. Fort Lauderdale
Recenlly he was teaching art at Clark
COllege. Atlan ta Currently he IS working
on three large colorful glass mosaic
murals commisSioned for a station In the
new Atlanta subway prOject HIS
prmtmakmg Includes lith09raphy.
etching, photo-etching. ser igraphs and
collag raphs . In 1971, he published a book
01 etchings With the poem "I Do" m
london. HIS prints have been acqUired by
many museums and ins t i t utions.
Including. the Victona and Albert and the
Bnlish Museums in london; National
library 01 Scotland; Blblio theque
Natlonale. Pans; library 01 Congress;
Museum of Modern Art. NY; High
Museum. Atlanta; and many others. From
1968 to 1978. 27 one-arllst exhibitions
have been held of hiS work. In England
France. Holland. Africa. and the United
Slates He has been mcluded m group
exhibitions In West Germany and
Sweden. In addition to shows in thiS
coun try. HIS etching. Merry Christmas
IS an example of hiS pho to-etching
realism and hiS Imagmallve presenta tions
that are never commonplace
Cllflord Mitchell
Born In 1925 in Birmingham, Alabama
Received B.S. in architecture Irom
Tuskegee Institute, Alabama (1949) and
BFA degree from the Art School of the
UniverSity of Hartford, Connecticut
(1958). He served as presiden t of the
Connecticut Chapter of the NatIOnal
Society of Interior Designers (1969-72)
and of the Connecticut Watercolo r
Society (1970-72). He is a registered
architect. His watercolor paintings have
won more than 24 awards in exhibitIOns
since 1958 and are in a number of
collections in Connecticut and
elsewhere. In his '·Autumn New England"
in the exhibillon the artist has created a
montage of archi t ectural forms
characteristic of New England inctuding
details from typical structures 01 the 18th
and 19th centuries. A mosaicoflall colors
conveys the seasonal setting for the
architectural elements
representation. Coftnne Mitchell's "Civll
Rights March IT' in th e exhibit expresses
the artist's reaction to CiVil Rights
Marches -- like the ones she saw in
Washington -- endless lines of people
protesting conditions of the past and the
present, seeking a better future.
Jimmie Mosely, Jr.
Born in 1927 in Lakeland, Florida
Received B.F.A. degree from T exas
Southern University and M.A. ( 1955) from
Pennsylvania State UniverSity. He taught
at the Eastern Shore Division of the
University of Maryland (Pnncess Anne)
from 1952-75, being chairman of art
education from 1956 until he was
mu rdered 18 years later. He had served as
preSident of the National Conference of
Artists and been active as a consultant or
summer session teacher at a number of
institutions including Texas Southern
University. Between the mid 1950's and
1972 his paintings, prints, and sculpture
had been shown in more than 40 exhibits
and were in 93 public and private
COllections in the East, Midwest and
Sou th. One of his three prize winning
w orks from the Atlanta University
Annuals of 1955, 1963, and 1965. in the
exhibition is his watercolor, "Pro tes!'·,
from the 1965 Annual
Sister Gertrude Mo rg an
".
Corinne Mitc hell
Born in 1914 in Baskerville, Virginia. B.s.
degree received from Virginia State
College. Additional study includes:
George Washington University, Howard
Un iversity. D.C. Teachers College, and
University of Maryland . Independent
study and travel in Africa, Asia, and
Europe, During much of the past 40 years
Corinne Mitchell has been a teacher in
Virginia and Maryland. In addition to
several on,e artist shows, her paintings
have been Included In more than 55 group
shows since 1951. She has been active in
many professional art and education
organizations including the National
Conference of Artists in which she has
served as an officer since 1972. Her
paintings have spontaneity with fluid
color movements within areas of subject
Born in 1900 in lafayette, Alabama. After
moving to New Orleans she became
involved with a fundamen talist group
concerned with glorifying Ihe Lord
through music and dancing. This street
missionary artist receives her inspiration
and direction directly from Jesus. Sales of
her Jesus guided paintings help keep her
mission in New Orleans' black ghetto
operating, Her painting, "Jesus, I love
You ", is a dynamic and cotorful
exposition of her unabashed belief in the
power 01 Jesus. The wh ite garment she
wears attests to her role as a bride in
Jesus' service. (Info rmation based on
catalogue of an exhibitio n of black
American folk artists prepared by William
Fagaly, cu rator, New Orleans Museum of
Art) ,
'"
40
'"
•
Ar chibald J. Mo tl ey. J r.
aorn In 1891 In New Orleans, Lo uI siana
He studied art at th e Art Instit ute o f
Chicago and In Europe llke many black
artlslS of hiS generation wo rk as a laborer
supported his art 1ralOIOg Th e Harmon
Foundation Catalo gue and Revi ew of
1935 lists many awards, prizes and
exhibits He was In each Chicago Art
Institute e;.:hlb tl smce 1921 and won the
Logan PrIZe there In 1925. The Harmon
Gold Medal was awarded to him In 1928.
Durmg this period he won a Guggenheim
award He worked in the illinOIS and
Federal Art PrOJects, 1934· 35. Most 01 hiS
paintings were sold in aone-artlst show In
the New Gallery In 1928. the first one-man
show for a black artist since the one given
Henry Tanner. He was included in the
Century o f Progress exhibition in
Chicago: the Baltimore Museum
exhibition 01 1939: and lhe Negro
ExpositIOn also In Chicago in 1940. The
above listing indicates why Archibald
Motley was considered one of the major
artists of the Harlem Renaissance. His
exhibition activity and acquisition of his
work by collectors contmued into recent
decades 01 the century. HIS paintings of
Parisian street scenes: Harlem streets,
parades. night hIe: and Ilgure studies 01
the 1920's and 193O's provide an
unparalleled record 01 black America in
the pamtmgs of this period. A very
appealing pam!lng by Archibald Motley is
'"Mending Socks" . lent by the North
Carolina Museum of Art. ThiS pamting 01
a mother-grandmother kind of person can
hold ItS own with similar paintings by
Whistler and Bellows. The partial view 01
the portrait on the wall indicates the
setting lor this scene.
'30
Trudell Mimms Obey
Otto Neals
Born in 1931 in lake City. South Carolina.
He moved to Brooklyn with his lamily at
an early age. Thearlist is employed in the
illustration department in the POSt Office.
~e has nol had extensive formal traming
In art so has had to depend largely on his
own resources lor his development. Artist
friends in Brooklyn have provided help
and encouragement. He was a member of
the group thatlounded the 'Weusi" group
in Harlem with an exhibition gallery
named " Nyubba Ya Sanna" (""House 01
Art"") . He works in a vaflety 01 media'
painting. printmaking, draWing. pastel,
and sculpture which he took up alter
visiting Guyanna. his wife's home. La ter
he wen t to Ghana and Togo in West
Africa. His experiences in Guyanna and
Africa have had a profound influence on
his ar t. Otto Nea ts is included in Black
Artists of the New Generation by Elton
Fax from which some of the above da la
were based along with information from
the artist. "Life's Vessel'". carved in elm
wood, has an African prototype. The
vessel on top of the figure could have a
number of connotations. such as
indicating ancestral-cultural-biological
lifelines. His '"Jungle Magic" , acollograph
print. invokes the mystery and power of
tribal gods and spirits.
41
R
Born in 1943 in Houston. Texas. Study
Includes Chouinard Art Institute. Los
Angeles. Aspen School 01 Contemporary
Art (on a scholarship), and Texas
Southern University (BAE. 1975). She
has taugh t junior high school art In
Houston . She is another of the artists
included by Elton Fax in his Black Artlsls
of the New GeneratiOn. In addition 10
exhibitions in Houston and Texas her
work has been included in shows in
Aspen and Chicago. Her creat ive
production involves paintings, printS.
sculpture. ceramics and weaving. The 011
portrait, "'Mystical Woman '", shows a
woman who projects a strong character
against a background that has a mystical
feeling .
'"
Hayward L. Oubre
Born In New Orleans louIsiana A SA
degree was received from Dillard
UmverSlty and an MFA degree from the
UmverSlty of Iowa He taught high school
art in Marion. Alabama and served as art
chairman at Flonda A & M University
(1948-49) and at Alabama State
UniverSity (t949-65). Currently he IS
chairman of the art department at
Winston-Salem State Umversity. The
artist workS In a variety of media. The
most unusual three-dimensional
technique he has developed is his w ire
sculpture -- twisted coat hanger wlfes
which encase the exterior shape 01 the
subjects Some pieces are life size. His
work has been ex ten sively exhibited
throughout the South and Mid-West and
has been in exhibits elsewhere, Between
1947 and 1968 he won eight awards for
work In three dltferent media In the
Atlanta UnlverSl\y Annuals
'Tribal
Chleflan" , an example of his wire
sculpture. fun ct ions In space in a manner
suggested by the two-dimensional
curvilinear line patterns of head forms
done by Pavel Tchehtchew.
35 exhibitions In Califorma and other
states He has lectured extenSively and
has been Included In a number of
publications on Afro - Amencan art. tn one
of these. Black Artists of the New
Generation, by Ellon Fax, the author
recounts some highlights In John
Outterbrldge's creative development an
officer's recogmtlon of his talents asa G .I
In Germany, hiS contacts With Alonzo
Davis. the development of the Brockmann
Gallery In los Angeles. the
encouragement provided by sculptor
Noah Punfoy (who was born In Snow Hill,
Alabama). and his tranSition to work In
sculpture from draWing and painting. The
artiSt's "Untitled" (EthniC Doll) IS one of a
senes in progress, called "Oem Folk", an
ethniC hentage senes In which black
lifestyle icons are projected. The pattern
of this figure in miniature rellects the
inlluence of African tnbal Images
Joe Overs treet
Born In t9t4 In Conehatta, MISSISSIPPI
Studied at Califorma Schoot 01 Arts and
Crafts and the Uiliversity of California
(B F A. ). He has worked In California and
New York and has taught at long Island
UniverSity and Richmond College
(Queens) Some 01 hiS pain tings 01 the
early 1960's were Visually Violent protests
against dlSCflmlnatlon and demeaning
stereotypes. His work has been exhibited
It1
major museums and univerSi ty
gallenes In the later 1960's he used the
form of o fte n large, shaped canvases on
stre tchers or held by ropes The artist
used abstract patterns based on Alflcan
mask and other sculpture lorms. One of
the mOSt intriguing of these was "He and
She" shown at the Stud iO Museum In
Harlem In 1969. His large shaped
canvases With geometriC pa tt erns may
seem non-objective In deSign, but there IS
always a sense present of denvatlon from
African ancestral Imagery HIS acrylic
painting, 44" x 84" In the exhibition IS lent
by Tougaloo COllege
•
Ro d eri c k M. O wen s
135
'"
J oh n W. OuUerbridge
Born in 1933 in Greenville. North
Carolina. Study at A. & T. University.
Greensboro. North Carolina. American
Academy of Art. and Chicago Academy of
Art . Since 1975 he has been director of the
Watts Towers Arts Center in los Angeles.
Between 1969 and 1975 he served as
director of the Communicative Arts
Academy in Compton and held college
and museum appointments in the region.
HIS work has been included in more than
42
Born In Ig52in NashVille, Tennessee. 8.S
degree received from Fis k UniverSity:
M.S. in pnn tmaking from Illinois State
University (Normal) 1977. Add itional
study at Skowhegan School in Maine and
a summer internship at Detroit Institu te of
Arts ( 1975). Scholarships were received
lor under-graduate and graduate art
study. He worked in th e Fisk Umversity
gallery, 1974-76, and served as a research
assistant to David Driskell. guest curator
for the eXhibition. Two Centufles 01 Black
A merican Arl. His most recent art activity
has been as illustrat or at Meharry Medical
College, His prints have been selec ted for
several exhibitions since 1973. His
etching "2nd Transformation" evokes the
Space Age. possibly in terms of a modern
day Ic aru s.
.....
_.---------------Curtis Patt erson
Will iam E. PaJaud
J ohn Payne
orn In 1925 in New Orleans, Louisiana.
Becelved
~nlverslty.
.
BFA. degree from Xa~ler
He also studied advertising
at Chouinard Art Institute. Los
~~~~I:S.
He IS public relations director for
the Golden Stale Muluallnsurance Co. In
Los Angeles. The arllsl has served as
reslden! of the National Watercolor
~oclelY and of the Art. Education
Foundation . His paintings and
lithographs have been include~ in m~re
Ihan 25 e)(hibl\lQnS to date, live being
one-artist shows. Filleen colleclors
a~d
museums own his paintings. Included In
thiS group are Bill CO~by (who also owns
a painting by Lois Ma,dou Jones), Norton
Simon. a collector
In
Rome, and ,the
pushkin Museum in MOSCOW: W~llIa.m
Sculptor CurtiS Pallerson received a BA
degree at Grambling UniverSity In 1967
and a M.V.A. degree from Georgia State
University in 1975. Heheaded highschool
art departments In COlumbus. Georgia:
Shreveport. Louisiana, and In Allanta
before joining the faculty of the Atlanta
COllege of Art. Since 1978 he has been
chairman of the sculpture department for
the Atlanta COllege 01 Art. His SCulpture
has been el(hibited intheHigh Museum of
Art and elsewhere in the Atlanta area, and
in FESTAC ' 77 in Lagos, Nigena. Recently
he has been working on a commission for
sculpture for a station in the new Allanta
Rapid Transit Authority system. In the
el(hibit is a model for the projected piece
in Corten steel that would be 60' by 30'.
Pajaud's fluid, im~resSlonlstlc
watercotors con tras t with his st:ong
ethniC sta temen t pain tings cast. In a
Simplified "primitive" format. The IItle of
his oil painting, "The Wake I. Insurance
Policy", will lead to conjectures by
viewers as to the identity of the woman,
her Situation, and the purpose of the
animated dialogue of the silhouetted male
figures
Ie, Teru'IeSS<@:
lFISk~
rom JlhnoG~
1977. A~
:hoolinll.a"l!!'"
'"
DetrOitI~
ips werereu
nd gradiil!
leFis~U~
rve<!asar~
;ell,gueslQ!t:
-;enWileso rB
recenlan~
Metrtrry/,!e:'
been~
nee 19i3'
~tlon· evoli'!"
~rmsoh¢
'"
Born In 1932 In POntotoc, MISSISSIPPI
Studied at BelOit College ( B.A.).
UniverSity of WiSCOnSin j MS. and
M.F A.), and University of Kansas. HIS
teaching expenence has been vaned
beginning In 1961 (inClUding department
ChairmanShips), al Langston University,
SOuthern University in New Orteans, and
In
Baton Rouge : George Mason
UniverSity ; and GOvernor ' s State
Unrverslty, Park Forest South. 1IIrnOIS.
( 1971-73, 75-present). He has also been a
T ,V art director. The artist was a prOject
director for N.E.A. and state Arts CounCil
grants, one for outdoor sculpture at
Governor's State UniverSity involving
several nationally known artists. The work
of John Payne has been shown in more
than twenty one-artist exhibits. His
Sculpture. prrn ts and paintings have been
In many group shows (inCluding the
Atlanta UniverSity Annuals) and have
been aCquired for a number of
collections. He has el(ecuted outdoor and
architectural sculpture of monumental
scale. HIS wood and plaster compOSition
In this e)(hibltron. "N.D.W and Pigtails 'N'
All ", Involves an assumed mirror-Image,
but in a humorous reverse arrangement
The units were created over a SIX year
period.
Marion M, Perkins
Clillon Pearson
Born In 1948 in Birmingham, Alabama
Degrees received. B.S. from Alabama A &
M, University, and M.S. and Ed.D. (t974)
from Illinois State University. StudiO
concentrations were in ceramics and
glass blowing and forming . Scholarships
and fellowships were received dUring the
periods of univerSity study Since 1969 a
number of one-artist shows have been
presented and work has been included in
group shows in Alabama, Tennessee,
Illinois, and Indiana. Prizes have been
awarded his entries in several of these.
Beginning in t975 he has presented a
series Of hall hour programs on various
aspects of ceramics on Alabama
Educational Television. The upper
portions of his large salt glazed stoneware
vases are ceramic sculptures. The
example illustraled, "Party Girl"', which
also combines fiber with the ceramic is
one of a series of female effigy vases
which express Ihe idea, "Black is
Beautiful". in an unusual formal. The
artist's design sense and his
crallsmanship are such that pottery,
sculpture. and decorative accents and
delails flow together in a unified
composition.
I~ _
'"
_ __
_
Born In 1908 in Marche, Arkansas. Died in
1961 in Chicago. His sculplure was
exhibtled In Ihe I 940's and 50's at Howard
University and at the Art Institute of
Chicago (purchase award in 1951). in the
American Negro Exposition in 1940,
Atlanta UniverSity annuals (first award in
sculpture in 1956) and elsewhere. He
taught al Jackson Slate College,
MiSSissippi for a period. His sculpture in
stone uses the quality of the stone as an
expressive asset
His piece "The
Musician",lent by Professor and Mrs, Earl
Hooks has a compactness and solidity
and ethnic orientation that is
characteristic 01 his work
Harper T. Phill ips
Born in 1928 in Courtland, Alabama He
received a B.S. degree from Alabama
State University and an M.A. degree from
New York University. His art teaching
experience includes: Alabama State
University, Hampton Institute, Grambling
College. New York City public schools
and Bergen Community College in
Paramus, N.J .. where he is now located
His sludy and interest in music has
carried over into his art. An extenSive
exhibition record has been compiled by
the artist including a one-artist traveling
show called "An Experience in the Arts",
which involves personal presentations
HarperT. Phillips is acreativeinnovatorin
technique, format. and Ideas. as Shown in
his composition in the exhibition.
"Harlem Cursoriness", a kinetic (the
kinetics provided by the viewer)
construction done with acrylic on canvas
and wood. As the viewer moves from one
side to the other, changing multi-images
are presented through the use of: a
painted gold metallic fabric on a
corruga ted surface (fi rst level), nylon
mesh screen superimposed (second
level), four inch ribbed vanes painted In
primary and secondary color value scales
(third level), a painting of a performing
musical group on stage on the surface
corrugations seen from the left side. and
panoramic scenes of Harlem on the
corrugations seen from Ihe right side
(fourth level of visual phenomenology)
--- -
Robert S. Pious
Born in 1908 In Mendlan, MiSSiSSIppI He
studied atthe Artlnstllute of Chicago and
Ihe Nahonal Academy 01 Design (193135) on a scholarship. He exhibited in the
Harmon Foundation Annuals of 1930,
1931, and 1933, Winning the draWing
awarded in 1931 of $50.001 HIS work was
included in the 1940 Negro ExpOS ition
exhibit in Chicago. and the Allanta
University Annual o f 1942. He worked in
the New York Federal Art Project, 193639. Pious did illustrations for Bronzeman
and Opportunity. Robert Pious In his
portraits combined realism With an
expression of the character of the subject
His oil painting in the exhibition of Hamel
Tubman, whose remarkable exploits are
now well known t hrough TV
presentations, was done in 1951. The
painting, lillie more than 12" x 9", in Its
detail, shows the skill of the artist when
work ing on this small scate. The painting
is Jent by the National Portrait Gallery of
the Smithsonian Institution in
Washington, D.C
'48
»
Stephanie pogue
Born In 1944 In Shelby. North Carolma
She studied at Syracuse University and
received a BFA In 1966 at Howard
UniverSity. Her M.F.A. was received In
1968 at Cranbrook Academy With a major
In graphiCS. Smce 1968 She has been on
the art laculty at Fisk Umverslty In
NashVille. Her work IS
In
more than 20
collections and has been shown In some
55 exhibitions Oetween 1966-1979. The
artist considers the Circle as an Important
honors and awards lor hiS PhotograPhy.
the most recent being a speCial portfolio
Volume 2 01 Black PhOtographers
Annual (1lrst volume published In t973)
HIS photographs 01 IIle at TUSkegee
Ins\ltute and the black people 01 rural
Alabama lour or live decades ago are
period pieces that are more than mere
records of appearances He is an arllst
With his camera. probll1g and revealing
character. as shown in hiS study 01
"George Moore" and others 01 thiS penOd.
element In past eullures and the
undulaling line as e)(presslve ollile. Both
of these compositional elements
~ppear
in her prints. Two of her coloretchmgs
In
the e)(hibition: "Arabesque" and "Sea
Storm", were done in the viscosi ty
process in which she has been a mal?'
"
N anc y Elizabeth Prophet
In
pioneer in this region. RhythmiC
movement is characte r istic of her
compositions. In some works color .is
used with dramatic con trasts in hue. In
other prin ts color is used with subtle
restra int.
Born In 1890 In WarWick. Rhode Island
She studied at the Rhode Island School of
DeSign and Ecole des Beaux Arts, Paris
where she lived and worked at SculptUre
lor several years. Her work was shown 111
the Paris August Salons of 1925and 1926
She exhibited In the Harmon Foundation
Annuals of 1930, 1931, and 1936. and the
Whitney Sculpture Biennial. 1935 and
1937. She 10lned Hale Woodrufl .n
teaching 111 hiS art program at Spelman
COllege and Allanta UniverSity In t931
Her wood Sculpture. '"Congolaise'" 01
t931. 111 the eXhibition. lent by the
Whitney Museum 01 Amencan Art, was
purchased by Mrs. Juliana Force for the
Whitney Collection. The head IS
delicate ly formed.
Roscoe C. Reddix, Sr.
P.H. Polk
Born in 1898 in Bessemer, Alabama. He
attended Tuskegee Institute for lour
years. majo r ing in photography.
Completed a correspondence course in
Photography and served an appretlceship
under Fred Jenson in Chicago. From
1923-27 he did freelance photography in
Chicago. Except for a briel interlude in
Atlanta, he has been back In TUSkegee
since 1927. For ten years he taught
Photography at Tuskegee Institute. Since
1939 he has been official photographer
lor the Institute and has operated hiS own
stUdio. Prentice H. Polk IS 01 the
generation 01 James Van Derzee. the
pioneering black photographer 01 New
Vork Ci ty. Over the years he has received
Born in 1933 in New Orleans, LouiSiana.
B.S. degree from Southern UniverSity,
New Orleans: M.S. in art education Irom
Indiana University. Additional study at
University of Sou thern Mississippi. Xavier
University, University 01 N ew Orleans.
and Peabody College. N ashville. H e
taught art in Shreveport and in the ~ e:-v
Orleans parish schOOlS. Roscoe R~ddlx. IS
on the art laculty of Southern UmverSlty
in New Orleans. Hiswork has been shown
in one-artist and group shows in t ~e
South, in Illinois, Wash ington D,?, and In
lagos, Nigeria. The 1976 oil pal~ting by
Reddix "Syncopated Pattern In Two
Major Movements", shows three African
American dancers in diSCO poses against
vibrant background pattern. Smaliligure
details and lolk art symbols are tucked
into the background. At the top is a sunmoon disc nnged with rays and a face
with a counlerchange pauern of the type
used by Picasso.
,,.
Robert Reid
Leon Renfro
Born in 1924 in Atlanta, Georg ia. He
studied at Clark College. Atlanta, the Art
Inslltute of Chicago. and Parson's School
of Design In New York (1948·50). Recent
tea chmg appOin tments have inctuded
Parson's School of Design and the Rhode
Island School of Design. Beginning in
1965 he has had more than 15 one-artist
shows. the first three being at Grand
Central Modern s. New York . His group
shows since t959 include the 1965 Dakar
Fesllval of Negro Arts: several exhibits In
France and Belgium: the 1971 Whitney
and Newark Museum black artists shows;
and the illinOIS Arts Council touring show
of black artists . By the mid t970'shis work
had been acqu ired lor 17 collections. The
Newark Museum has a group of his
" Failing Senes" paintings in oil and
collage. His oil painting. "Figure on the
Beach" of t975. lent by the FairweatherHardin Gallery 01 Detroit. is an
abstraction that gives a feeling of an airy
expanse of space.
Born in 1939 In Houston. Texas. Study
Includes Texas Southern UniverSity
(B.A .E .• 1964). North Texas State
University: Fort Worth Technical School:
and Sam Houston State UniverSity. He
has worked as an illustrator at the Manned
Space Center, Houston: Volt Technical
Corp., Fort Worth: I.T & T .. Houston: and
as a graphic artist In Houston. He has also
done secondary art teaching Since 1972
he has been on the art !aculty at Tex as
Southern University. His work has been in
a number of exhibitions in Tex as and in
"FESTAC '77"" in Lagos. Nigeria. His
drawing . "Shrine of Black Culture"'. has
the nuances of a palntmg and the
preciseness of a drawing . The
iconography is both space age and
ethnic. The ro bot figures have the
postures and figure proportions of
African sculpture figures. This is one of
the most unusual works in the exhibition
and should be a favorite with engineer
viewers, but it projects much more than
technical illustration
John W. Rhoden
151
168
Born in 1918 in Birmingham, Alabama. At
the age of 20 he went to New York to study
under Richmond Bart he, major black
sculptor of the 1930's and the next two
decades in America. After service in W.W.
II . in wh ich he was able to continue his
activity by doing sculptures of generals.
he studied sculpture at Columbia
University. A Rosenwald Fellowship was
rec eived in 1947, the first of many
important fellowships and awards which
include: Tiffany award (1950); Fulbright
(1951-52) for study and travel in Europe;
the prestigious Prix de Rome (1952-54):
Rockefeller Grant (1959) : and
Guggenheim Fellowship (1961) . When
Howard University's new gallery opened
in 1961 he received a medal of honor and a
purchase award. Under the auspices of
the U.S. Stale Department. he made an
exhibition tour of Europe, Turkey. Egypt,
and Africa (1955-56). In 1959 he was one
of four artists who toured the Soviet
Union, Poland and Yugoslavia. In 1960 he
toured Japan, Korea , India, and
Southeast Asia under Stale Department
sponsorship. and in 1962 he served as
consultant for a technical institute in
Indonesia. Exposure to Indonesian art
and culture was reflected in his wood
sculpture of this period. Since 1957 the
"
ar t ist has received a number of
commisSions for his sculptures For the
Sheraton Hotel in Philadelphia. le we l
glass w as combined with metal
Collections holding his work include the
Carl Mittes collec tion at M illesgarden In
Stockholm. Three 01 his scul ptures in the
exhibit represen t different facets o f his
work. "'Dedicated Public Servant"· in
bronze. is an abstraction that uses forms
from African sculpture and at the same
time satirizes American poli ti Cians. HIs
"Laika"' is a bronze abstraction derived
from the Soviet space dog that expresses
composl tl onallv both "'doo" and "soace"'
His "Richanda"', a female nude in wood
lent by Atlanta University, is in the
tradition established by RodlO and
Maillot.
J o hn T . Riddle, Jr.
Born in 1933 in Los Angeles. John Riddle
had a varied work career before getting
A .B. and M.A. (1973) degrees from
California State University at Los
Angeles. He has done welded metal
sculpture, but currently is concentrating
on painting. He was an art teacher in Los
A ngeles belore moving to Atlanta in 1974
In Atlanta he has worked with the
Neighborhood Arts Center. His paintings
are bold, richly hued, and imaginative. His
"Unending Rhythm of Human Existence"
combines details from African ancestral
sculptural forms. family life scenes, and
soaring figures that convey the mood of a
spiritual with hue contrasts that give a
feeling of a composition in two planes.
s
Gregory O. Ridley, Jr.
Haywood Bill Rivers
Aurlhur Rose, Sr.
Ofn in 1925 in Smyrna. Tennessee. He
8 . d al Fisk University. Tennessee
(8 .5 .), and the UniverSity
01 Louisville (M .A. 1955) . where, he was
one of the talented group of arllst,s ,thai
included Bob Thompson. Sam Gllha,m.
Robert Carter, and G.C. Coxe. At Fisk
University he studied under Harlem
;~~~~euniverSiIY
Renaissance pioneer. the
lat~
Aaron
Douglas, who taught him, technique ,and
gave him an inlere~l . In the Ahl~an
heritage and ils sigmflcanc~ as a rich
visual art resource. His leaching odyssey
beginning in 1951 at Alabama Siale
College (leaching with Oubre, Hathaw,ay,
and Phillips), led him to Grambling
College, Elizabeth City (N.C.) State
College, a high school on Long Island,
•
z
•<
,,""
"
fisk University, Tennessee Stale
University, several colleges in N.ew York,
and etsewhere. He is now teachmg ar.t at
Tennessee State University m Naslwille.
Gregory Ridley is a versatile arlt~t,
working in a variety of techniques In
sculpture and painting. Recently he ~as
been dOing construcllons using fabriCS
and a wide range of other materials. His
productivity is indicated by the number of
exhibitions and work in collection to his
credit. He has become a master of
repouss~ in brass and copper. In t~e
exhibit is his prize-winning relief In
copper of the Bailie 01 Gellysbury. one of
more than a dozen compositions in
copper repouss~ depicting major battles
in the Civil War. Also shown in the exhibit
is an example 01 his sculpture in elm wood
of a family group, which makes use of the
natural growth pallens 01 the wood.
Born in 1922 in Morven, North Caro lina
Study at Art Students League. N.Y. (194649). and Ecole du Musee du LOuvre, Pans
(1949-52) . Fellowships rece i ved :
Maryland State ScholarSh ip ( 1946) ,
Rosenwald fellowship (1948), Whitney
Fellowship (1952) . Since 1971 he has
taught art at Manhattan Community
College. He has served as gallery
organizer, curator, director. or aSSOCiated
dealer for galleries in New York. Paris and
California. The artist spent the years
1949-54 in France and lived in Spain.
1964-67. He had a one-artist exhibit in the
Baltimore Museum in 1948. His numerous
group shows have included: Carnegie
International. PittSburgh, 1949;
"Evolution of Afro-American Artists".
New York.. 1967; '"Afro-American Artis ts
New York and Bos\on", 1970: "Black
Artists of Two Generations", Newark.
1971; "Rebullallo the Whitney Museum".
Studio Museum. N.Y., 1971; and several
shows in Paris. 1949-1950. A number of
major collectors and museums own his
paintings, among them: Baltimore
Museum, The Louvre. and Harry N.
Abrams. His oil painting "Op" of 1965 is
unusual as a record 01 a movement in
contemporary art. Two of the dominant
movements in American art in the late
1950's and the 1960's were " Pop" and
'·Op·'. River's painting is an example of the
taller. Its geometric pattern 01 contrasting
hues is not only in the Op format but·,Op"
is stated in the painting.
-I
Born in 1921 in Charleston. South
Carolina. He studied at Clallin College,
S.C .. (BA) : New York University (M.A.,
1952): and Indiana University (1966-68).
For more than 20 years he taught art at
Clallin COllege and served as department
head. Currently he is teaching at
Voorhees College, Denmark. S.C. His
steel SCulptures and paintings are in eight
collections Which include Indiana
University: Ihe South Carolina Collection;
Johnson PubliShing Co. Collection.
Chicago: and the Beau/ord Museum.
Between 1967 and 1975 he had six oneartist shows. His work has been in a
number of group shows in Sou th and
North Carolina. He has been included in
five o f the Atlanta University Annuals
'"Don Qui)(o te··. a 1969 sculpture in steel,
charac terizes Don Qui xote through
posture and the ragged edges of the
pieces of welded steel.
".
'"~
'"
47
John T , ScoU
Th omas Sills
Carroll Harris Simms
Born m 1940 In New Orleans, LouISiana
B A degree trom Xavier University,
M.F A Irom UnlVerSlly ot Michigan
(1965). Presently he IS chairman of Ihe
Xavier UniverSity (New Orleans) arl
department. Smce 1959 his Sculpture and
prmts have been In exhibits In several
states - in more than 20 shows In the past
three years John Scott IS mnovatlVe m
sculpture, printmaking, and m his cast
paper compositions He believes that the
direction 01 his work should resul1 trom
the creative Internalization of his
experiences of IIvmg and Interactmg with
his human and phySical environment. and
should not be dictated by mandates
others mlgh l wish 10 impose from outside
ThaI he IS sensitive to Ihe problems of
diSCrimination and oppression 10 which
mlnorilies are subjec ted is Indicated by
his works in this exhibit: "Ritual Mask "
and "South African Shoot ing Gallery" in
bronze, and "Requiem for Steve Biko" in
casl paper, part of a series involving target
symbols.
Born in 1914 in Castalia, North Carolina.
He has lived in New York City Since t928.
He has three things in common with Mose
Tolliver, another "primitive" artist In th e
exhibition he came from a large family In
the rural South, he is self-taught, and
painting was not an early development
(not until 1952 In the case of Thomas
Sills). The response to his work has been
phenomenal. A recent listing includes
more than 30 major museums and
collections in the United States that own
hiS work, among them: the Museum of
Modern Art the Whitney Museum of
American Art, and the Metropolitan
Museum in New York . In the exhibition
are tw o contras ting compositions by
Thomas Sills. "Alta Plana", lent by th e
ar tist, projects both an o rie nt al landscape
feeling and the patterns of a kind 01
planetary landscape that might exist in
outer space. Th e u ndulating curvilinear
shapes also convey an anima ted sense of
rounded human for ms. An interesting
reve rsa l of the convex shapes here can be
seen in " Earth's Womb" by Harry Vital.
(No. 189). "Moon Beams" by T homas Sills
lrom the Fisk University collection is a
two-dimensional composition 01 Ilat
areas o f contrasting hues, a kind 01
pa ttern often used by the artist.
Born in 1924 in Bald Knob, Arkansas
Between 1945 and 1953 he studied al
Hampton Institute. University 01 Toledo
and Toledo Museum School. Cranbrook
Academy, and Wayne State UniverSity
Study In London. 1954-56, resulted from a
Fulbright Fellowship. The summer 01
1964 was spent at the Swedish Instltute in
Stockholm, also through a grant. A grant
from the Southern Fellowship Fund
provided lor study and research in West
Africa, 1968-69. A Texas Southern
University grant in 1973 enabled Simms to
auend seminars in N igeria, Sierra Leone
and Liberia. Bronze casting in Mexico wa~
studied in the summer 01 1974 through a
scholarship. He has given many lectures
and served as consultant. on black art, on
human r elations, and on a rts and cralts in
various par ts of the country. Between
1955 and 1978 he was invo lved in a
number of TV programs, including one
each in London and Nigeria . His sculpture
in various media, ceramics, s ilve rsm ithing
and paintings have been shown in group
and one-man shows in many museums
and art galleries in the United States. He
has also shown in London. His
commissions for sculpture and work in
other media include several in metal and
plexiglass lor individuals and institutions.
monumen ta l installations at Texas
Southern University . three large
plexiglass murals (one lor the
Longshoreman's Temple in Houston in
1957,9' x 40'), and stained glass windows
for a private chapel. For a new church in
Coventry, England, he did a nine foot
bronze cruci fix, " Christ and the Lambs",
dedicated in 19S7 . His two sculptures in
th e exhibi t are in different media.
"Weaver" in bronze, is an abstraction that
is still explicit in indicating the activity
involved. Although it reflects ancestral
African ideas in sculpture. it is a
contemporary expression. His "Prophet
and Son", carved in walnut in 1949, 30"
high, also combines a sense 01 African
imagery in a contemporary solution.
Carroll Simms is a master at select ing the
signilicant essentials of the idea or figure
relationships involved to create a more
powerlul and expressive composition .
'69
48
-
Jewel W. Simon
n 1911 in Houston. Texas. Since
Born I
rfst has lived in Atlanta where
~~:'hl::; ~IS\ln9uiShed
record 01 civic
She graduated with a B.A . from
aC!l~:~e~niverSjIY. Summa Cum Laude in
~~~1
COllege~1
and a B.F.A. from Atlanta
Art i~ 1967. the lirsl blac~ 9.r aduale of this
school. Her work in painting " s~ulp.'ure.
and graphic arts has been exhibited In 23
Allan!a University Annuals and ~ave
received awards in hall of them . The hst ~f
her e.hibitions lills three pages. S~e IS
represented in 70 public and private
collections in this country and abroa~.
Included in this exhibition is work In
painting and in sculplur~. Her lan.ds~ape.
"The Early Birds", 1$ convincingly
representational, as is her sculptured
head, ''The Tusl Princess", The artl.sl has
also done abstractions, concentra ting on
color pal terns.
Charleston: and the Detroit Art Institute.
More than 20 private collectors own his
work. He was included in three of the
Allanta University Annuals (1950, 1951 ,
1956). Merton Simpson operates one of
the sucesslul galleries Showing African
arts in New York City . In his
"Confrontation'" Series in the 1960's.
heads with angry faces and battered
features were shown in closeup.
" Figurescape" in the exhibition, shows an
abstraction of an imposing upper lorso,
monumental in scale, pre-empting a
moody skyscape setting
Van E. Slater
Merton D. Simpson
Born in 1928 in Charleston. South
Carolina. He studied at New York
University and the Cooper Union Art
SChool. with Motherwell , Baziotes, and
Halsey. During 1951-54 he was an arlist
with the Air Force. His painlings have
been included in some 25 exhibitions
inClUding such museums as: Guggenheim
Metropolitan, BrOOklyn, National Gallery
in Paris. and the National Museum of
Japan. Among the more than ten
permanent collections in which he is
represented are the Guggenhe i m
Museum: Howard, Fisk. Michigan, and
Atlanta Universities: the Gibbes Gallery in
Born in 1934 in Arkansas. He studied at
Los Angeles Ci ty College and received
B.A. and M.A. from U.C.L.A. Pr esenlly he
is on the art faculty of Com pion
Community College in Compton ,
California. His major medium is graphic
arts, especially woodcuts. He was
included in the exhibition of the work o f
black American artists shown. In the
Soviet Union, 1966-67, His pfln~s , a~d
drawings have been shown in eX~lblts In
California and Florida and are In SUCh
COllections as that of the Oakland
Museum. His 1977 pencil drawmg of
"Doris" expresses the sensual beauty of a
black woman.
.
Maurice Strider
Born in 1913. in Lexin9ton, Kentucky
Received B.A. from Fisk University. M.A
from University of Kentucky (1960) .
Member of art faculty of Morehead
(Kentucky) State University since 1966.
He has also taught at Kentucky State
University and Alabama State University.
Maurice Strider has been active in art
education organizations and programs.
local, regional, and national. He is also a
professional correspondenVphotograph_
er. Research grants have been used to
develop material for Afro-American
studies programs and institutes, His
painting. The Carnival, in this exhibition,
lent by Atlan ta University, is an expressive
interpretation of the excitement of a
carnival, a place o f ris ky wonder.
Clarence Talley
Born m 1952 In Atexandrla. LOUIsiana HIs
BFA came from Southern UniverSity in
Baton Rouge and MF.A from LouISiana
Slale University Clarence Talley IS
currently teaching art at Prame View
College In Te xas. HIS one-3rt 1St show m
February at Prame View College
composed o f 20 acrylic paintings and
techniQues and processes. and personal
mSlghts resulting from hiS experiences
with materials Which have revealed Iheir
nature and their potentiaL Tanners
" Airship II"' of 1971 is an example 01 his
creative work In glass which led into his
ceramiC and mult,-medlaexpenmentallon
With the P.F.O. concept
monoprints. emphaSized biblical th emes
and evils that tempt man. His figurative
painting. like the one in the exhibit. often
show the figure enclosed in a pattern
related to or contrasting With the color
patterns of the figure. Areas that would
often be plain backgrOund in the work of
some arltsts. Clarence TaUey develops
into patterns of tone and color that utilize
the whole compositional space.
180
elaine F. Thomas
Born in 19231 n Cleveland, Ohio. Received
B.S. (Magna Cum Laude), Tuskegee
Institute: M A, New York UniverSity
( 1949) . Additional study includes Black
Mountain College, Mexico Ci ty COllege,
University of Paris and Columbia
University, travel and seminars in Spain
and Portugal. India, and Africa. Elaine
Thomas has been involved in many local,
sta te, and natIOnal ciVIC and Cultural
activities and teleVision programs. She IS
chairperson of the art department,
Tuskegee Institute and has served as
director of the Carver Museum there. Her
paintings have been exhibited in the
United States and Mexico. She works In
both abstract and representational
modes. Her painting " The Family", in this
exhibition, expresses " family" in the
collective sense and also conveys this
theme in an African roots sense.
Alm a W. Th om as
James L. Tanner
".
Born in 1941 in Jacksonville, Florida.
Degrees earned al Florida A & M .
University (B.A., 1964): University of
Wisconsin , Madison (M.S. and M.F A
1967). He has been leaching cera~ic;
and glass blowing at Mankato State
University, Minnesota, for a number of
years Since 1968 his record of one-artist
shows, group exhibitions, and work in
collections, has been impreSSive. He has
conducted a number of workshops and
demonstrations in glass and ceramic
processes in several states. In his own
creative work he is now concentrating on
ceramics and developing a theme hecalls
PF.O (Potential Flying Object). He is
concerned With natural relationships
between
matenal
(Clay-metal-glass).
Born in 1891 in Columbus, Georgia. The
late Alma W. Thomas received the first
B.S . in art offered by Howard UniverSity
(1924) studying under James V. Herring.
who founded the department. Her M.F,A
was secured at Columbia University In
1934. Her years of teaching at Shaw
Junior High SChool in Washington, D .C. ,
did not diminish her creative activity aiter
she began to paint and eXhibit seriously
Her paintings were shown in as many
exhibitions as the years of her long and
artistically active life. In 1966 she was
given a retrospective eXhibition in Ihe
Howard University Gallery. Her approach
to art as well as to Hie was youthful. The
inspiration for her paintings came from
her environment. from the parks and their
foliage and flowers in WaShington. and
from Space. Her painting style has
evolved creatively over the years. Her
" Tenement Scene, Harlem ", illustrated in
Dover's American Negro Art. is in the
abstract-expressionist styl e of the early
1950's. Her painting In thiS exhlbition,lent
by Fisk University, "Flo wers at Jefferson
Memorial" (1971) IS non-oblectlve in
relation to obvious subJect matrer, butstlll
conveys a sense 01 subject derivation
Paintings from this senes called " Alma 's
Stripes". are extensions of th e colorful
patrerns developed by the "Washington
Color Scho.OI " of artists. They are also
representatIVe of "Op" art. but have a
quality of dynamism that is characteristic
of the work of Alma Thomas
so
182
•
Bob Thompson
Mose T olliver
Born in 1937 in Louisville, Kentucky.
Studied at Boston Museum.SChool and at
the University 01 LouIsville ( 1955-58)
where he was one 01 a talented group who
later had important careers In art From
New York he traveled In Europe a~d Nl?flh
Africa, (lived in Paris, 1 961-~2; In Ibtza,
1962-63) . A Whitney Fellowship had been
received lor 1962-63. He returned to New
y k and then went to Rome in 1965
w~~re he lived until his d~ath ~n 1966. He
lived lile to the fullest durmg his 29 years
Between 1958 and 1974 his work was
shown in 17 one-arllst ShOws. eleven 01
them in New York and Chicago galleries
His paintings and drawings were included
in 50 Qroup shows, 1958-1975, In 19691he
New School Art Cenl~r held a
retrospective exhibition 0,' his work. HIs
paintings are large, vivid. m color, boldly
conceived, and o ften prOject the~es from
mythology. Flat areas in contrastmg hues
were used for figures, usualty nude. He
studied Renaissance masters in
European galteries an.d based some of his
drawings and pain t ings on their
compositions. An example is his large
" E~pulsion and Nativity" of 1960. based
on Masaccio and Piero delta Francesca
His briltiantly hued "Judgment of Paris" of
1954. in the exhibition, lent by the Martha
Jackson Galtery in New York. illustrates
his use of subjects appearing Irequently
in Renaissance painting.
Born s?mewhat less than six decades ago
on Pike Road near Montgomery ,
Alabama. on a ··Iour-horse farm ·'. Mose
Tolliver was one of twelve children. He is
the father of fourteen . He is a self-taught
·'primitive" artist who began painting after
his foot was crushed in an aCcident. He
began to work after quitting school in the
second grade and became an upholsterer
and furniture builder. He applies paint
directly to any lIat surface that is handy,
using house or wa ll pain t, brushing the
paint on the surface - it is not mixed
beforehand. Some of the paint lands on
his crutches. Remembered Or imagined
scenes and illustrations in children·s
books (radically altered), provide sources
for his very personal imagery. His
"Farmyard" may be considered by some
to be one of the most delightful paintings
in the show , in its whimsey, freshness,
and naive objectivity. From the standpoint
of space filling , it is a remarkable
composition. (Da ta supplied by ·Jay
Johnson, America's Folk Heritage
Gallery, New York ).
Do~
Thra sh
Born in 1893 in Griffin, Georgia. His first
art stud y was a correspondence cou rse in
the earty 1900's. After WWI he stu died at
th e Art Institute of Chicago (1919-22). He
worked in the Federal Art Project of
Pennsylvannia ( 193S-40). His prints were
exhibited ex ten si vely in the late 1930·s
and in the early 1940's. Lithography was
his speciali ty in prin ts until he developed
the Carborundum process for which he
was cO-Inventor with Claude Clark. The
process and his work in it appeared in
periodicals and newspaper articles, 193844 An example of his work in printmaking
in the exhibition, lent by the Newark
Museum IS " Coalyard", done between
1935 and 1943.
Leo F. Twiggs
Born in 1934 in SI. Stephen. South
Carolina. Oegrees: B.A. 1956 (Summa
Cum Laude). Claflin College, S.C.: ~A ,
1964, New York University: UniverSity of
Georgia, Ed.D .. 1970. Additional study at
Chicago Art Institute, 1960, He was the
first black student to receive a doctor~te
in art at the University of Georgl~ .
Secondary art leaching was done In
Sumter, S.C., 1958-64. Since 1964,
Twiggs has been at So uth Carolina State
College, Orangeburg, servmg as art
"
chairman from 1972 to the present. He has
been active in the field Of art education for
the cultUrally disadvantaged through
articles and presentations at conferences
leo TWiggs is the only artist in America
uSing the batik medium for pamtings
which have been accepted in major
exhibitions and selected for collections
throughout the United States. He began
experimenting With the batik process as a
seriOus medium for painting in 1965. HIS
painlings have received a number of
award s in eXhibits since 1966. His work
has been shown in one-man eXhibitions in
various galleries, a recent one being in the
Studio Museum in Harlem in 1978. Twiggs
is another of the Black Artists / South
participants who are included in Black
Artists of the New Generation by Elton
Fax. His batik paintings deal with children
and adults and persons with lamily
associations 01 the ru ral South presented
with warmth and candor. Two examples
in the exhibition are: " Mother Image, No.
13·', and " Blue Wall", of 1969. The two
boys in the " Blue Wall"' are projected with
a sense of isolation in a deprived
environment. The paintings 01 HughieLee Smith convey this same leeling.
Harry Vital
Born In 1941 In New Iben a, LOUIsiana
Studied at TeKas Southern UnIVerSity
(BAEd.), Stephen F Au st in State
UniverSity (MA , 1975). Since 1975 hehas
been on the art faculty o f Texas So uth ern
University in Housto n . In addition to
exhibitions In Te xas hiS w ork was shown
In Germany (1 968-70). HIS oil painting
" Earth 's Womb ", reveals h is unusual
ability In realistiC repr esentat ion. II 1I Iso
shows a concern lor the earth in an
organic blomorphic sense. The setting
gives ethnic significance to the
association made between the eroded
land and an area of liVing for deprived
blacks
prizes and awards In national. regional
and local exhibi ts between 1957 and 1979
As might be expected from hiS exhib it ion
activity. his work IS In a number o f
collec tions. He has served as panelist
lecturer. and tech niquesdemonstral o r o n
nu mero us occas io ns. His 01 1 painting 01
1976, "One Call Does It"", is a vig o rou sly
pain ted composition in con t rast ing hues
and values that should be vi ewed
p ri mari ly as a painting with ou t attempting
to read a story In It
JameS Watkins
Born In 1925 In Macon. Georgi a Studied
at Socmty 0 1 Art s and C raft s. De tr Oit.
1949-52 He exhibi ted In the Atl anta
UniverSi ty A n n ualS. from Ihe 16th throu gh
th e 22nd. Winning an award . ho norable
mentio n , o r the populafl ty pnze In each
Three 01 hiS paintings received purchase
awards In the 1958. 1959. and 1960
e xhibitions and so are in the Atlanta
U niverSity Collection. Healso exhibited at
the Akron, OhiO Art Instllute, a Beaux Arls
Guild exhibit at Tuskegee Institute. and
the EmanCipation Proclamation exhibit In
Chicago. HIS ability as a portrait ar tist IS
indicated by " Wid ow Wom an" from
Atlanta University ThiS pain ting received
a purchase award In the 1959 Annual
".
Larry M. Walker
J ames W. Washington, Jr.
Born in 1935 in Franklin, Georgia. Studied
at High School 01 Music and Art. N.Y. C.,
and Highland Park (MiChigan) Junior
College. B,S. in Ed. and M.A. (1963)
received from Wayne State Un iverSity.
Public school teaching was done in
Detroit (1958-63). Hejoined thea rtfaculty
of the University olthe Pacific, Stockton ,
California in 1964. becoming department
c hairman in 1973. ExtenSiveexperi e nce in
TV presentations on art education,
pain ting, and graphics techniques, and
African American art has been compiled
by the artist in Detroit and California. A
sabbatical leave in 1970-7 1 enabled him
to pain t in Guadalajara, Mexico. Between
1962 and 1977 he had 20 one-man shows.
pnmarily In Detroit and California. HIS
work was Shown in an equal number o f
major group exhibitions from 1927 to
1978, including "FESTAC '77"' in lagos.
Nigeria . His paintings , graphiCS,
drawings, and collages won more than 60
Born in 191 I In Gloster, Mississippi.
James Washington was a painter from the
age of IS u ntil 1956. During this period he
studied under Mark Tobey. Since 1956 he
has been a sculptor with a unique
orienta tion: God's creatures sensitively
revealed in their envi ronment . Birds are
among his subjects. Many pieces from his
production of several hundred works in
sculpture are in public and private
collections in the United States and
abroad. His carving in stone shows a
respect for the medium and Its text u re and
character. His sell portrait in stone in this
exh ibition is an example, It has a linear
quality and an expressive economy of
means which relate it to the finest Mayan
relief sculpture. James Washington ' s
studiO is in Seattle. Washington
'"
'"
"
CUllon G. Webb
James Lesesne Wells
Born in 1950 in New Orleans. Louisiana
Studied at Louisiana State UniverSity.
B.F.A and M.F A. (1973) In sculpture
Taught at Soulhern University S~hOOI for
the Blind. CUlton and Jo Griffin Webb
operate GrifflOlWebb. art and program
consultants in New Orleans. They
coordinated the "New Orleans Legacy"
exhibit for the Nexus Gallery and the
University 01 Texas. 1977 and 1978 which
included work by Webb. Brice. Scott.
Nelson. and Payton. Clifton Webb has
had one-artist shows since 1972 at
Stillman College and at galleries in New
Orleans. His work has been included in
group shows ,in Louisiana and :exas.. His
1979 composition "Souvenir Gris-GriS" IS
one of a current series that involves a
varie ty of media. i.ncluding cast. paper,
synthetic hair. palOt and pencIl. The
African fe tish magical charm is up-dated
in th is version by the use of contemporary
materials
Born in 1902 in Atlanta. Georgia HIS
minister father died when he was ten after
the family moved to Florida. Study at
National Academy of Design. With
"Atelier 17" in New York City and
elsewhere. The distinguished career 01
James Lesesne Wells goes back to the
Harlem Renaissance and the pioneering
Harmon Foundation exhibitions and
workshops of the 1930·s. He won the
Harmon Gold Medal in 1931 and
conducted the significant Harlem Art
Workshop sponsored by the Harmon
Foundation and the !35th Street Public
library in New York City. Prizes and
awards in numerous exhibi t ions for hiS
paintings and - prints have continued
unabated, since the 1930·s. He joined the
Howard University art facul ty in 1929 and
retire d in 1969 as professor of
printmak ing. One of a series of one-man
sho ws was o ne held in the Van Vech ten
Gallery of Fisk University in 1973, The
University of Pakistan is one of a dozen
institutions and museums in whose
collections he is represented. H is whiteline wood engravings are done with
expressive verve with flowing linear
movements creating complex patterns in
each detailed area but these are
subordinated to the over-all sweeping
figurative composition. Two good
examples in the exhibit ion in this medium
are "51. Anthony" and "Jonah and the
Whale". A large and colorfullinocut in the
exhibit. "Bus Stop at Ghana" expresses
an experience in travel in Africa and
provides a contrast with his wood
engravings in scale and boldness related
to creative use of media potentials. A print
of "Bus Stop at Ghana" has been acquired
by the Metropoli tan Museum
Jessie Whitehead
Born in 1954 in Picayune. Mississippi.
Miss Whitehead is the youngest of the
artists in the exhibition, She is
represented by a large self-portrait of
herself as she appeared in her cap and
gown on graduation. With a B.F.A.degree
from Ihe Mississippi University for
Women. in 1976. The pamting receiv~d
the firsl award among undergraduates In
the Mississippi Arts FestIVal.
"
Amos White
Born In Mont90mery. Alabama Studied
al Alabama Slate COllege. B.S. (1958)
University of Southern Cali fornia . M.F.A
( 1961 ). and With Isaac Hathaway (195758). Taught at Florida A. & M UniverSity,
1961-69. BOWie State College (Maryland )
chairman of art department from 1969
The artist has given numerous
demonstrations of ceramic processes.
lectured and served as a consultant for
various groups. Awards were received for
automotive styling designs in 1951 and
1952 and other awards and cita tions have
been given the artist lor his design ability
and ceramic craftsmanship. HIS ceramics
have been shown in more than 60
exhibitions since 1957 and are
represented in many collections. That the
artis t' s design concepts have kept pace
With the chang ing times is indicated by
"Lunar Form" 01 1978.
Charles White
Born In '918 In Chicago The parents 01
Charles White were part of the migrating
group from the rural South who sought
Jobs and a better life In the Industnal
North In spite of grinding poverty, hiS
hard-working mother encouraged hiS
Interest In art In which he showed early
promise. The translhon to the world
renowned Charles White of today, one of
the linest graphic artists in America, was
the result of overcoming serious tnals and
tribulations all along the way. At the age
of 25, aHer Rosenwald fellowships had
enabled him to travel and make studies of
life in the Deep South, he painted thenow
famous 18 by 60 foot mural at Hampton
Institute, a vivid depiction of 'The
Contnbutlon 01 the Amencan Negro to
Democracy"
Viklor Lowenfeld, who
became an internationally known art
educator. was head of the art program
then at Hampton Institute. The mural and
the draWing 01 a detail developed in the
mural ("Sojou rner Truth and Booker T
Washington", lent by the Newark
Museum 01 Art) indicate the artiSt's
compOSitional skill and graphic
lorcefulness. The book, Images o(
Dignity, published in 1967 bytheHerilage
Gallery In Los Angeles. presenting the
graphic art of Charles White. was one of
Ihe earliest books to be published on the
work of a living black artist. The drawings
and paintings by Charles White in the
exhibition provide striking evidence 01 the
artist's genius which has resulted In his
work being exhibi ted and held in
collections all over the world. As an
educator and artlst-In-residence, Charles
White has nurtured talent in young artists
in many institutions, including Howard
University.
Ches'er l. Williams
Claudia Widdiss
Born In 1950, In Harlem New York City
Claudia W,dd,ss has achieved as much In
her less than thirty years as many artists
are able to accomplish In tWice Ihal period
of time She matored In sculpture at the
High School of Art and DeSign, from
which she graduated wllh Ihe medal In
sculpture Numerous scholarships and
grants enabled her to do advanced study
in sculpture In New York. professional
schools In England, and In Italy After
coming 10 Allanla she learned welding
while l eaching in a black commUnity
program and In the Georgia prison
system. After a year In the "Artists in
Schools" program in 1975-76, she moved
to Athens. Georgia, where she has a
studio. Her 1978 "Lock of Ages" in this
exhIbition reflects Ihe expertise she has
acquired in the creative use of both stone
and metal.
-
Born In 1944 In Durham, North Carolina
BA degree received from North Carolina
Central UniVersity, Durham, and MFA
Irom UniverSity of Michigan (197t). Malor
art teaching pOSitions since 1964 have
been at Wright Re-Educatlon-School for
mentally disturbed. Durham, 1964-68;
Voorhees College, Denmark. SC, 197174, and Since 1974 associate prolessor 01
sculpture at Florida A & M. UnI~erslty,
Tallahassee. tn sculp ture heusesavarlety
of techniques and malenals castln9
bronze and alummum, polyester resm
and fiberglass Chester Williams'
ImpreSSive record 01 exhibitions InCludes
24 one-artist shows (t965-1977) and 24
group exhibitions (1956-1978). His
sculpture is in more than 55 public and
private collec tions. Theartlst IS Interested
10 Afncan SCulpture, particularly masks,
and has done a series of mask forms. but
In a universal sense. including Halloween
expenences, and not 10 imitation of
African masks. per se. Some of hiS cast
bronze pieces are highly polished which
adds another Visual dimenSion to the
reaction to lorm
"Untitled"', which
combines welded , painted steel and wood
IS a form concept that has mtrlgued a
number of SCUlptors. Different observers
may read such things as vise or clamp.
Imprisoned space. the feeling 01 a pillory,
or other Ideas in vlewmg the work . The
fusion of a nd the different character of the
surfaces and textures of the materials
combmed also are involved in the
responses eliCited.
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Waller J. Williams, Jr.
William T. Will iams
Born In 1922 10 Biloxi: MisSissippI. High
SchOols allended In BiloxI and Memphis
Tennessee
Studied
Melflzmger Art
SchooL Society 01 Arts and Crafts,
Oelrolt: and UniversIty of DetrOit For
almost 25 years he served as Illustrator at
USATAC. Detroit Arsenal. retIring In
Born In 1942 In Cross Creek. North
Carolina Study at NYC Community
College. PralllnStitule (B F A). and Yale
UniverSity (M FA . 1968) He has received
two grants from the National Endowment
for the Arts (1966and 1970). The list of his
exhibition Sites from the late 1960's to the
present reads like a traveler"s Itinerary tor
the United States and Europe. including
Germany and Moscow HIS work In the
U.S. artists' show was In the best of
company at the Fondatlon Maeght In St
Paul de Vence in Provence In 1970. The
artist has been included In several of the
sho ws at the Museum of Modern Art and
the Whitney Museum of Amencan Art In
New York and is In the permanent
collections 01 both. Some of hiS titles are
involved wi th idea development as IS true
for "Do You Think A is 8". a large acrylic
paint ing of 1969 in the exh ibit, lent by Fisk
University. Straight and curved bands In
colo r interact With geometriC color
shapes.
1974 He was a co-launder and later
presIdent of Contemporary Studio, Inc ..
an innovation group in Detroit For the
DeirOil Society for the Advancement of
Culture and Education, a pioneering
organization involving all the arts. he
served as art director, He was a leader
among the group of artists who restored
the medium of pas tel to its 18th century
position as an accep ted fine ar ts medium .
In the late 1960's he coordinated AlroAmerican art exhibits lor the De troit
Institute of Arts . Wayne State University.
and other exh ibi t sites. His work has been
exhibited extensively in Michigan and
Ohio and is in 30 private collections. An
example 01 his use 01 pastels in Ihe
exhibi tion is "The Winners". The pastel
medium is used here to p roject the
liveliness and excitement of Ihe young
boys
Ed Wil son
Ellis Wilson
Born in 1899 in Mayfield, Kentucky. He
studied at the Art Institute of Chicago.
Ellis Wilson is one of the pioneers among
black artists who exhibited in the early
Harmon Foundation shows. He was
included in the New York World's Fair of
1939 and the important Chicago
exhibition of 1940 held in connection With
the American Negro ExpOSition. His work
was also shown in the Atlanta Unviversity
A nnuals. In 1944. he received a
Guggenheim Fellowship. He painted in
many places: Charleston. Harlem, Spain.
Morocco. and elsewhere, but he is best
k nown for his painting of the people and
scenes in Haiti. As was true for many
artists in his generation Haiti became hiS
home away from home (meaning Africa) :
His paintings of processions in Haiti
conveyed Caribbean rhythms and caught
the cadence of island life. Processions to
and from market and in such fltes as
funerals. are also a pallern of rural life in
Africa and African America. projected by
such diverse artists as John Biggers, lois
Mailou Jones. and Clementine Hunter
Wlison'S painting, "To Market" In the
exhibition is an example of his Hailian
period.
"
Born In 1925 In Bailimore. Maryland BA
and M A degrees were received al the
University of Iowa (1946-511. With
additional study at the UniverSity of North
Carolina Dunng 1963-64 he was art
chairman at North Carolina College In
Durham. He has been on the art faculty 01
the University of New York at
Bmghampton since 1964. during part 01
thiS penod serving as department
chairman and Vice-chairman The artist
has received a number of research grants
for sculpture. IOcluding a Carnegie grant
Among organizaltonal appointments held
are Board of Directors. College Art
ASSOCiation. and screen 109 committee 10f
sculp ture. Fulbflgh t-Hays Fellowship
program. Commission s have been
received for major sculptu re installations
since 1963 in Nort h Carolin a, New York,
Baltimore. and O klaho ma Ci ty ; one of
these comple ted in t969, bein g for the
JFK Monument and Park in Blnghampton
HIS sculpture h as been exhibited
extenSively in group sho ws and one-artist
shows since 1955. Ed Wllson's bronze and
chrome plated steel composition 10 the
exhibit, titled ""Board of Directors"",
presen ts a rather unflattering pictUre of
American corporate management. The
satirical projection is conveyed by
posture and gestures of the abstracted
figures - a klOd of pantomime charade o f
pompous meptness
Viola Mariethia Wood
Everelt L. Winrow
Born m 1936 In Newark, New Jersey 8.S
degree In 3rt education received from
Hampton Institute with M A from Vlrgmla
Commonwealth UniverSity He taught art
In the Portsmouth pubhc schoolS for SIX
years and was mvolved m a vanety of
summer and extenSIOn art teaching
actlvlltes College art teachmg has been
done at Vlrgmla State College and
Hampton Institute where he IS now a
member of the art faculty. Wmrow IS a
printmaker, pamter, photographer and
cinematographer: and also works mother
media From 1965 to 1975 his prints and
pamtmgs received awards in more than 40
exhibitions. HIs untitled t978 etchmgaquatmt in the exhibition shows a variety
of textures and a nch Iconography of
symb ols. Zodiac signs and other Images
and symbols, all connected in the
compOSitIOn, suggest an Individual m
touch with his past, present. and future.
Born m 1949 In Nashville Tennessee
Studied al Fisk UniverSity (B A 1
Northern illinOIS UniverSity (M FA).
1974. Smithsonian. Museum Technology,
1969: Anzona State UniverSity. 1978 Pnor
to JOIning the Tennessee State UniverSity
arl faculty in 1976, she taught art m the
Children's Museum In NashVille and had
additional study at Fisk UnIVersity
Between 1969 and 1978 her ceramics
were shown In 25 exhibi ts mclud lng
showS at the Smithsonian, m Chicago: at
the StudiO Museum In Harlem, at Bishop
College Museum, Dallas, and at
Washmgton State UniverSity Her ceramiC
deSign shows Inventiveness and technical
mastery. as eVidenced by "Fes tival Form"
and "Funeral Form" m the exhibition
"Festival Form" an elabora te ceremonial
vase, has a decorative feeling that
suggests both Afncan art and early
French Romanesque architectural
Sculpture "Funeral Form" IS a wall p iece
The art ist has used a Similar surface
ornamentation and color scheme In the
two ceramic deSigns, but the sense o f
function is qUite different
Golden Slate Mutual Insurance Co.
Home Oilice buildmg. Los Angeles. IS
reproduced In a special display m thiS
exhibi tion The art ist went to New York
UnIVerSity to leach m 1945. When he
retired m 1968 he was named by lhe
Alumni ASSOCiation, "Teacher of the
Year". Hale Woodruff has had a long and
productive career. HIS pamtmgs and
pnnts have been widely exhibited and are
In many Important museums and
collections He will be honored by a
retrospective exhibition thiS spring m Ihe
Studio Museum m Harlem. In " A ncestral
Memory" m thiS exhibition lent by the
Detroit Institute of Arts. the artlsl"s abil ity
to combme motifs from Afncan tnbal art
III an expressive contemporary palllllllg
forma l is shown.
Hale A. Woodruff
212
Born in 1900 in Cairo, Illinois. His early art
study was secured at the John Herron A rt
Institute and the Fogg Art Museum at
Harvard University. Alter a Harmon
Foundation award 01 $100 in 1927 and
with additional help from Otto Kahn, he
was able to study at art academies in Pans
lor lour years. He went to Atlanta
UniverSity in 1931 as art director. In the
summer of 1936, he studied mural
painting in Mexico under Diego Rivera
Hale Woodruff began the Atlanta
University Annual exhibitions in 1942
These ran until 1970 and provided Ihe
major showcase in the South where AfroAmerican artists could display and assess
th eir ta lent. While teach ing in A tla nta a
number of the young artists he taught
went on to achieve national recognition
During this period he developed a lively
technique for tinocut prints, an example
of which, "View of Atlanta ". is in Black
Artists/South. Hale Woodruff became a
major mural painter. His series on the
"Amis tad Mutiny" and the "Building Of
Talladega College" are in the Savery
Library m that institution. His mural of
" The Negro in California History" in the
"
219
..
Doris W. Woo dson
Born in 1929 in Richmond, Virginia. S~e
receIVed a B.A. degree from Xavier
University. New Or.le~ns. and an M .F.A.
(1969) from Virgm.l~ Commonwealth
UnIVersity, with addlhonal study .Ih~r~.
She has been on the art faculty.of Virginia
'.,
Slate College, petersburg: since 1969,
and haS also served as dlrect.or of the
Meredith Art Gallery. H~r p~m~l~gs ha~e
been shown extensively In Virginia an,d In
several other slales and have receIVed
more than 20 awards in Ihese shows.
Some of her figurative ~aintings afe
ethnic because of the subjects. Others,
like " New Beginnings" in the exhibition,
pose questions of identity and concern
for the luture that is a common
denominator of adolescence
Nonobjec t ive construc t ions represe~t
anoth er direction in the work 01 DoriS
Woodson. "Beauty is ... Composi tion", in
the exhibition, is an exampte of her three
dimensional wh ite surfaces with organic
shapes wh ich do not remain static but
change forms and tones as the light
varies.
!-ll":
,.
Charles A. Young, Jr.
Born in 1930 in New York City. Study at
Hampton Institute (B.S.). New York
University (M. A., 1959), with addi tional
study at Catholic universi ty o f America
(painting and print-making) and Bowie
State College (African History). Alter
teaching in New Jersey public schools. he
taught art lor eighl years at Fayetteville
(N.C.) State University and Tennessee A.
& I. University. Since 1968 he has been at
Federal Ci ty College, Washington,
D.C. where he is chairman of th e art
department. His travel in Europe. the
Caribbean, Central and South America
and Africa, have provided subject matter
lor painting and prints. One-artist shows
have been held in North Carolina.
Tennessee. and Washington. D.C. Since
1951 his work has been included in a
number 01 group shows in the South and
East Some of his paintings involve a
mosaic panern of color with a collage
effect. producing a lively surface. His
1974 oil painting, " Faces Encased" is
subjec t to as many interpretations as
there are viewers: " roots ", family,
teaChers. et cetera. Such a paintlOg has a
~Ultl-level universality of possible viewer
Idenllflcatlons.
Kenneth V. Young
Born in 1933 in lOUisville. Kentucky. He
received a B.S. degree Irom the University
of LouiSVille 10 1962. He studied With a
number of distinguished teachers at the
University of Louisville and at the
University of Indiana, the University of
Hawaii, and at the Bavarian Fine Arts
Institute. Pro fessional apPOintments
incl ude eXhibi ts deSigner With the
Nat ional COllection o f Fine Arts. His list of
numerous one-artist shows between 1960
and the present include the UniverSity of
Louisville. the Franz Bader Gallery. the
Corcoran Gallery, Gallery K. and Fisk
Un ivers ity. His paintings and prints have
been shown in many group eXhibits in
Washington. the South, the Midwest, the
East, and in Paris. France. Among
collections holding his work are the
National Collection of Fine Arts. the
Corcoran Gallery. and the Johnson
Publications Collection. "Peacock No. 1'",
lent by Gallery K. Washington, D.C .. is a
large (96" high) abstract painting in
acrylics. The paintmg process involves
colors placed on a raw canvas and
manipulated with a brush andl or sponge.
The edges of the color areas and the
spaces be tween them are especially
important to the artist. Theword "Vibrant"
is an ap t description of Young'S pamtings.
Milton Young
Born in 1935 in Houston, Texas. Studied:
Los Angeles City College (A.A.). and
California State UniverSity, Los Angeles
( B . A .. 1961-64 ; 1965-61). Work
experience: Los Ange les Co unty Museum
51
»
of Art (1965-66). Art craft '1966--f!7). and
smce 1967, Exhibit Coordinator at
U.C.LA Hehascoord inated morethan 35
exhibitions installed in the Frederick S
Wight Art Gallery of U.C.LA Travel
between 1956-1977: Europe, Mexico, and
Canada The artist has had !ourone-art lst
shows In California His paint,ngs and
sculpture have been included ina number
of group shows, most of them in Los
Angeles (1960-76) . He has completed two
mural prOjects. HIS colorful 1975 acrylic
paintlOg in the exhibition, " Black Bird in
Af rica ", depicts a black bird a9ainst the
proli Ie of West Africa. 01 Course thiS IS just
the beginning of a search for meaning 10
the compOSition. The artist believes hiS
paint lOgs advance visual opinions that
contradict each other. He has said. " If you
do not see these thmgs as a viewer, then
work on It. I am" Many artists would
endorse thiS point of view.
"
-CA\TAllOGUIE
C,A\ lr,A\ IL OGUE
A~SWIPtu ..
j
r""" FIg'''''' M-', .1Id ',m.lt,
,",
Yo.ub.,
H~·n.d
'lJoo6. 10'~ .nd 81+ (heIght)
2 h~ Mo"~." M.d, M.II, nd
Wood. 15'~ (height)
Lent by Toug'loO College
"OI'f Co.. t, n.d.
• AnI"..1 Mud, Sen"fo, ' oo'Y Co.. r, n.d .
Wood. III (height)
Lent by TougalOO Colleoge
N~ro
28 U" ....plo'men~ 1976
AcrylIC, 36 .. 24
lent by lhe ~rt<$1
29 A Slieni Se, ...... 1969
Inlegho, 34 ~ 2.
lenl by lhe '''<51
Emma nuel V, A. ih ....
Arthur C.rraway
17. Prep erl"'1an Aftlea" Mo.', 1978
0<1, 22'~ .. 15%
Lent by lhe artisl
30. AncienllllOlhl,/Ancienl Fllher, 1976-77
Gouache, Collage. and PencIl on Paper. 40 .. 26
lenl by the a"<SI
Alehmond B,nhe
H. AI.ton
5 ',mlly, 1955
0, 1. 46¥, x :>51'0
Collection 01 the Whilney Mu"um 01 American Art,
New York, Artll'. ,nd Students Aulst.ne, Fund
6. TIl.
Arthur L B.III, Sr
W... dtll T. 8roob
16. V..e, 1970
Stoneware, 24 (he;ghl)
lenl by F<sk Unr.ers<ly
woo:o;l.15(lMIig h1)
lent by TougalOO College
Ch'~"
I~O'S
IS. Corered J .., 1970
Sloneware. 19 (he<ght)
lent by Fisk Unive,s<ty
L.... t by TougalOO Colleg.
3. 0"":_ M.,~, Gil"'.
I. Woman W/lh Kltch'el,
Tetra colta
lent by AUanta Unr.ers<1y
In C,IIIOIm. HI,'ory:
~1Ip10'.tJO"
.1Id
Colo"Iz.//on,I9-t9
~u,,1 in Golden St,te Mu1ual life !"'Urlnc. Co
Home Oll,et BuHding. Lot Angel", 11114 ~ 197
Photo reproOuclion 01 origln.1 mu,,)
Courtesy 01 Golden SI.t.
1 L,t. ",.ur,nce
1.4"' ....
"""~'"
Frl'dtl'kk C. ..... Ion. Sr.
1 NObody Know, Ih, T,.,.,"", /\<,
S"", 1916
001. 30. 2'
lent by the .rl,S'
a. NIc~,, 1977
18. Th, B/.ckberry Wom,n. 1932
Bronze. 34 .. 11 'h .. 14
lent by Ihe Wh ilney Museum 0 1 Arne "can ""'. New
York
31. Ro .... 1929
Drawing, ca 4 .. 9 '~
lent by TuS~t!9ee Inslllule Nauonal HISlone Slle
Yoonne P.,k. C.,chlngs
19, JeIU., n,d
Bronze, 20 (height)
lent by Heritage Gallery. LOI Angeles
32 Blaeh TflppHl'n '''' City, t973
Acryhe 11'1<1 Collage. 50 .. 40
Lent by Irle art<sl
Rom . " Bearde n
20. Carolina Blue, n.d
Screenp,int Cottallf!, 24 .. 18
lenl by North Carohna Museum 01 Art. Museum
Purchase Fund
21. S"n and CredS., 1971
Collage and Pamhng . 18101. .. 12%
lent by Tougaloo College
33 The Black Wo,...n Spo.h, 1970
Spln<51'! Cedlr, 16 (hl!lghl)
l ... , by Prot and Mrs David C Driskell
34 Targll Pflcllce, 1970
Bronze. 13' ~ (1I4I1ghl)
Lenl by Alron DougllS COlle<:uon, ReligIOUS
Commun<"es lor the Arts
22. Unlit/ed, C8, 1973
Color Etching. 28 .. 30
Lenl by Fisk Unive~ly
35 Lo.ey '..-ICI, nd
Lunograpn. 16 • 21
lenl by Alabam. A. & M Unlversny Art Departmenl
Engf • .,ng and .ilk te'Mn, 26 x 30""
Lent by the e"iSl
He rman Beliley
9 U",lIIed, n.d
Serigraph, 27\10 ~ 2711.
lent by Arkansas .11"1 o.nler
23. BIrth
36 Sh.r<tCropper. n d
l<nocul. 18 .. 16
Lenl by Dr and Mrs ClIl10n Pearson
10. Unlllled, n.d
JOhn 8lgge ..
37 The Burden, 1978
24 . Th,o. Klnfll, Ghana, '951
Conle' Crayon. 40 .. 60
lent by Ihe artist
Acryhc. 36 ~ 24
Lenl by lhe artlsi
25. Conlrlbullon of N-'JI'O Woma " 10 Ametlean We
a"" Edw;atlon, 1953
Mural In Blue Triangle Branch YWCA. Hou$lon.
Texas, 96 .. 288
PhOIO reproduction original murat
Coutesy ollhe artist
38 Illy Church. 1946
0<1 on 8o"d. 20 '~ . 37'.
L."tby IllearllSI
Etching, 18 .. '3
len' by Tougatoo Co llege
M63 ~, 1977
CeramiC. 9 (heighl)
lenl by the arllSl
Don Clneone
WIHlem AI'I<I ...on
11 ""'IOtll, Me", ' 965
WOOd (Lignum V<tae), ()lief III. Jize
Lent by Or &. Mrs. Robert H, HlrvtOy, Knoxv<tte
BflI"y Andr...
12. Your Ad H_, 1978
Oot &. CoItege, 30~ 19
Lent by the ..... ,
WlllomE. ArtIo
13
"'Ie,..... n.d
r
Teo- ac01te. 10 (height)
Lenl by The NQ<1h C ..ot<nl Museum 01 Art
G<h ot the Nationat Endowmenl lor lhe Ani and the
NDr1h C •• otina Ar1 s.xte1y
Claude Clari<
CI.ucll Lockh,,1 Clerk
39 Ace, 1970
B.lIy 81aylon
Fell Blush and Ink 11',..
L"" by lhe "US!
26 Emergenl FortH, 1973
Color Etctung, 12 ~ 16
lenl by Tougaloo College
Benny Cole
40 Fu ..... ' w~n and Colt/n /0. Dr. Martin lul_
~~ ~:~ M..ed Med, "
Shlrle, Bolton
21 Opu_I, 1974
AlrDo'ush. 18 .. 26
Lenl by Ihe arllst
22'~
11 (""'ghl) ' 40 (wl(l1n ) " 19
(dePlh )
lenl by Prol ROC""" POpe
"
70 Repllc, PI."" C.II o f Georg e W•• II/nglo"
e.IVI'
8 00'" T. WIlII/"II /o" Memo ,I., H. II
DOll., of IjSI, 1951
PiaSTer 8' Id,ame'er)
lent by ISaac Hathaway SIU"'O
M.rlon A. Eplin9
."d
56 Mlr.O, 1978
In18911O. 20 • 17
lent by!he artISI
Acryl,c, 80 ~ 202
lenl by lhe .rl,11
11 Repllc. P I,,/a ' e."
51 K.Oa. 1978
Intagho. 24 • 20
lent by the ,rl,SI
G, C. CO"
0", 60 ~ 40
lenl by F'5~ Un,ve'SI'y
o f Booh r
r.
Burlo<d E. Eunl
E....... tCrlcltlo ..
.t3 O.y OrHml, 1973
Etch,ng. 11 "" .9
len' by Toug.'oo CoUege
E. rn, "t J. O.vldlOn
44 Croucll.., 1972
Aluminum , 30 (heighl)
lent by Mrl . Hazel Un'on
58 My SO". /Illy Son, 1969
011 on Muon"e Panal. 48.36
Lent by Or and Mrs ArItlur H'9\l1
Minnie Ew.nl
p,,*.NI '" Yo r*, 1975
61. Four Ulland. Women. 1968
Lilho Crayon and Wash, 20
lent by Ihe art ist
~
30
J.m.. O. nm"k
47, TIN F. mlly." d.
S<!rill"ph. 23. 25""
lent by lhe art'"
MUrry N . O. PMt . ..
48, Aunt J . mlm• . 1969
Ink on P.pe' . 38 x 32'"
lenl by lhe .rl,11
Haywlrd R. OlnlmO< ' Sr.
49 8enl" W.rrlo" n d
A,sembl,ge (Foond Obj..::t,). 22 x 15
lenl by lhe an,,,
SO. MII~. 1912
Assemblage (Found Objecl5)
lent by ,he .n"t
Jelt R, Don.ldlon
51 Vldory /" Va" , y of E. llu. 1971
S e rill"p h, 3S • 26
len, by the arhSI
A..on Ooull'"
52 . 8ulldlflll MOrl St.f, 1y M.",'onl, 1944
0,1.54 x 42
lenl by F,sk Un,versilY
53. Glorla. 1969
16 x 14
lent by Prot .nd Mrs Gregory 0 Ridl.." , Jr
PI" ,,, e.1I 01 BUI '
W.,IIlng/o" C,IV" ('" ""n,alure), n"
Plasle<. 12 (f)e'ghl)
Le'" oy
H.maway Stu",o
of
'""lie
GIO'II'
,.. ..
,~
,."
13 And'OfIY"" 1975
AcryliC. 48.48
lenlt;Jy IMllt,S1
All red Hlnlon
60 MoIlle' a"d Clllld, Nlgerl•. n,d
In~ . 26 Yi x 14'';
lenl by Fisk Uni""SIly
45. y".,nlllldy, 1975
28 x 23
len! by lhe .rtisl
72 Repllc.
Wilb ur H.ynle
59 /III, V.,y Flrsl. My SKOnd. t935
Ink Ofaw,ng. 11"".7',"
lenl by lhe Wh lmey Museum 01 Ama"can Art, New
York GIft 01 Dorothea M and lsa"ore S,lverman
Ellon C. F ••
Ja..pII 0 . 1. ... '
46 Wll lllnllfo" SquIrt
Oil , 12x 17
len ' by 'he arti$l
o f Bud
W..lling/o" lIn m,n,ahl!e). n d
Pla"e< 12 (helg~')
lenl by ISaac Hamaway StudIO
62. Oeleled.
74 Imp" I Ofled L. nd. c.pe, 1975
MIX '" Ac ryhc, Melal , Fabroc , 48 . 40
Len l by lhe ari iSi
F."nl. l. Holm.n
75 M •• k. nd
Weaving . 38 • 28
lent by tha arllSI
E. rl J, Hook.
76 /III " "nal F.mlly. n d
S. mGilll.m
f."
63, No. , 01
S.,htl, n d
Watercolor on R,ce Papa', 21 ''; . 19'';
lenl by tf)e M,sslsslpp' Museum 01 Art
Ceo-am,c. 16. 10 x 5
lenl by PrOI and MIS Oav'" C Droskell
77 FII/"'r . nd CII' ldrln, n,d
Ce,.mlc
lent by P'ol .nd Mrs Ted Jones
Euge'" Grlglby , J •.
64 S.lnt. . nd 51"" .... n.d
Oil , 48.30
lenl by Ihe anisl
65, AlII" n Journ.y: Tile 8r1dge, 1977
Serig.aph. 23 • 35
lent by the artlsi
18. Fem.'e Form, 1975
C$famic (o<.nge)
Lent by M, .nd MIS Oeb.. ry
79 Fem"e Fo,m, 1968
Ceram,c (bl ack) . 32"2
len' by lhe arl,51
80, Cu,,,nt Forml, 1972
CeramiC, 16 (MIght)
lenl by Fisk UnivelSl1y
Robert C, H.II
66 Ch.If.I>OOIl" 1976
Oil. 31 . 35
lenl by Ihe ".Iist
81 F,ull Fo,m •. 1965
Ceram,c, 14 • t6
lenl by Fis k Univers it y
Phillip J . H.mpton
81. Firl Jive Fly, 1974
Rhoplex acrylic/D, cron, lB. 18
lenT by the artisl
JOhn M. How.,d
82 Girl Willi VlolI", 1961
0,1,45''; • 43 h
lent by the an'SI
J .... Paul Hubb .. d
68. Deleted .
83 G'and. lite, 1968
AcryhC. 36.48
lenl by the .,lISt
O ..i d C. Orlllt..1
IIIK S. H. 'h . ... y
54 a lllno W.II, 1912
CoUaga.nd MIxed Med" , 39 x 35_
lent by B"m,ngh.m Museum 01 An
69 Rap/lea PI" /,, C. " 0/ BOO~., T. W" IIlnll/on
"', mollal H.II Oollar 011!lot6. 1946
Pili'... 8''; (d,ameler)
lenl by Isaac Hathaw.y Sludoo
WiUI.m UmoncllOn
55. E... , n.d
limeslo .... 32 (height)
Tennessee BollnlCal Garden •• nd F,na Artl Canlar.
Chaak.. ood, Gift 01 M... A1frl'd SlIrr
60
E...... II ... R.lne y Hull
84 Mado""" nd Clllld. n d
MIXed MedII. 90 • 48
Lanl by lhe .n,SI
McK,ss,c~
."
....
"
.
.
"
>
•
-
l ola M.ilou Jane.
J.",p$, H ut1
85
QU,., lor Know/.d"•.
n
d
~01,60.4(/
LefI! by tile ,,"51
CIe".,..,Une Hun' ..
86 U"cI. To",', Land, ca 1969
()oj on Canoas Panel. 16" 20
byllle Cowntown Gallery. New Orleans
tefl!
H.nri linton
99 Mo .... MuquI, 1911
Acrylic Collage. 41 • 29
lent by the ~rtlSt
114 A ....rlc ... Fora.e,. 1971
0 ,1On Maso'Ht e , 48 .. 35
l e nl by M,s Hazel l ,nton
100. Panora"'a 01 GraUl, Franel. 1952
011 . 22 x 26
Lent by Ihe an,st
TedJ .... es
Oscar l 09.n
87 CaM Rift, W~d/n", 19601
011 on Ganvas Panel, lI t. • 18~.
lent by111e ()()wntown Gallery. New Orleans
101. 8 0y Hokllng P lgflOn, nd
Wood (walnut). 30 (heIght)
lent by the art,st
88. 8.pl/mo, n.d
102 In I,.,. S plrll 0/ My "' neulor •. n d
Wood. 88 x 12
lent by Ihe artlsl
0.1 on Board . 15" 25
ll!fl' by FIsk Uni~,slty
A. 8 .
J.ck....,
89 /110",1"11 Du ly (porch PeOple Series). 1977
MIxed Medi •• 60" 60
103 8 11ro. 1978
CuI Masonile Prin!. 44 x 24
lenl by Ihe artlSI
lMlby the •• I,s \
J a ck Jordan
Wilma , J ennings
104, Ghetlo Fa",lIy. n.d.
B.onle. 34 (height)
Lent by the arTiSI
90 s rlll Wa, 1935-43
Woodcut, 13\'0" 11
Lent by the New. rk Museum of Ar,
8 111 Joh nlon
91 WOIlIld.-/,1970
lIS AIo_.I968
0 ,,- 58 ' .. 45
lent by the Atlanl. Unlvl!r$<ty
116. No Mo. 1975
M'.ed Med, • . 12 x 60'"
lenl by lhe artIst
117 Unlll~.1975
Alum,num , 36 (hf!'l9hl )
lem by Ihe 8'11St
J .... lOti
118. Slrnwof1l11pP4Ir, 1911
Const'lrction, Wllh Found ObjeclS. Wire and Glas.
32 x 30 .. e
Lent by An " H~"lhas, RobInson Gallery, Houston
Nina l ove lltCl
119 Ebony Man - Gnldan Woman. 1978
WaterCOlor, two panels, eaCh 25 .. 46
Len l by lhe arllS!
J l mes Kenne dy
105 A/rle,m Serle. I, n.d
Acrylic. 48 .. 60
Lenl by the art,st
Elmwood. 72 (!leigh!)
Edward McCI\lney
120 lady I" Sink Slocklng •• 1971
Elchlng. 20 x 13
le"t by Tougaloo College
Lent by rhe anoll
106. De le led .
H.,...y L. JohnlOn
92 TIN H.,.. •• t 1978
Lithograph. 21 Ii " 27
lent by the 'r!,SI
93 E,mI•. 1934
0,1.
121 Wom.n al Body/Spirit o/Cosmk: Woma "," d
Acrylic, 60 .. 37
Lenl by the artist
Simmle l . Kn ox
15'~ " 13 ~.
len! by Allant.
Phillip lInd.ay Mason
Virginia J.ck ..... Klah
107 G,.,."o Boy. 1940
Oil, 28t ... 28*
lent by the artlsl
Uni~'slty
WI"'.", H. J o h"IOn
94 GOo'" " 10 CII.m:h. CI 1950
$,ll:.sc'een
Lent by Fisk Uno •• rlilY
JOlhu a John. lon
122 Port..If of Nephew_ 1918
0,1 on Canvas Boa,d. 24 x 18
lenl by lhe .nrsl
108. Rell ..",enl. 1976
Acryhc. ca. 72 x 72
Lent by the art,sl
Law rence C ompton Kolawole
Gtady G ..II.ld 1.111"
123 Sf<;urlfy, 1974-15
In ~, 20 x 16 (h~med)
Lent by the a" ..1
109 Sun - 4, 1977
Oil. 32 .. 26
Lent by Ihe ar\ISI
95 /tI " BayIG" e. 1810
0".
nt."
19 ~.
Lent by Ihe Nal ional GaUery o f Ar!. Washinglon, O.C
G,1t of Edgar W,lham and Bernice Chrysler Garb,seh
WiUi.m E, John.lon
96 Unllll~, 1977-78
MIxed Med" , 54 x 36
lent by the artISt
J.mnE.tw.rdJ ......
91. £1,.,." 1978
EtChing and Aqua!!nt, 8 x 8 (plale)
lent by lhe ani"
l_,ence A, JOf\H
96 The ''''agol, 1911
AcrylIC, 45 .. 36
lent by Tougaloo CQII~
Jean Lacy
110 Noah No. J, 1977
Collage/ AcrylIc On Masonite. 21 x 25
Lenl by Ihe artIst
larry F. lebby
III Pro/eel New Day (A Tflbute 10 All Collectl"e
Black Views). 1978
lltt>ograph . 221; x 1810
lent by the arllS!
Hughie lee-Smith
lenl by the a.115\
l • • MUll
125 M.,ry Chri.'mas. 1972
Photo Elchmg. 30 x 23
l enl by the arl lst
Clinard Mitchell
126 Aulum" Haw £ngl.nd. 1967
Wale,calOf. 32 .42
l e,,1 by Ine , ,1 151
112. J azz Concartl Ouke', Them .. n d
011 . 28 .. 28
l e nt by lawrence HIlton
Corinna Mitchel
SameUa l e ....1s
127 CMI Rig"" "'atC" 11,1961.05
0'1,62 . 78
l8fl1 by lhe .rtlst
113 Oul ola Oa,k and Glo,lou, Pul. 1914
0 ,,- 52 .. 33
len t by the 8"ISt
61
SI.t •• GertnMl' Mcni'n
128. Je." .. I Lo ... YOII , t970
"'cryllC and tnk, 13.15
Lent by tl'le "'rk..,UI ... rts Center
J;mmle Mo..t~
ProlalL CII 196(1"
WalercolO •. 171,:< 24'.
Len! by "'ttanta Un,vers,ty
129
.... ctdwld J. Motle" J •.
130 /IIIandlng SocU. 1924
0,1.43';".0
Lent by the Nortl'l Ca.oIina Museum 01 ... n
Olto N.'"
131 lI1,', \/"",. 1977
Mapkl wood
Lent by the artist
132 J''''9Ie /IIIeglc, t972
Collograph
Lent by Ihe artISt
Trudell Mtmm .
O~,
Roberl R, ld
Cllflon purson
141. p, rly GI,1. 1978
Sioneware. sail glaze. 3(1 lhe,gl'll)
Lonl by the art,SI
142 Celebr.'ed Led,. 1978
Stoneware..... It gtaze. 32 (1\8191'11)
Lonl by Ih" art,st
156 FIg"re 0" /h' 8.Kh, 1975
0,1.48 x 36
L""t Dy Falf ...",th"r·H.'d,n Gallery. Chicago
LltOn Ren/ro
S,.d C"""",
157 Shrln, 0 1
n.d.
Pon and Ink. Colorod Penc,l. 23 '11 :< 30
L .... t by the I.t,st
143. Celeb.. ,ed Je"" .. 1919
Stoneware. 30 (h",g/'lt)
Lont by l/'Ie art,st
144 Tm.. Faced Je"" .. 1973
Sioneware. salt glaze. 23 (heighl)
Lon! by the artosl
145. Th,ee 810wII , .. d Formed Ch,'Ic ... n.d
Glass. 8\10. H'•. and 9 (height)
Lenl by the art,sl
John W. Rhoden
,.o
158. t lllh (R" ..
Bronze. 24 x 18
L"nl by th" ani$t
SPK' Dog). 1958
159 Dedk, led P"b/Ie 5..,.,.01. n.d
Bronze
L""t by the art'"
160. Fem,'e Fig"". n,d
WOod. 29 (h"ighl)
L"nt by Atlanta University
Marion Perltln .
146. TIN /III",leilln. c a. 1950
L,mestone. 16';' (height)
Lent by P,o!. and Mrs. Ea,1 J , Hooks
Harper T.enholm Phillip.
JOhn T. Riddl e. Jr .
181, Une"dlng "hythm. 01 Humll" E.I"enc". 1977
Acrylic and Collage On Canvas. 48:< 36
Lent by Commiss,on(lr and M ~ , Michael Loma.
133. /IIIy,'Jeel Woma". 1975
O,t. 30 x 20
Lent by the artl,t
147 Hllrlem Cursorln" ... 1978·79
Construclion: Acrylic on Canvas. ,nd Wood, 42.60
Lent by the anis!
Ha ,wlfd L. Oubr,
Raborl Piau.
134 Tribal Chlenen. n.d
Wire. 25 (he,ght):< 8 (width)
Lent by lhe art,.t
148, Herriet T"bmI ... 1951
Oit. 1214~ 9lIo
National Po"rait Ga''''ry. Smithsonian In.1itulion.
Washington. D.C
163 G.lty.bulll, n.d
Co~. rehe!. 24 :< 36
Lonl by the anist
John Wilt.ad Outtefbri.
SIeph",1e Pogue
Haywood (81_) Rive ..
135, U,,1II1ed {"hnle doll}. 1977
M,xl!'d MI!'d". 40 (height)
Lent by Mr and Mrs John Witf.ed Ounerbridge
149. A"_Il"e. n.d.
Etching (color vncos,ty). 151+ x 22"
Lonl by tho afllst
164 Op. 1965
0,1.49 '11 x 35
Lent by lhe .. tlsi
JoeO ..... t . . .1
ISO. See Sionn, 1978
Elchong (colar ";sCO$ily). IS'll x 2210'.
Lent by lhe arlist
136, U,,1I1t.d. n.d
"'crytic on Shaped CanvlI. 44 • 84
Lent by TougalOO College
Rod.rlck Ow.".
137. Second T.. nf/o.m.tlo ... n,d.
Etcl'llng, 19 • 2O~ (Iramed)
Lent by the a rtist
151. "-..011 ', "'eedow. 1977
Etching (color). 11 'II ~ 1510'.
Lent by the anist
Gregory O. Ridle y. Jr.
162 F,m/ly. 1977
Elm wood . 36 (h"ighl) • 24 (diameter)
L"nl by the artist
Arlhu. ROM. 5 •.
165 DOli O"lIrole. 1969
Steel.36 . 18 x 15
Len l by the artist
John T. Scott
152. HU, Me, dow. n.d
Etching (colo,). 16 ~ 20
Lent by the artist
166, RII"" Milk. n.d.
Bronz". 7 ~ 3';'
Lent by the arlls!
P. H. Polk
167. So,,'h AI,lce" Shoollog G, II",y, n,d.
B,onze. 12.141+
Lent Dy tho artist
Wltll, m E. Paj aud
138, The W. ka I. I".",enc. PolIcy. 1977
Oil. 49.60
Lent by lh" an ,st
Curti. p,nerson
139 /IIIodil/o. T.a,,111 51111011 Se"lplu,..
" ,"
(Sculptu.e prOlecl planned torCorl"n StHI. 60'.3(1')
Lenl by tho ,nOSI
1.0. H.O.W. end PIg/.,I. 'flj ' AI, (... mirro< i.... ge).
1969-75
Wood and Plul"r. CII. 18 (helghl)
Lent by tho ani,1
153. G""Ille Wood. nd
Photograph. 10 x 8
L"nt by th" art,st
(Other photographs not listod. but in<;tudod In
exh'bihon)
168
R~"lem
",
Cl$t Pape,.
/0, SI"va Sileo (Targ,,'" 2) No. II.
3O'~ x
18
Lent by tho Irtist
Nancy Ellubeth Prophet
154 Congol,I.., 1931
Wood. ISh x 7" x 7'11
Lenl by t/'le Whitney Museum 01 Americ,n A.t. New
York
169 IC.,,, • . 0 d .
Woodcut. 151+ x 23 '11
Lenl by Fi5k Unovers,1y
Thomas Slit.
RO II(:~
C. Redeli.
155. SY"COPtlted Pette ... In Two /111./0. /IIIo ...... n/•.
1976
Lent by lhe afllst
62
170 Alte PI." .. 1956
34 x 49
Lenl by tho ""5t
200 Lo •• L' '''T, 1971
Lithograph. 32 x 24
Len! by Hema!!!! Gallery. los Angeles
urn 01 Art
',.
201 SOj(wm . , Trulll . nd Boohr T. WIshing/on,
1943
WOIt! Pene.' on Paper. 30 x 20
len! by 1I'Ie Nl!wa,~ Museum 01 An
Ink on C8r(looard. 21', x 29 •
Lent I)y the Wn,t ney Museum at Ame<lcan Afl. New
York
203 ' S olill AI ' ROCk. 1959
Siock pnnt, 40 x 18'.
Len t by Allinla UnIversity
s <" pel ,nd
204 81~~ Am. rlc. ,,", Conl,lbullon to Damocl'llcy.
1943
Mu.a' 12' x 18
Photo '''P'OduChon 01 lne 0"9,nal mural
Courtesy 01 Hampton Inst,'ule
,
...
,"",
"
27 x 22
J UII. Whirehud
205 Sail Po",..III" Cap and Go ...n, 1976
Acry lIC, 53' , x
53- ~
Len t by t he art ist
Claudl s Wld ellu
206 Loe. 01 A~I. 1978
Steel and Marble. 34 x 25 x 24
Lent by the .rtlSl
"
Chn 'e, Williams
207 Un/jtlad. n d
Welded. Pa,nled Steel. Wood, 33 x 14 x 6
lent by the
afHSl
1979
We Ue. J . Williaml. Jr.
208 rM Wlrm .... 1967
Paslel. 18" 24
LenlDy lhe arl ,SI
WlI1lam T. William .
",
209 Do You Think A h 8 . 1969
0,'.60 " 84
Lenl Dy F,sk Urroversny
Ed Wili on
• • n.d
210 808rd 01 Dlreclors. 1969
Bronze and Chrome Plaled Sleel. 16 Ihe'ghl). 34
(Ienglh) x 16 (w,dth)
Lenl Dy Ihe enoSI
,,.,
Counly Museum 01 Ar1. Los
ElliS Wilso n
211 To Ma rhl, nd
0,1 on Panel . 23 x 26
lenl Dy North Carol,na Museum of Arl. Spec,al G,lt
'"~
Ewerell l . Winrow
ler)
",
I Center PurChased wolh
ctoon and lhe Nat,ooal
a Federal Agency
,3
212 IJnlllt.<l. t978
Etchrng. 24 " t8
LentDy tl>e amS!
ViOl. Wood
213 Fun.ral Form. n d
Ceramoc Wall P,ece
lenl Dr I he art,st
111 Moon Dream. 1960
011.500 0 500
Lent Dy FIsk UnlYfl'wy
188 COllly.,d, 1935 -43
Lithograph, 10'•• 14',
Lent by the Newark Museum Of A'I
C.rroll H . Slmm ,
172 Wu . .... 1948
aronle.23 • 9 x 4
Lent Dy the anosl
Do. Thr.s h
~50/.,..,,,., T,uth
Leo F. Tw igg,
•
113 Prop/tflland Son. 19<19
"merlcan Black Wllnut WOOd. 30.6'.•• 8
lent by the IIrt,st
Je_1 Woodard Simon
114 r/tfl E.rly Bird., n d
011. 30 x 24
l..ntbytl!elrtlst
175, The Tu.1 Prince .., n d
Plasler, 19Ihelg"l)
L..nl by the a.llst
MerIon O. Simpton
176. F/guIII.c.pe No. 19, 1977-78
Acry he and Oil. 60 • 12
Lenl by lhe a 'l lst
202 Pl/llleher. 1952
~:~: by lhe WhItney Museum 01 Am8l'ocan
H.,ry Yital
203 -Solid A, • "OCt, 1959
B~~ pllnl. 4{). 16',
lent by Atlant. Unr""r'IIy
~:3 BI.d A ....,I<:.n·. Contribution I.. D.mac,.cy,
la,ry Wal ke,
Mural. 12'.18
PhOIO 'eprOductlon 01 Ille 0"9'nal mural
CourteSy 01 Hampton InSlI1ute
190 One Call Doe./I, 1976
0,1 On Illust ratIon Board. 27 x 22
Lenl by the ar".t
J ...... Tanne'
180 Alnhlp II. 1971
Glass. 12. 7 . 5
Lef1lby IMan,st
181 Onc •• Day. 1974
CeramIC, 13. 8'~ . 9
lent by the a rt lS1
Aim. Thom ll.
182. F/owe,'al Jellll"on Memo,"', 1970
AcrylIC, 60. 50
Lent by FISk Un,"ersity
Elaine F,eeman Thom..
163 T/tfl F, mlly. 1970
0<1.32. 26
lent by 1he artlSl
Bob Thompo.on
UU Judg .... nl 0/ PII,I., 1954
011.74. 58
Lent by lhe Manhll Jackson Gallery. New York
...... Totl i....
185 F' ,mY"d, n d
Otl. 24. 30
lent by Jay Johnson. Am&flea', Folk Hernltge Gallery
192. Widow Woman. 1950's
011. 29 x 21'~
Lent by Atlanta Un,verSlty
AcryhC. 53' . • 53'·,
Lent by 1M art lS1
Claudl, Wkldlll
206 lact 01 All'" 1978
Steel and Marble. 34 . 25. 24
Lenl by lhe IIrtl51
207 Untitifld. n d
Wikle!!. Parnted Sleel. Wood. 33 x 14 • 6
lenl by the arllSI
Clition G. Webb
193. 50u.e";, G,ls -G,". 1979
MIXed Med,a. 22.30
Lenl by the artlSl
W.ltt,J. Willlaml.J'.
208 TIN Winne,., 19tH
James l unne Weill
P.slel. 18 • 24
Lenl by tM
t
194 SainI Anthony. 1965
Wood EngraVIng. 29' •• 20',
len t by the afllSt
WIlliam T. Will!.m.
195 Bus Stop al Ghana, n.d
Linocut, 50 . 24
Lent by the art,,,
196, Jonah and Ih e Whale, n.d
Wood Engraving. 15 xI I
Lent by the arllst
.n ..
209 Do " ..11 Th/n~ A I. B. 1969
011.60,64
Lent by FIsk Un .. e,.,ty
Ed Wil,on
210 SOlid 01 Dlllclor., 1969
B,onze and Ch'ome Plated Steel. 16 IMlght). 34
(length). 18lwldth)
lent Dy 1M ar1lS1
Edwa,d Weslon
197. William Edmond.on, 1941
Photograph. 8 x 10
Lent by Ihe Los Angeles County Museum of "rt. Los
Angeles
211 TaM,rhl, n.d
011 on Pane[, 23. 26
Lent by Nc"l0 C.,ollna Museum of Art, Spe<:I.1 Glfl
,,",
Amos White
198. Lunar Form. 1978
Stoneware. 6. 15 (dlamet8l')
Lent by the art,.t
lE.e ' lI11 L. Wln,ow
212 UnUlIlld. 1978
EIChrng. 24 • 18
lent Dy the a,llst
Charle. While
199 Chlld,e,, ', allmllS II, n.d
011 O,awlng. 54' , x 47',
Lent by lhe Arlcansas A,ts Center. Pu,chllsed Wll~
funds from Tabnz AuCllon and tne Nallonal
Endowmenl for the Ans. a Fec!efll Agency
6J
bz
J anie Whitehead
205 5.11 POrl,all/n Cap . fId Go ...n, 1976
James W. Washington. J,
Jamu Walkins
179 YOU"II Blae~ Arl/II. 1977
Acryhc, 48 • 30
Lenl by lhe a'llst
A,t New
189 Earth', Womb (I.ndseape), n d
0,1.24 . 32
lent by the artIst
171 Do./s, 1978
ClII,enu Talle y
In~ on Cl1dlXl.rd. 21', x 29 ,
188 MotlN, Image, n d
Balik palnllng. 34 • 21'1
Lenl by the art.st
PencIl. 23.15
L..nl by the IIrllst
178 T/tfl Caml.a/. 1958
0.1. 17'~ . 23'
lenl by Atlanta Un.ve~I'y
. nd 800t ... T. WUhlt>gton.
WOltt Pencrl on Paper. 30.20
Lent by lhe Newark Museum 01 Art
187 B/ue Wa ll, 1969
Sat,k painting. 22 x 28
Lent by the arl1S1
191 Study 01 Sell. 1976
Stone relIef. 19 x 14
Len t by Ihe 3rtlSt
Van E. SI.ler
200 Lo • • lillie ,. 1971
Ll1nogr",Ph. 32.24
lent by He",age Gallery, Los Angele s
213 Fun.,.1 Form. n d
Ceramrc W.II P,ece
lenl by tne ar'"l
2" F•• /,,..,/orm, nil
Getamlc
H ... Wooc!rult
215 ",,,c•• ,ra! Mlmo<y, 1966
0,1,60"" 52',
lenl by Ina Delro,'lnSI"u'e 01 Ans, G,l1 0 1 Ah,e.n A,'
G.ll e .... Comm,llee
216 Via"" 01 "'lInl., 1939
Unocul, 10 .. 8
lent by Tougatoo College
217. Tru.'y on. Mula, 1939
Linoeut. 8 .. 10
Lenl by Toug.loo Coli.
218. rIM H~ro In Cal/tomla HI.,OI1'S.",.", .... , and
O.oeIopmenl
Mu .. t in Golden State Mutuat Ute Insu..nc. CO.
Home Olliee Bu,lding, los Angeles. 1~9
9·3h" .. 16'5"
PtoOIO 'eproductlon 01 orig,nal mUfal
Courtesy 01 Golden SlaHl Mulua l Lite Insurance Co
55
Oorl. WoodlOn
H.""
219
Sfg'n,,'ng., 1978
0,1. 50 .. 47
lenl by tna ..",t
220 S .... ty I• . ,. Compcnll'rm, 1975
Ac .... he (Con$1rueloon). 36 .. 47
lent by tile .rtist
Ch.".. A. Young
221. F.c •• f"nc••Itd, 1974
0,1.56 .. 36
Lenl by llIe a ,t ,st
K. nn.lh Yo .. ng
222 P..cock ".1972
AC .... ,'C. 196 .. 48
l&lll by G.,H:o<y K (Kame, Wachi). Washington. 0 C
MiltOn YOU"9
'I'
223 Black Bird Alrlc., 1973
Ac<yl,e. 43 .. 32
lenl by'he artISt
"
"
IBILA\OK
A\IRlrll§lr§ / §OllJlriHI
DEDICATION
AARON DOUGLAS
MASTER ARTIST
1899 - 1979
This catalogue is dedicated to the memory 01 Aaron
Douglas. The title of his painting in this exhibition,
" Building More Stately Mansions", lent by the Fisk
Un iversity Art Department, which he made nationally
famous, epitomizes his unique contributions to art and
cu lture and ethnic understanding in America.
..
,
lB1LA\C1K A1RT11§T§ / §OUT1J-l1
By Ralph M. Hudson
Guest Curator
HUNTSVILLE MUSEUM OF ART
HUNTSVILLE, ALABAMA
-
...
Museum Board
Joyce Grillin, Chairman
L. Tennent Lee, Vice Chairman
Ruth Linde, Secretary
William Thomas. Treasurer
John E, Hoar
William L. Marks
Clifton Pearson
J. Ellis SparkS
Ernst Sluhlinger
DediC
Museum Staff
Carolyn H. Wood, Interim Director, Curator
Bruce E. Grant. Business Officer
Grace Eleazer, Registrar
Margaret Ausfeld, Curator of Education
Mary Shaughnessy, Assistant Educator
lois Phillips, Slide Technician
James Sanders, Preparator
Dominico Baratta , Assistant Preparator
Katherine Gates , Sales Gallery Manager
Audrey Lycan. Executive Secretary
Melanie Belew. Secretary/ Receptionist
Jack Patterson, Chief of Security
Sophye l. Young, Ubrarian
Diane Burkett, Bookkeeper
Lend
Ackr
ForE
91a<
Pro
April 1 • July 29, 1979
HUNTSVILLE MUSEUM OF ART
700 Monroe SI. SW, Huntsville, Al
35801
All rights reserved
COPYright c 1979 by the Hunts~ille Museum of Art
Library of Congress cataloglHl card number: l.C. 79-63689
Catalogue designed by Ralph M Hudson
Catalogue Printed by: Golden Rule
Photographs by Jim Ale~ander. Wilham Anderson, Oh~er Baker. E. trv lng
Bloomstrann. GeoUrey Clements, Gregg _Gels. Ralph M. Hudson Lloyd
~,:~g~I~~'~:;~:~~:sl~:Olk. Kathy MOrris, Josef Scayled. Aee~es StudiOS,
Ca
TAIBILlE OlF CONTIENT§
Page
Dedication
Museum Board and Staff
4
Lenders to the Exhibition
6
Acknowledgments
7
Foreword
8
Black Artists/ Black Art
... A Point of View
9
Prologue
11
The Artists
17
Catalogue
59
LENDERS
The following collectors. museums. gallerieS and
institut ions have generously len \ works to thi s
exhibition The mdlyidu al artist lenders are Ident ifi ed
separately In the biogra phiCal sket ches and In the
catalogue listmg
Pro fessor and M rs David C Ons kell
Dr and Mrs. Ro bert H. Harvey
Dr. and Mrs. Arthur H igg s
Mr. Larry Hilton
Pro fessor and Mrs. Earl J. Hoo ks
Professor and Mrs . Ted Jones
Mrs. Hazel Lmton
Commissioner and Mrs. Michael Lomax
Mr. and Mrs. Deberry McKissick.
Dr, Clifton Pearson
Mr. Richard Pope
Dr. and Mrs. W.J .A. Power
Professor and Mrs. Gregory Ridley
Aaron Douglas Collection , Religious Communities for
for the Arts, New York.
Alabama A. & M . University, Art Department.Normal
America's Folk. Heritage Gallery (Jay Johnson). New
York
Arkansas Arts Center, little Rock
Allanta UniverSity Afro-American Collection
Birmingham Museum of Art
Detroit Institute of Arts
Downtown Gallery. New Orleans
Fairweather-Hardin Gallery, Chicago
Fisk University, Art Department, Nashville
Gallery K (Komei Wachi), Washington, D.C.
Golden State Mutual Life Insurance Co., Los Angeles
Isaac Hathaway Studio, Tuskegee Institute, Alabama
Hampton Institute, Virginia
Heritage Gallery. Los Angeles
Martha Jackson Gallery, New York
Merton Simpson Gallery. New York
Mississippi Art Museum, Jackson
National Gallery of Art, Washington, D.C
National Park Service, Tuskegee Institute National
Historic Site. Alabama
National Portrait Gallery, Washington, D.C
Newark Museum of Art
North Carolina Museum of Art, Raleigh
Ann Haflthas Robinson Gallery , Houston
Tennessee Botanical Gardens and Fine Arts Center at
Cheek wood, Nashville
To~galoo College, Art Museum. Mississippi
Whitney Museum of Art, New York
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ACKNOWLEDGMENTS
Black Art lSIS Sourh IS perhaps the only major
exhibition o f the wo rk o f black American artists
developed witho ut outside funding . Since it is the
largest exhibition of Afro-American art to ~e
assembled In the South to date, the exhibit and Its
catalogue become a rather remarkable achievement
for a non metropolitan city museum . Without theaclive
interest and enthusiastic support of more than 135
living artists and more than 40 collectors, museums,
galleries and institutions. the exhibit presented in this
catalogue, which will be viewed by thousands of
school children and adults du ring its four month
tenure, would nol have been possible.
Special thanks are due the following for, their
assistance In providing addresses of artists, furnIshing
exhibition catalogues, and / or enlisting the
cooperation of th eir colleagues: Benny Andrews, New
York Ci ty: J. Edward Atkinson, Carnation Co., Los
Angeles: Dr. John Biggers, Chairman of the Texas
Southern University Art Department, Houston :
Andrew Bucci, Washington, D.C.; Mary Schmidt
Campbell , Director, Studio Museum in Harlem;
Edmund Barry Gaither, National Center of AfroAmerican Artists, Roxbury; Earl S. Clanton, III ,
Director of Public Information , Hampton Institute; Joe
Crawford, Editor of Black Photographers Annual; Dr.
David Driskell , Chairman , Art Department, University
of Maryland ; Elton Fax , Long Island City, N.Y. , Eugene
Grigsby. Arizona State University, Tempe; Dr. Oakley
Holmes, Jr .. Jacksonville (Alabama) State University;
Prof. Earl J . Hooks , Art Departmen t Chairman, and
Robert L. Hall. Art Gallery Curator. Fisk University.
Nashville : John M . Howard, Chairman, Art
Department. University of Arkansas at Pine Bluff: Ann
Jacob of Ann Jacob Gallery, Allanta; Ted Jones, Art
Department Chairman and faculty colleague. Gregory
Ridley, Tennessee State University, Nashville: James
Kennedy, Chairman, Art Department, and
administrator. Ethnic American Art Slide library,
University of South Alabama, Mobile: Lois Mailou
Jones, Wash i ngton, D.C.; Prof. Richard A Lo~g,
Director of the African and Afro-American StudIes
Center of Atlanta University ; Corinne Mitchell.
membership chairman of the National Conference of
Artists , Washington . D.C.; Elizabeth Catlett Mora.
Cuernavaca. Mexico: William Pajaud and Norman
Houston, Golden State Mutual life Insurance Co. , Los
Angeles, who provided Information on the Golden
State Collection and photographs of thei r Ha le
Woodruff and Charles Alston murals: Dr. Clifton
Pearson . Chairman of the Alabama A. & M. University
Art Education Department ; Ronald Schnell. Directorof
the Tougaloo College Art Museum; Clifton Webb, New
Orleans: Hale Woodruff. New York City; and Doris
Woodson, Colonial Heights, Va.
On behalf of the 152 artists inclu ded in the exhibition.
apprecia tion is extended not only to those listed
above. but also to the personnel in all the museums,
galleries, and insti tutions. and the individuals cited in
the list o f Lenders who helped make Black
Artists/ South possible.
Ralph M. Hudson
t!!!!!FOREWORD
II is a special privilege lor the Huntsville Museum of Art
to present Black Artists/South. the largest exhi,bition
of works by black artists to be assembled In the
Tennessee Valley area. An exhibition such as this,that
documents the signilicant contributions of AlroAmerican artists to the developmental American arl, is
long over due in this region . A large percentage of
black artists in America were born or have lived in the
South. bullew remain in the South and still fewer are
recognized by the ci tizens of their region of birth or
residence. The mandate of this exhibition is, therefore,
to promote a greater awareness and appreciation
among the people of this region for the richness and
diversity of the creative contributions to the visual arts
made by black artists. It is hoped also that the
exhibition will serve as asource of inspiration for all art
students _ black and white - in the Tennessee Valley
Black Artists /South was designed as a survey
exhibition documenting the achievements of black
artists from the early 19th century through the present
day. It is roughly chrOnological in organization and is
didactic in intent. Works important for the history of
Afro-American art but impossible to include in the
exhibition , (muralS, for example), are brought to the
visitors' attention through photographs. Illuminating
comparisons to such art forms as African masks are
also highlighted in this manner. The exhibition,
therefore, is clearly designed as a teaching tool for
those who have never been exposed to the creative
expressions and artistic sources of Afro-American
artists.
P.e~haps the greatest lesson that will be learned by
VISitors to Black Artists /South will bethe inventiveness
and diversity to be found in the artists represented
Some ~f these a~tists have national and internationai
reputallons. while others are young artists at t he
beginning of their careers. As one might expect, some
of the works. have strong ethnic overtones, while
othe f ~ treat universal themes or personal insights. This
combination of the expected and the familiar with the
unknown and the new contributes to a balanced
comprehensive exhibition .
'
The Huntsville Museum of Art was most fortunate to
have Dr. Ralph Hudson as the Guest Curator for BI
Artists / south. His
and
Y
understanding of Afro-American art, his friendshi
with
of the artists, and above all, his
~ommltment and devot.lon to the cause of promotin
Incr.eased understanding
sensitivity to
achievement among all Americans. guaranteed th
success of this exhibition.
e
thor~ugh
~any
an~
sCholaar~k
ObViOU~
blac~
exhibition. of this magnitude required th
skills of each staff member at th:
HuntSVille Mus.eum of Art. Among ~hem, Audrey
Lycan, wh.o.asslsted the ~u~st Curator In every phase
of organizing the exhibition . and planning the
catalogue, .deserves o~r. speCial recognition and
commendation. LOIS Phillips and Carol Barger also
gave of their time and talents to the exhibition and the
catalo~ue. We are. grateful to Dr. Clifton Pearson for
hiS enllg~tening discussion and personal insights on
the exhibition, and of course, wegreatly appreciate the
cooperati?n a.nd ge~erositY on the part of each of the
participallng institutions and individual artists
An
special~zed
." " F
'/-IlIal'l
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Carolyn H. Wood
Interim Director
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IBIllA\Ci"< A\IIHII§T§ / IllIll A\Ci"< A\IIH
.. . A POINT OF VIEW
Ie r~
rne~
9 th,-lor in~
d ",,:
What will the more than two thousand school age
children with whom the Huntsville Museum of Art
works, learn from this exhibition featuring artists of
African and American ethnic origins? WilJ they learn
that blacks in art do unique types of work? Will they
learn to differentiate one artist from another or to
assess style as a function 01 motivation and technique?
Will they learn that black imagery and the construction
or illustration of a " black experience" can be produced
by non-black artists? Will these children , their parents
and thousands of others who see this exhibit leave
impressed or confused?
'€tOg"
:arol9.:."
'!xhiblLo"
ifton ~
sanal',
t~ ~"
aliafeo:
ualaniS!
With the vast quantity of work done relative to the
"visual black aesthetic". a void continues to exist in the
simple closure of definition . Thusly, the term "black
art" continues to be an over simplification for a
complex, rich and wonderful phenomenon.
"The black artist if forced to make a choice, or strike a
balance between various modes of expression : Is he to
be first an artist and secondly a black American; or is
he to be a black American responsive in his work to the
injustices, hypocrisies and indignities suffered by the
black man as a second class citizen?" (Driskell: 1971).
"The black man was dragged to this country against
his will, stripped of his African heritage, given a nondescript name, called a Negro instead of an African ,
called a boy instead of a man. His racial characteristics
were rejected. a servile personality was imposed on
him, and he was coerced into believing he was
inferior. " (Brazier; 1969).
"The cultural and racial images that have been
projected
are largely those of white people. The
images become extensions of the wh ite man's best self
and he assigns value and worth to himself upon
viewing the images around him which he proudly
claims. He defines himself in terms of others like him.
He discovers his identity and self-closure within that
group, whose images he sees reflected in himself."
(Toldson and Pasteur; 1975).
According to Carolyn F. Gerald (1971), blacks see a
zero image of themselves. They cannot judge
themselves unless they see a continuity of themselves
in other people and in things and concepts. Blacks
question their very right to exist without other
existences. This is why image is so important; black
people live in a white world . The black man sees wh ite
which
cultural and racial images projected
accounts for the zero image he sees of hi mself.
~h ~Uld the black man resign to producing images
Ind.lcatlve of his seemingly conceptual universe?
K~lght (1968) wrote on black aesthetics in the Negro
Digest that the "black artist" who directs his work
toward a white audience is guilty of aiding and abetting
the enemy .. . like a worker in a foundry who forges his
own chains.
Perhaps then the black artist should restrict hiS
energies to the production of works that specifically
relate to aspects of black American life. What then
prevents a non-black artist from assessing the style
and producing works in the aforementioned format?
An analogy of this situation can be shown with
examples from music and literature. There is an
increasing concern in the world of popular music
relative to the utilization of the elements of soul
rhythm and blues sounds by non-black individuals.
A poem by Langston Hughes very vividly expresses
this concern:
You've taken my blues and gone,
You sing them on Broadway
You Sing them in the Hollywood Bowl
And you mix them up with symphonies
And you make them so they don't sound like me
The American society (black and non black) exhibits
somewhat retarded closure in reference to the true
nature of "black art". The first backward step was the
acceptance of the given classification of " art
according to artist". In other words, "black art" is art
done by black people
"There exist countless black Americans whose works
do not relate to a "visual black aesthetic". Fine (1973)
calls these artists mainstreamers: they work in the
generally recognizable contemporary styles
The second step backwards was the acceptance of the
ambiguous term " black " without insistence on
clarification. "Black " is a social term that grew out of
the sixties and seventies. II personified the charged
feelings of those times and gave persons of African
and American origins a renewed sense of pride. The
lerm also became a racial identifier and connoted
elhnic heritage.
II is impreative to determ ine if by the phrase " black art"
or " black art ist " one is referrin g to sociological
connotation or the eth nic connotat ion.
, .Black art' In the sociOlogical connotation IS derived
from the black protest movement, the black
experience In America. the motifs, symbolS and colors
01 Africa and black separatist politiCS," (Fme: 1973).
The " black artist " accordmg to Knight ( 1968) has a
duly \0 make his heart beal with the same rhythm as
the hearts olthe black people. Unless the " black artist "
establishes a " black aesthetiC" he will have no future .
The black artist must create new forms, new values,
and sing new songS. The " black artist", in creating his
own aesthetic must be accountable lor it only to the
black people. Finally. the motive behind the "black
aesthetic" is the destruction or replacement of the
while ideal. white ideas and while ways 01 looking at
the world. The new aesthetic is mostly predicated on
an ethics which asKs the question: Whose vision 01 the
world is finally more meaningful ... What is truth? or
more precisely. whose truth shall we express (La rry
Neal : t97t).
Dr. Clifton Pearson. Chairman
Department of Art Education
Alabama A. & M. University
REFERENCES
Brazier, Arthur M. Black Self-Determination. Wm B
Publishing Company, United States:
;;~~~an's
Fine, Elsa Honi~ . The Afro.-American Artist: A Search
for Identity. Holt, Rinehart and Winston N,
YorK, 1971.
'
,
w
Kni9ht. Etheri~ge . Negro Digest. "Gelling On With th
e
Get On ,January. 1968
Neal, Larry. The Black Aesthet" "S
on the BlacK Aesthetic" IC;.. ome Reflections
York. 1971.
. nchor Books. New
Pasteur. A. B. and Toldson I
"
Stages of Black Self Di~ . l. .. Dev~lo~mental
Using Black Art Forms ci~v~~~~mpllcatlo~s for
Journal Of Negro Educati n
p
1975; pp. 130-138.
0 . Vol. 441 , Spring,
Int~ractl?n".
Spriggs. E. S. and Driskell D
.
Contemporary Amefl~a~'ABlack Dlme.nsions in
New York, 1971.
rt. J. E. Atkinson. ed.
10
IPIROILOGUIE
IPIROILOGUIE
There are some who might think that an exhibition 01
artists related to the South would be primarily a matter
of local or regional concern and not of national
significance. But many of the artists included in ,this
exhibition who are connected with the South by birth,
study. teaching, or a period 01 creative residence are
nationally and even internationally known.
Curr~nllY , however, many groups and individuals are
seeking bridges between ethnic, religious, and
national groups that will provide understandil1g and
respect, and the sharing of the communality 01 the
quality of humaneness. One of the few viable avenues
to the problems of sharing a country or a
neighborhood are the cultural ventures and activities
which develop acceptance and peer respect. It is in the
cultural arena that each ethnic group may retain its
unique inheritances which can enrich the fabric of the
total complex. Exhibitions such as the present one can
function in this wider cultural role.
More than 250 nationally recognized black artists have
lies to the South , but only one-fourth of them
currently live in this area to which so many can trace
their roots. In one of the earliest exhihitionsof black art
to lour American museums, Contemporary Black
Artists, almost half of the artists had a connection of
some kind with the South; but only one of the artists
was still living in the region , The parents of many of
these artists had left the rural South in the early
decades of the century to work in factories in the
industrial North, in the massive migration so
graphically depicted by artist Jacob Lawrence in his
"Migration Series" panels, A second migration in later
decades centered on California, and consequently
many of the artists in the exhibition are now living in
the West.
Indicated above is the continuing need, particularly in
the South, for exhibitions of the work of American
artists of African descent and for the resulting
exhibition catalogues which provide dissemination
beyond the museum walls.
While the exhibition includes a number of the "Old
Masters" among Afro·American artists, it also
functions as a discovery show, providing a showcase
for new talent. The artists range in age from the 80's to
the early 20's. Represented are artists who exemplify
the population shift reversal trend of the past four or
five years. Afro·Americans, particularly in the upper
echelons of educational background and/or economic
status are moving from the North, East and West to the
South. In some cases these are retired persons coming
back to places of childhood or family residence, in
other cases, and most significantly, young adults are
coming South to find career opportunities in many
fields, including the arts.
In 1876, Edward Bannister of Providence, Rhode
Island, won a major award for a landscape in the
Philadelphia Centennial, but the award was at first
refused to him because he was black
When the Whitney Museum of American Art did not
include the work of Afro·American artists in its 1968
show of the art of the 1930's in America, a rebuttal
show entitled , Invisible Americans: Black Artists of the
1930's was almost immediately organized for the
Studio Museum in Harlem, itself a landmark in AfroAmerican Art. In 1975, the Whitney mounted a major
exhibition of the work of Afro-American artists, In a
few short years the exposure situation for black artists
has changed dramatically, but much more progress
needs to be achieved.
Historically, the best known of the early artists was
Joshua Johnston , (1765·1830), listed as a "free
householder" in Baltimore directories of the early
1800's. He did portraits of white heads of families and
their children in Baltimore and vicinity. His work is
included in the exhibition by "Mr. Baylor", lent by the
National Gallery of Art in Washington, D.C.
Recenlly a teacher in Miami asked the children in an
integrated classroom if they recognized any of the
names on a list of major African American artists she
provided forthem. None of the children , black or white,
could identify any of the artists. In such fields as sports
and entertainment African Americans are well known
in every segment of the population. This is not
presently true for those who are outstanding in the
visual arts. Until recent years, ethnic oriented
publications gave only token attention to two or three
visual artists. The NAACP was not involved with an art
exhibition until 1969, and even at that time did not have
an art collection.
For various reasons, there was a dearth of black artists
in the slave-holding states during the first three
quarters of the nineteenth century. Easel painting was
not a marketable commodity to the slave owner. The
crafts productions of slaves or freedmen is only
recently being explored in depth. The first major
national traveling exhibition of these arts, The AfroAmerican Tradition in the Decorative Arts, on tour
from February 1978 to December 1979, includes only
"
-
one Southern museum (Birmingham Museum of Art).
The exhibition, organized by the Cleveland Museum of
Art, includes objects produced primarily In the South.
Dr. John Michael Vlack. curator l or the exhibition. has
pointed out that objects were not Included from some
sections of the South because there had been so httle
interest and research on the crafts and artisans of
these areas.
In recent years folk art museums and study centers in
the South have been newly established or have
enlarged their activities. A card file of alt the holdings
of the Old Slave Mart Museum in Charleston has
recently been published. Important folk museums and
centers have been established in Memphis, Tennessee
and in Jackson, Mississippi. in this reg ion,
Within the past few years exhibition ca talogues of
black art have included John James Audubon (17851851). artist-naturalist who traveled in the South as a
guest in several homes and occasionally gave lessons
in the polite arts.
In the North and East before the Civil War. several
artists were supported in their careers by abolitionists
or patrons whose humanity exceeded their prejudices.
Among these artists were: Patrick Reason (18 17-1850);
Robert S. Duncanson (1821-1872); Edmonia lewis
(1843-ca. 1900). the first black woman to obtain fame
in sculpture with a career in Rome; and Henry Ossawa
Tanner (1859-1937) . In the South opportunities for
black students to secure art training did not exist. But
even in the North and East it was difficult for black
students to receive professional art training. Henry
Tanner. for example. was Thomas Eakins' only black
student at the Pennsylvania Academy of Fine Arts.
A major exception to the lack of African American
artists in the South before the Civil War was in New
Orleans. a melting pot within rather rigid restrictions of
racial and national groups. John lion. a portrait
painter who introduced the daguerreotype process in
New Orleans, and Julien Hudson, also a portrait
painter, were two black artists whose careers
flourished in the unique cultural climate of New
Orleans.
Four of the,most important exhibition opportunities for
Afro-American artists in the United States from the
1920's into the 1940's were the Harmon Foundation
exhibits in New York; the Baltimore Museum's show in
19~9 ; the Art of the American Negro exhibition in
Chlca~o, 1940; and theAttanta University An '- uals that
began In 1942. These exhibitions provided ashowcase
of black artists for the black community and the
American public and also enabled the artists
themselves to compare their efforts with those of their
peers. For most artists, except for the complete
"pnmllive" , II IS difficult to develop In Isol ation.
The Harmon Foundation in New York City, established
by William E. Harmon, lirst ventured an art show in a
storeroom in 1925, By 1928, however. annual
exhibitions were installed in the International House,
and by 1935, the Harmon Foundation established
contacts with some 400 black artists across the
country. Fifty years have elapsed since the first
exhibition. Some of the artists represented in the early
Harmon Foundation exhibitions included in Black
Artists/ South are: Archibald Motley, winner of the
Harmon Gold Medal in 1928, Matvin Gray Johnson
William H. Johnson, Robert Pious, Nancy Elizabeth
Prophet, Ellis Wilson, Aaron Douglas, Charles Alston
Wilmer Jennings, Richmond Barthe, James l. Wells'
Frederick C. Alston, Hale Woodruff, lois Mailo~
Jones, Beauford Delaney, William Artis, and Elton C
Fax. 11 is remarkable that almosl half of the artists
named are slill producing.
Mention should be made also of Karamu House in
Cleveland, Ohio, founded in 1915, which sponsored
exhibitions and other art activities for the black
community and provided many of the cultural services
that made the Harmon Foundation so important.
The Baltimore Museum exhibition in 1939 was the first
all-black exhibition in a major museum. Featured in
this exhibition was Jacob lawrence's dramatic sixty
panel series on Toussaint l 'Ouverture (the " George
Washington of Haiti"). Mary Beatty Brady, director of
the Harmon Foundation, assisted by Alain locke,
arranged with the Baltimore Museum for this singular
recognition of the young artist to take place. lawrence
conducted his research for the series at the Arturo
Schomburg Collection of the New York Public library
(West 135th St. Branch), the largest collection in the
world on black history and literature and the primary
research resource for the development of black culture
in America . The Schomburg Collection was
established in 1926.
The Art of the American Negro, 1851-1940, hetd in
Chicago in conjunction with the 1940 American Negro
Exposition, was the first major Afro-American art
exhibition of the Mid-West. In addition to the work of
established artists, such fine talents as Charles White,
Elizabeth Catlett, and Hughie lee-Smith were
represented. The Chicago exhibition was organized by
Alonzo Aden, then at the Howard University Art
Gallery, with the aid 01 the Harmon Foundation and the
W,P.A Federal Arts project Aden laler established the
II
o,
11',
l",
SO.a-
Barnett-Aden Gallery in Washington, D .C. which
became the subject of a Smithsonian Institution
exhibition in 1973 at the Anacostia Neighborhood
Museum in Washington, D.C ..
The Atlanta University Annuals , the most important
annual exhibitions in the South during the mid-20th
century. attracted artists from across the United
Slates. These Annuals were started by Hale Woodruff,
a Master artist-teacher who came to Atlanta in 1931.
Although Woodruff left Atlanta in 1946, the exhibitions
continued until 1970. In 1973, sixty-six selections from
the Atlanta University Collection of some 350 works
accumulated partially through purchase prizes from
the Annuals, were shown in the High Museum of Art in
Atlanta. After this opening, the exhibition traveled to
seven other museums and art centers. Eight works
from the Atlanta University Collection are included in
Black Artists/ South through arrangements made by
Prof. Richard A. Long. These works by Malvin Gray
Johnson, William Artis, Charles White, James Watkins,
Jimmie Mosely, John Rhoden, Henri Linton, and
Maurice Strider represent work done from the 1930's to
the present decade.
THE HARLEM RENAISSANCE
The "Negro Renaissance" (as it was then called) was a
Harlem-based movement that flowered during the
1920's and brought to the forefront of black
consciousness the significance of the ancestral arts
and culture of the African homeland. Langston
Hughes was the poet of the new movement and Aaron
Douglas carried the banner for the artists. A
philosophic basis and orientation was provided by
Alain Locke, a Phi Beta Kappa graduate of Harvard and
the first black Rhodes Scholar, who taught Philosophy
at Howard University from 1917 to 1954. The
humanistic, philosophic and historical relevance of
African culture for the "Negro Renaissance" was
emphasized by Locke in his pioneering book of 1925,
The New Negro. Locke went on to write The Negro and
His Music and Negro Art: Past and Present in 1936,
both of which were reprinted by Arno in 1969. His next
major contribution to the literature of Afro-American
art came in 1940 with his The Negro in Art (reprinted by
Hacker Art Books in 1968). The subtitle indicates the
content: "A Pictorial Record of the Negro Artist and of
the Negro Theme in Art". The book consists of three
parts: " Th e Negro as Artist", "The Negro in Art", and
"The Ancestral Arts", each with a brief introductory
text. James Porter's Modem Negro Art (1943,
reprinted by Arno in 1969), covers many of the same
artists included in Locke' s The Negro in Art.
Aaron Douglas , one of the major artists of the " Negro
Renaissance", was the only artist included by Alain
Locke in The New Negro. Douglas completed four
murals in the Countee Cullen Branch of the New York
Public Library in 1934, which presented in sequence,
patterns from the ancestral African heritage, the
period of slavery, its abolition and the aftermath. the
great migration to the urban and industrial North , the
"New Movement" in the arts of the 1920's, and the
Depression at the end of the decade. These murals,
like many during this period by black and white artists
were created under auspices of the W.P.A. Artists
Program . "Building More Stately Mansions" by
Douglas uses the same prismatic patterns with rays of
light and silhouetted figures which the artist developed
in his Countee Cullen Branch Library murals.
The dedication of this exhibition catalogue to the late
Aaron Douglas is not the first tribute paid to the artist
in a publication . Cedric Dover, sociologist and
international esthete, a colleague of Douglas at Fisk
University for a year, in his American Negro Art
published in 1960, acknowledged the artistic vision
projected through craftmanship of his friend Aaron
Douglas.
Aaron Douglas, Langston Hughes, and Alain Locke, of
course, were not the only contributors to the " Negro
Renaissance" movement. A literary basis for the
movement was provided through publications of
poetry and spirituals by James Weldon Johnson,
poetry by Claude McKay and Countee Cullen , and
novels by such writers as W.E.S. DuBois. Blues and
jazz rhythms with ethnic origins became popular
during this period. A blues anthology by W.C. Handy
(now claimed by Memphis) was published. The
photographs of Carl Van Vechlen caught the spirit of
the times. Van Vechten (for whom the Fisk Univerisity
Art Gallery is named) adopted the cause of the
emerging black culture and became an influence in it.
A large percentage of the artists exh ib iting in the
1930's and 40' s were involved in W.P.A. Federal and
State projects. The majority of these artists had also
received needed exposure in one or more of the
Harmon Foundation annuals between 1928 and 1935.
More than twenty of these artists are included in Black
Artists/ South. Most of the " Old Masters", as they might
be called , who were still active in the 1960's and 70's
(and a surprising number were) had their i ni~i a l
exhibition opportunities in the Harmon Foundatl ~ n
annuals and were provided the chance to continue In
art activity during the Depression through the various
Federal and State Art Projects.
Il
-
THE W.P.A.
The Public Works of Art Project (W.P.A.), set in motion
In 1933, was an outgrowth of the New Deal programs to
help the unemployed. This became the Federal Art
Project the following year as a division in the Works
Progress Administration . The Federal Art Project
commissioned murals. supported easel painting
activity, sponsored art workshops and cooperated in
developing special exhibitions. The value of this
support was immeasurable in sustain ing act ivity in art
and making possible continued creative development
lor hundreds 01 artists. black and while. Another value
was the opportunity provided for artists with different
socia-economic and ethnic backgrounds to work in
creative activities together. While some of these artists
are still alive, a study of the efficacy of this kind of
integrated cultural experience in breaking down
prejudices and developing mutual respect could make
a useful sociological study with lessons that would be
applicable to problems of discrimination and attitude
conflicts today. One of the largest of the Federal Art
Project workshops in the country was the Harlem
Community Art Center directed by the indomitable
Augusta Savage with t500 enrollees in the 1930's. She
sacnliced opportunities to insure her own success in
sculpture to seek out and develop talent in black youth.
Among her workshop proteges was William Artis. She
also fostered the careers of such artists as Jacob
lawrence, Norman lewis and Ernest Crichlow. Oneof
the residual benefits of the Federal Art Projects was the
distribution of thousands of works of art produced
during the projects to government and other museums
and collections. The Federal Art Projects were
disbanded in 1943, during W.W. II
•
culture and art have taken place. The Presence
Alflcame; Revue Culrurelle du Monde Nair, an
international Journal, published special editions in
English on the First Intern~tlona/ Congress of Negro
Wnters and Artists held In Paris in 1956 (Picasso
deSigned the p.oster for this event) and the seCond
Congress held In Rome in 1959.
In recent years World Congresses celebrating African
cultu re have been attended by a number of American
African artlst~ and cultural leaders. The First World
B/ack and Alflcan Festiva/of Arts and Cu/(urewas held
in Dakar, Senegal in 196~. The second, Festac 77. took
place in lagos, Nigeria, hosted by the Nigerian
government. Contingents from forty-seven nations
took part in the festivaL Dr. Jeff Donaldson, Chairman
of Howard University'S Art Department, headed the
American delegation. The next Festac is scheduled lor
t981 in Ethopia.
~ubli~ations on African art and museum activity in this
field, Important during much of the 20th century in
European centers, have mushroomed in the United
Stat.es in recen.t decades. The National Gallery's
exhibition of African Art in 1970 produced increased
awareness in ~merica 01 the significance and quality
of African tnbal ~rts. One. of the . most visually
sti~ulating publications of African art IS the quarterly,
A/flcan Arts, published at the Un iversity of California
in Berkeley.
The burgeoning Black Studies programs in American
colleges and universities include black art among
programs on black culture. The need for orientation in
Black Studies programs and to make academic
faculties aware of the value of such programs, resulted
in a symposium on Black Studies at Yale University in
1968. The proceedings were published in a paperback
by the Yale University Press. The growth in these
programs has resulted in the formation of a National
Council 01 Black Studies which held its second annual
convention in April, 1978. T his Council has its own
newsletter, Voices in B/ack Studies.
Had it not been for the Harmon Foundation Annuals,
The Baltimore Museum Show of 1939, the Chicago
exhibition of 1940, the Atlanta University Annuals, the
publications of locke and Porter, and the Federal Art
Projects of the Depression years, the ranks of
recognized Afro-American art would be much thinner
than they ~re today and the richness and diversity of
Afro-American art would not have had Sufficient
opportunities to evolve and mature. If the AfroAmerica~ art.ist had to wait for establishment galleries
and publications to display or review their works the
frustrati~n. of being ignored would have discour~ged
and stuilified some of the promising talent of the mid20th century. This survey exhibition could not have
been as extensive or as inclusive if these publications
and exhibitions had not existed.
The ."National Conference of Negro Artists",
organized in 1959 had two goals: the encouragement
01 creativity by black artists and the lostering of a
positive support by black people lor art by black
artists. Such contemporary museums as the Studio
Mu~eum in Harlem is doing just thaI. The present day
NahOnal Conference 01 Artists is broadly based with
members and local groups across the U.S.
Sinc~ . t~~ initial support of Pan African ideas and
senSitiVities ~y Alain locke and others during the
Harlem Renaissance, increaSing contact with African
F~undation Fellowships during the middle decades 01
this century and since supported artists in career
development and provided study opportunities
present, seven 01 the major books, resource guides,
and impressive catalogues of traveling exhibitions
have appeared.
The survey of Afro~American and related culturat
activities since the early 19th century provided here
shows increasing acceleration in quantity and quality.
The brief artists' sketches in this catalogue show that
most artists active today have college and university
degrees and/or professional art school training . Most
are or have been teaching in a college or university.
Utopia has not been reached, however - it is not even
around the corner ~~ but improvements in the total
situation have been dramatic compared to the past, or
even thirty years ago.
This exhibition will not solve any of the existing
controversies about what black art should or should
not be, what black artists should or should not create,
or to whom their works should be directed . The
interest and enthusiasm 01 the exhibiting artists have
stimulated the museum staff to exert special efforts in
behalf of the exhibition. It is hoped that all viewers of
the works on exhibit will allow each artist to
communicate directly with him or her without posing a
priori notions about the artists or the works.
The significant achievements in art revealed in this
exhibition of American artists of African descent. past
and present, deserve the respect of all Americans.
Since all sincere art comes out of the life experiences
of the artist. the work of these artists project meanings.
ideas, and feelings important for all Americans in the
1970's to sense and comprehend.
Ralph M. Hudson
'"
utilized in subsequent creative projects. An example is
the study-travel in the South done by Charles White
through a Rosenwald Fellowship in preparation for his
Hampton Institute mural completed in 1943.
(Photographs of this mural and others by John
Biggers, Hale Woodruff, and Charles Alston are
included in Black Artists /South). Many of the major
Afro-American artists of the mid-century received
fellowships from such foundations as the Rosenwald,
Tiffany, John Hay Whitney and Guggenheim. In recent
years the National Endowment for the Arts and other
private foundations have provided funding programs
related to individual artists. International fellowships
have also helped African American artists. John
Biggers used a UNESCO fellowship to gather material
in Africa for his book Ananse (University of Texas
Press 1962) illustrated with more than eighty of his
drawings.
present, sev~n of the major books, resource guides,
and ImpressIve catalogues of traveling exhibitions
have appeared.
The survey of Afro-American and related cultural
activities since the early 19th century provided here
shows .increasing acceleration in quantity and quality.
The bnef artists' sketches in this catalogue show that
most artists active today have college and university
degrees and/or professional art school training. Most
are o.r have been teaChing in a college or university.
UtopIa has not been reached, however -- it is not even
around the corner -- but improvements in the tolal
situation have been dramatic compared to the past, or
even thirty years ago.
This exhibition will not solve any of the existing
controversies about what black art should or should
not be, what black artists should or should not create,
or to whom their works should be directed. The
interest and enthusiasm of the exhibiting artists have
stimulated the museum staff to exert special efforts in
behalf of the exhibition. It is hoped that all viewers of
the works on exhibit will allow each artist to
communicate directly with him or her without posing a
priori notions about the artists or the works.
The National Endowment for the Arts, the National
Endowment for the Humanities, State Arts Councils
and private foundations have taken the place of the
Harmon Foundation and the Federal Art Projects of the
Depression years in fostering ethnic art exhibitions
and activities.
In 1967 the largest exhibition of Afro-American art held
up to that time, The Evolution of Afro-American Art,
1800-1950, was shown at City College, NYC,
sponsored by the City University of New York, the
Harlem Cultural Council, and the New York Urban
league. Aomare Bearden and Carroll Greene, Jr.,
were co-directors. Several exhibit ions were held in
1968 and 1969, but publications on Afro-American art
and exh ibitions with elaborate catalogues since 1970
have exceeded any comparable productions in
previous decades. large traveling exhibitions have
also occurred since 1970. Between 1973 and the
The significant achievements in art revealed in this
exhibition of American artists of African descent, past
and present, deserve the respect of all Americans.
Since all sincere art comes out of the life experiences
of the artist, the work of these artists project meanings,
ideas, and feelings important for all Americans in the
1970's to sense and comprehend.
Ralph M. Hudson
IS
'"
16
TIHIIE AIRTIISTS
TIHIIE AIPHII§T§
Charles H. Al slon
Born
In
1907 In Charlotte. N.C. The late
Charles Alston was a versatile artist. He is
besl known lor his !fcntall/lew ligures In
stoic poses, but he also did a series of
"Blues" studies that swing With the jazz
rhythms created by black musicians. His
range in sculpture varied from early
cubist abstractions to realistiC
portraiture. As a W.P.A. artist he worked
ten persons honored by special awards at
the annual meeting of the National
Conference of Artists In 1975. HIS pamt
handling IS impressiomstlc, Thetilleof his
painting m the exhibition , " Nobody
Knows the Trouble I've Seen·· IS a theme
that would apply tothe hvesand struggles
of many black Americans who chose art
as a way of hie
on various prOJects. including murals. He
has also been acaver artist and illustrator
Charles Alston has been a major figure in
Afro-American art since the period of the
"Harlem Renaissance" of the 1920's and
the exhibitions sponsored by the Harmon
Foundat ion. His exhibition credits are
numerous. from the 1930's into the
A . &M
College. Knoxville College
(while vIsiting artist). and since 1971 al
Savannah Stale College. HIS work s In
sculpture and photography have been
exhibited and are In collections In the
Southeast and else w here William
Anderson·s " Mlnonty Man'·. In the
exhibi tion. an over li fe size head, hewn
from lignum vitae. IS charactenshc 01 the
sculptor' s method of lelling Ihe character
of the medium and carving technique help
express the feeling prOjected m rela\lon to
the subject. Chflstian symbolism
associated With Chnst further Imbues
'·Mlnonty Man'· With a prOjection of
sadness resulting Irom enduring
suffering inltlcted by men of lillie
understanding.
p resent decade. In pain tings like "The
Family" in the collection of the Whitney
Museum of American Art. he imbued his
subjects w ith a sense of dignity. A photocopy enlargement of his mural in Los
Ang eles, done for the G olden Stal e
Mutual life Insurance Co., is in the
exhibit.
Emma Amos
Frederick C. Al ston, Sr.
Born in 1895 in Wilmington, N .C. He
studied at a number of schools. including
Shaw University in North Carolina,
Philadelphia College of Art, Washmgton
University, and Art Students League. He
taught in the School 01 Architecture at
Tuskegee Institute lor two years. In 1963.
after teaching art in St. Louis high schools
lor 38 years, Frederick Alston was one of
Born in 1938 in Atlanta. she received an
A.B. degree f rom Antioch College in O hio
and an M .A. from New York University in
1966. In London she studied at the Cen tral
School 01 Art and the Slade School of Art.
Her work has been in exhibitions and IS
included in collections in London and in
Ihe United States. Emma Amos creates in
a variety of media moving freely Irom one
to another in : painting. etching, silk
screen and weaving. She manipulates
placement of fabriCS in woven
compOSitions as heely as a painter
arranges blocks 01 color. She Includes
labric conage in her oil paintings and
combines silkscreen with intaglio in other
compositions . Her works in thiS
exhibition include examples in the
engraving. etching. and silkscreen media.
She tives now in New York City.
WlIIiam Anderson
Born in 1934 In Selma, Alabama. Received
B,S. from Alabama Stale University:
BF.A. from Layton School 01 Art. and
M .F.A. from Institute Allende. in Mexico.
He has taught at the University of
Wisconsin. Grambling College, Alcorn
"
"
Benny AndreWS
Born m 1930 In MacliSon. Georgia From a
share-Cropped farm In Georgia to hiS
presenl recogmtlon as an artist. and hiS
leadership role 10 black art groupS and
movements 10 Amenca. are achievements
that would hll more tl'lan one book He
anended Fort Valley (Georgia) State
College and under a G I Bill secured a
BFA at the Art Institute of Chlcago(t958)
He IS a pamter. sculptor. art educator.
authOr and art critic (Encore MagaZine)
HIS recent book. Berween rhe Lmes (N V ..
Pella. 1978) Includes several of hiS essays
and 70 reproductions 01 hiS draWings He
has served as guest curator of tWO major
exhibitionS of black American art
Followmg the Attica prison disaster he
became mvolved With an art program for
prisoners
Among his numerous
fellowShips and grants are a John Hay
Whitney Fellowship and repeated
MacDowell Fellowships. HIS work
extensively exhibited. IS in more than a
dozen major museum collections All of
hiS work reflects and prolects the black
expenence in Amenca, often bilingly
satmcal No "Es tablishment " status quo
American can feel comfortable 10 the
presence of Benny Andrew's work. HIS
expressive use of collage combmed With
011 pamtlng can be seen In the exhibition.
Richmond Barth~
teaching and administrative experience
before COmmg to Clark College In
addition to exhibitionS 10 Ghana. hiS work
has been shown m ColumbuS. 01'110.
Atlanta, Seallie. Washmgton. and In
North Carolina Shown 10 thiS exhibition
IS a pamtlng shOWing preparallon of a
meal In Afnca set 10 pnsmatlc rhythmS of
Intersectmg hues
William E. Artis
Born 10 WaShington. North Carolina
Study was done at a number of
Institutions Including Chadron
(Nebraska) Sta t e College (B S ).
SyracUSe University (B,FA and MFA)
Alfred UniverSity. Long Beach Slale
College. Pennsylvania State University.
and Arts Students Leag,ue,(1932-35) He
was one of the proteges 01 Augusta
Savage m the Federal Art PrOject
WorkshOp in Hartem in the 1930's One of
th e younger " Harlem Renaissance
artists, he was in the Harmon FoundatIOn
Annual of 1933 and mcluded 10 th e t940
Negro ExpOSition exhibit In Chicago. HIS
carved gramte "Mo ther Love" received
the first award 10 scutpture 10 the t963
Atlanta Unlverslly Annual He had won
prizes and been mcluded in several other
of the Atlanta annuals beginning 10 1944
The artist and his work have been
mcluded 10 more Ihan 60 articles. books
and exhibilion catalogues HIS teachmg
appOintments mclude Chadron State
College and Mankato (Mmnesota) State
College. He is one of the nationally
recognized artists In ceramics and
ceramiC sculpture. as altested by hiS list
of exhibitions and collections. The vase
and covered Jar in the exhibition from Fisk
UniversIty show his skill and feeling lor
deSign m poltery. "Head With Kerchief"
lent by A tlanta UniverSity and "Michael"
Irom the North Carolina Museum of Art
are examples of hiS ability in portrait
sculp ture and his senSitive rendenng of
ethniC subjects.
Born In t901 10 B~y St LOUIS, MisSissipPI .
Richmond Barthe IS a major Amencan
sculptor and In the 1930's and 40'5 was
one 01 the most recognized black artists.
HIS art tralnmg was receIVed at the
Chicago Art InshluteandtheArt Students
League HIS Ilrst work was in pamting. but
he soon turned to sculpture for which he
had a nalural allmlty. HIS " Alflcan
Dancer'· , of 1933 was the Whitney
Museum s first acquISItion by a black
artis t HIS equestrian portrait of General
Oessallnes was made lor Port-au-Prince
Haiti, where Sarthe.llke Ellis Wilson. lived
and worked for many years. He is now
back In thiS country (Calilornia) where he
IS stili producmg sculpture. Although his
sculpture IS traditional and representallonal. rt
expresses the essence of the subject - speaks
for Itself Without the mtrUSlon of ego onented
wt~ty on the part 01 the sculptor His
"Blackberry Woman" in the exhibit, leot by the
\Nl1ltney Museum of Amencan Art. has a
qUI8t1y evocative character. This piece was
also an early entry mto the Museum's
collection.
...
,
"
"
Emmanuel V. Aslhene
I.
AI
Emmanuel V. ASlhene IS a native of
Ghana. West Afnca, coming from a family
of noted arhsls. He holds the degree of
Ph .0 . In art education from 01'110 State
Umverslty. Currently he is chairman of
the art department of Clark College in
Atlanta. He had acquired a variety of
"
18
"
Romare Bearden
Herman Beasley
Born m 1914 m Charlotte, NOrlhCarOlma
Romare Bearden IS one of the major
artists m America , one of the most
exhibited , and the first black artist to be
honored with one of Abram ' s farge books
on contemporary artists (1973), Bearden
grew up In Harlem , then an excltmg place
to be and the focal pomt of a
mushrooming black culture that
produced the "Negro Renaissance", as It
was later called. HIS mother became the
'Irst president of the Negro Women's
Democratic ASSOCiation. After high
school In Pittsburgh he received a 8.S
degree at N ew York Universi ty. He
became a cartoonist. but after working
With George Grosz al the Art Studenl"s
league he developed an inlerest m
painting. In the late 1930's he wa s part of a
group that included artists. writers. and
musIcians (la wrence, Cnchlow. Alston.
Douglas, lewis, Augusta Savage, and
other artists. and writers like Claude
McKay ). His ' Irst one-man show m New
York was at the Samuel M. Kootz Gallery
In 1945. HIS early work was figurative and
included Southern rural scenes on brown
paper, and religious themes. some of the
latter done in a cubist linea r format . Afte r
study in Paris on the G.I. Bill he took up
song wfltlng and hiS paintings became
more abstract. The collage Idea
developed by Bearden was used in his
firs t one-man show, "Projections" in this
medium, held at the Cordier and Ekstrom
Gallery In New York In 1964. This exhibit
also included photo enlargements
Bearden had created a new fine tHts
medium t hat became inseparably
Identified With hiS development, just as
the formats of style or technique
developed by such artists as Jacob
lawrence. Jackson Pollack. Stuart Davis.
Robert Gwathney. and John Marin.
became personal modes of expression. In
hiS collages, Bearden produces a sense of
ancestral imagery In contemporary
settings, projecting poised moments in
the ac tivity of black people that convey
universal Significance. The tomb painters
In anCient Egypt were able to do IhlS, as
were the cave painters of Lascaux and
Altamira . Perhaps no other medium
would enable Bearden to visually relate a
'eelmg of African cultural roots to modern
African American lile.
Born m 1943 In New Albany . MISSISSiPPi
B A degree received from Jackson Stale
College (MISSISSIppI) , M A degree from
George Peabody College In NashVille,
and Ed.D degree from IllinOIS Sta te
University. Af ter teaching art In publiC
schools In MISSISSIPPI he taught at Fisk
UniverSity for a year before JOIning the
Tennessee State UniverSity art faculty In
1974. Herman Beasley works In the areas
of drawing, printmaking. and ceramiCS
An example of hiS work In ceramiCS IS In
th.s ellhlbltlon
other Alrlcan countries made pOSSible by
a UNESCO Fellowship. A IISI of hiS
exhibits. awards, and grants would
require several pages Between 1946 and
1976. John Biggers created nine murals,
the last of these In the New Studen t Life
Center at Tellas Southern University,
done m tempera, bemg 64 feet long. The
photographiC reproduction on reduced
scale In thiS ellhlblt IS 01 hiS 1953 mural m
the Btue Triangle YWCA Branch of
Houston depicting "Negro Women m
American life" A characteristic of hiS
drawmg m the ellhlbttmn and the mural
compOSi tion IS the rhythmiC lIow 01
tranSi tions from light to dark and dark to
light-_m the murat a kmd of !ite putsatlon .
HIS "Three Kings. Ghana" IS a masterful
use of the drawmg medium to give
characteflzatlons
"
John T. Biggers
80rn in 1924 in Gastonia, North Carolina
College tramlng started at Hampton
Institute followed by study at
Pennsylvania State UniverSity from which
8 .5., M S., and Ed.D. degrees were
received, the latter In t954. He was
appointed head of Ihe art department of
Texas Southern UniverSity In 1949 and
named distingUished professor in 1969.
John Biggers has done for Houston and
Texas Southern University in developmg
young talent, what Hale Woodruff did in
earlier decades m Allanta. A pictOrial
summary of that development is captured
in the book Black Art In Houston by
Biggers and hiS colleague, Carroll Simms,
published by Texas A & M . University
Press in 1978. John 81ggers has been
Involved m wrltmg or illustrating. or as
subject in more than twenty books His
Ananse: The Web of Lrle In Africa
(University of Texas Press, t962) IS a book
of hiS drawmgs. and commen ts on
tourneys to discover and record a riCh
ancestral heritage in Ghana, Nigeria and
"
"
"
Arlhur L. Brill, Sr.
Belly Blaylon
Born In 1934 in Cuthbert. Georgia. HIs
8.S degree was received In 1959 at
Alabama State College (now University),
where he IS presently serving as chairman
of the art department. An M.F.A. was
receIVed at the UniverSity of New Mexico
and a Ph.D (1974), at Florida State
University. He has also done special study
m Nlgena, Ghana. and Mexico. He has
been an athletic coach and headed an art
program in a state penitenhary, as well as
teaching art In colleges and universities in
five states. His paintings and sculpture
revolve around ethnic themes. at times
using exptosive patterns lor explosive
subjects. His recent Africa series rellect
his travels in that region. In the exhibit. is
an exampl e of a pain ting reflecting his
awarene ss of socio-economic problems
faced by th e poor
Born in 1937 in Williamsburg, Vlrgmla
Study at Syracuse UniverSity (B.F.A"
1959), Art StudentS League and Brooklyn
Museum Art School Betty Blayton Taylor
became nationally known as director 01
the Children's Art Carnival In Harlem
founded by the Museum of Modern Art m
1969. The project has mvolved parents m
the creative concepts of the Carnival. Her
first one-artist show was held in 1966. The
artist"s palnllngs and pflnts have been
shown in group shows. coast to coast, In
museums and college and private
galleries. She has been active In such
institutions as the Studio Museum In
Harlem. as a symposium participant and
lecturer. Her round paintings and prin ts,
like the etching. " Emergen t Forms" of
1973 in the exhibit. lent by Tougaloo
College. often suggest tensioned
biomorphic forms like nerve fib ers (as
seen under a microscope) or muscle
fibers. pulling at fight angles to each
other.
Shirley Bollon
Born in 1945 in Lexington. Georgia. Her
three degrees were received al the
University of Georgia: B.F.A., M.F.A., and
Ed.D., (1970). Shirley Bolton is currently
on leave from her art faculty position at
the University of West Florida. making a
courageous fight against illness. She
received awards in the Atlanta University
Annuals. t964-70, and has been included
in High Museum of Art exhibits in Atlanta,
and the " New Vitality in Art: The Black
Woman" show in 1972 at Mount Holyoke
College, to mention only a few . This past
semester, Spelman College gave Shirley
Bolton a one-artist show. Her early work
was figurative. This was follo wed by the
collages of her "Tenement'· series. An
example o f her more recent work in this
exhibition is a composition done wi th an
airbruSh to produce con trasting and
merging rhythms of color resulting in
Visual analogies to movements in music
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Wendell T. Brooks
30
20
"
Born in 1939 in Aliceville, Alabama. He
followed up a B.S. degree (1962) with a
Master's degree in printmaking (1971) at
Indiana University where he received the
firs t Martin Luther King. Jr. fellowship to
be oHered atl.U. He is presently teaching
at Trenton (N.J.) State College .
Previously he had taught at Alabama A. &
M. University. His intaglio prints are in a
number o f collections including the
Library of Congress. The print in the
exh ibition is from a period of his visually
violent protests In intagliO against
discrimination in America. Some of the
prints 01 this period were autobiographiCal including a self portrait and ominouS
symbols 01 death and late -- skeletons and
the blackbird. The title. "A Silent Scream"
suggests even more vividly an emotional
horror than would the idea of "Scream"
involved with noise.
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Boo,
fOun(
Tusk,
agile
lorbl
Wast
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Arthur Carraway
Yvonne Parks Catchings
Born in 1927 in Fort Worth. Texas. Study
includes San FranCIsco Art Institute and
University of California. His work and
study in Africa (Zaire, 1961-63) and
re search in Ghanaian art (1971-72)
provided o rienlation for choices of
imagery and directions Of expression in
his art. Since 1973 hehas taught studio art
and Alrican / African-American studies in
institutions in San Pablo and San
Francisco. His paintings, prints and
drawings have been shown in a number of
California shows since 1953 and in suCh
African-American e xhibi tions as
Dimen sions of Black (La JoUa). Blacks
U.S.A.: 1973 (New York), and DirectIons
in Afro-American Art (Cornell). Among
his one-artist exhibitions was his 1978
show at the Studio Museum In Harlem
Arthur Carraway prefers to work in
related series, seeking to develop
variations on a motif with meanings of
universal significance for people 01
African descent. The gouache, collage.
and mixed media composition in the
e)(hibition. "Ancient Mother - Ancient
Father" of 1976-77 is a development of his
"Language Series" involving a tanguage
of form and symbol motifs for w hich th e
artist has evolved a speCific
composit ional vocabulary.
Bo rn III Atl anta Yvonne Catchings
secured an A B degree at Spelman
Co llege and Masters d egrees In an
education from Columbia UniverSity and
In Museum practice from the Un iverSity o f
Michigan. Art teaching has been done In
Atlanta and In Detroit where she now
lives. Like A lex Haley. she has been
concerned with . roots" and has
researched her family back to Iheseventh
generatIOn, She received awards m Ihe
Atlanta University Annuals during the
1950·s. tn addition to e)(hlbltlng her work
she has published articles on art sublects
and had leadership roles in cultural
aCtiVities Her " Blacks Trapped In the
City" IS her response. in coUage format
with charred remnants. to Inner city riots
like those thai occurred III DetrOit
31
Elizabeth Catlett
Born III 1915 III Washington. 0 C. She
received an A B. degree In art at Howard
UniverSIty. AI the University 01 Iowa
where she studied pallltln9 under Grant
Wood she received the flfst M.A. degree
o ffered III Fine Art s She had additional
training In a variety of media III several
Inst it utions . Elizabeth Catlett has
received grants and fellowships and
numerous pflzes and awards lor her
sculpture and prints which are III
collections In many countries. Includln9
RUSSia and China
She has been
professor of sculpture and head of the
sculpture department at the National
UniverSity School of Fine Arts in MeXICO
City. the frrst woman to hold such an
appointment. In tea Ching In various black
colleges and umverSltles In the South and
elsewhere she encountered dlSCflminal ion againsl the Visual arts on the part of
administrators
She has been a
naturalized Citizen of MeXICO for a number
of years and IS mamed to the painter and
prlntmaker. FranCISco Mora In her
sculpture and prints Elizabeth Catlett has
reacted vigorously against dlscflmination
and oppression in both the Untted Slates
and Me)(lco She makes her wo rk speak
for both her disadvantaged peoples
Irrespective of sex or race. she IS one of
the major artists working today III either
hemisphere Examples of her evocative
work In both sculpture and printmak ing
are In the exh ibition
George Washington Carver
George Washington Carver, the pioneer
agricultural scientist (1864-1943).
developed al Tuskegee Institute in
Alabama. several hundred products from
peanuts. sweet potatoes. and soy beans.
as well as experimenting extenSively with
earth clays. The lives o f Carver and
Booker T . Washington (1856-1915). ItS
founder, are indelibly Intertw ined with
Tuskegee Institute and the history of
agricultural and mechanical educatIOn
for black Americans in the South, George
Washington Carver was also an artist as
indicated by his modest lillie draw ing of
'"Roses" in the e)(hlbltion lenl by the
recently established Tuskegee Institute
Nat ional Historic Site administered by the
National Park Service. Carver also did
watercolors
21
Don Cincone
Born 10 1936. 10 Alto. LOUISiana Don
Wills. who has adopted the name Don
Clncone. followed the advise of a gallery
owner 10 California whO suggested that
Clncone composed of multiples of three
would furnish good luck EVidence of
early talent brought him a scholarship to
Southern University Mlhtary service In
Germany provided opportunity for study
10 Stuttgart The Old Masters 10 the
museums Oriented him toward this style
of palOtlng After later study in Cahfornla
he received a commission to do 85
palntlOgS lor "The Art 01 Love" by
Universal Films. Presently he operates the
CinconeGallery and SChOOl of Painting in
Monroe. LouiSiana. HIS paintings. done 10
the traditional manner that he admired in
European museums. have received a
good response from collectorS and won a
number of awards in exhibitions. An
example is "The Burden" in the exhibit
which reflects the artist's memory of his
childhood. 10 a family in which each one
shared in the burdens involved in any
work activity
color scheme. His painting, "My Church",
in the exhibition. is an example 01 his
preference for rich colors
Claude Lockhart Clark
Born in 1945 in Philadelphia.
Pennsylvania. He and his father. Claude
Clark. are the only father-son artists in the
exhibition. He studied at the University of
Calilornia, Berkeley, and recei ved a B.A.
degree from the California College of Arts
and Crafts. Oakland_ His first job was in
marketing fresh fruits and vegetables in
Talledega, Alabama. at the age of 8
Claude Lockhart Clark established the
House of Vai in Oakland to distribute on a
wh olesa le basis litera ry and art work. craft
equipment, and African art imports. In
1970 he co -authored with his lather, Black
Art Perspective. a guide for black studies
teachers. Since 1970 he has taught
African and African-American art history
in Bay area colleges and universities. He
has exhibited actively since the 1960's. In
his work he has developed the use 01 felt
pen and ink drawing as a serious art
medium. His "Ace", in this exhibition,
depicting inner city conllict. is an
example
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Claude Clark
Born 10 '9t5 10 Rockingham. Georgia.
Studied al Philadelphia Museum School
Barnes Foundation. Allred University:
Sacramento Stale College (A.B.).
UnIVerSity of California. Berkeley (M.A ..
1962). A Carnegie Grant-in-Aid. summer
1953. provided Claude Clark the
opportunity 10 palOt in Puerto Rico and
the West Indies. In the lale '930's and
early 40's he did graphiC arts in the
Philadelphia Federal Art Project. From
1948-55. he taughl art at Talladega
College In Alabama. Since 1957 he has
been teaching art in Calilornia. His work
has been exhibited extensively beginning
with the New York World's Fair of 1939
Am0ng hiS one-arhsl exhibitions wer~
two CirCuit exhibits with some 50
showings, and a retrospective in 1972 al
Fisk UniverSity. HIS wOrk is in such
collechons as Ihe Library of Congress,
The NatIOnal Collection of FlOe Arts
Oakland Museum, and Atlanta and Fisk
UnlverSlhes. HIS patnttngs often show
African Amencans and Caribbean
peoples tn scenes Irom dally hfe. African
art has exerted a strong IOlluence on hiS
work. A bold outline lechnlque has been
used tn II,9uratlve subjects with a bflght
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Benny Cole
Benny Co!e is a folk artist who was living
in HuntSVille, Alabama. in 1971 when he
created his composition of carved wood
horses pulling a wagon in which res ted a
glass covered coll!n holding the reclining
figure ~f Or. Marttn Luther King. Like all
~Olk artists, he was concerned with r eality
In so far as he was able to produce it
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2
Tarrence Corbin
Earnest Crichlow
Earnest J. Oavidson, Jr.
Born In 1946 In Newton , Pennsylvania
Study included certificate program, Art
Academy of Cincinnati, MFA (1975),
University 01 Cincinnat i. Several
scholarships and fellowships held while
attending this insti tution. Member of art
faculty of University of Arkansas at Pine
Blull Since 1975. Among exhibition
awards has been the lirst award in the
Delta Show at the Arkansas Arts Center,
t975, where a group of his painllngs were
recently exhibited. Tarrence Corbin says
that through his paintings he "explores
the aesthetics 01 art as Object. as Symbol,
and as Visual Metaphor, and as a selfreferential entity." His paintings are large
and non-objective, With surlaces alive
With prismatiC patterns of vibrant cotor
His "Ghent Landscape" In the exhibit is
approximately 17 leet long. "Ghent"
refers to the flch reds and blues also used
by the Flemish painters of the 15th
cen tury
Born In 1914 In New York City Studied at
New York UniverSity and the Art Students
League. Ernest Crichlow was one of the
arllsts who benefited from the Augusta
Savage school In New York early In hiS
career He worked In the Federal Art
PrOjects In New York and in Greensboro.
N.C He taught at Shaw UniverSity In
Raleigh: the Brooklyn Museum; N.Y. State
UnIVersity. New PaUz; and City College of
New York. Along With Romare Bearden he
was one of th e co - founders of Ihe CIOQue
Gallery 10 New York. established to give
black arhSIS a place to exhibit. HIS
exhlbilion activity began 10 1938 and has
continued since. H IS paint ings and pflnts
are In a number of collections In
paintings like hiS "White Fence·· senes, he
used hiS art to picture the dichotomy
be tween the opportunities available to
black versus while Children and Ihe
artifiCial barners separa ting their life
spheres. HIS etching. ··Day Dreams", IS
from the Tougaloo College Collection
The subject here Isconlemplatlveand not
involved in protest.
Born In 1946 The artist attended High
School In North little Rock and received a
B A degree from Philander Smith College
With art study at the Arkansas Arts Cenler
10 Ll\tle ROCk. An M.F A. degree With a
malor In sculpture was received from
Syracuse UniverSity (1972). He lomed the
art faculty of the UnIVerSity of Arkansasat
Pine Bluff as a teacher of sculpture 10
1972 HIS sculpture has wo n awards 10
several Arkansas exhlblhons Unusual
recognition o f art by a public utility
occurred when the arllSl, hiS sculpture.
and students were shown on the cover In
color of the Pme Bluff Telephone
Company directory. HIS ··Croucher" In
the exhibit In cast aluminum Shows an
IOtfl9UlOg combination of Ideas and
der ivations. The head form reflects a
conSCiousness of Afflcan mask forms
The bent leg POSition IS frequently used 10
Afflcan sculpture
G,C. Coxe
Born in 1907 in Carlisle, Pennsylvania
The first lessons G.C. Coxe received inart
were at the hands of his father, a
Presbyt er ian minister and school
principal who had moved. about 1917 ,
from Pennsylvania to a farm near Mebane.
N .C . After chores, he and his three
brothers were taught the rudiments of
drawing and composition. Coxe was the
first black student to Win an Allen R. Hite
scholarship at the University of louisville,
then recenlly integrated. where he
received a B.F .A. degree with honors In
1955. He was 48 years Old. Sam Gilliam,
Kenneth Young. Greg Ridley and the late
Bob Thompson were among Ihe black
students at the University of louiSVille
during this period who went on to
successful careers in art. Coxe
pefloolcally burned a number of his
paintings because 01 lack of a place to
exhibit them outside his sign shop and
church basements. In 1969 he was a cofounder of the louiSVille Art Workshop
which provided disadvantaged black
artists, models o f Quality work and a place
to show. The palnhng in Ihe exhibit,
"Mam'l" IS an example of hiS abstract
penod. 1967-1969. (Foregoing, based on
a Fisk Unlversily catalogue of an
exhibition of paintings by G .C. Coxe,
1972, by Fred F. Bond),
..
"
Murry N. DePiliars
Joseph Delaney
Bo rn In 1904 In Kno xville T~nnessee
J oseph Delaney slUdied al the Art
St udents League t929-35under Thomas
Benton and others He IS one 01 the artist
vetera ns of the W P A An PrOJecl s ,t934 40) and the H armon Found,l1 lon shO WS I n
Ihe HarmOn Foun dation cat alogue of
t935 he IS listed prima ri ly as a po rtra it
pamtel Today his palntm gs 01 bus tling
New York City. ItS parad es and park s are
more often repr oduced An examp le 00
the exhibit IS Washingt o n SQare Park
where he exhibited 00 the early outdoor
shOWS DUring hiS art career 01 more Ihan
45 years he has exhibited extenSively and
a number 01 museums and collectors
have aCQulfed hiS work Recently_ as one
of the artists employed 00 New York Clty's
CETA Art ists PrOjec t he has been
documenting operas done In the Henry
Street Settlemen t PrOlect In hiS por trait
of a young lady In the Blac/< ArIIst South
exhibit. he uses a lively painting
technique to express the lIvelmess of the
sub,ect ThiS contemporary work makes
an mterestlng contrast With hiS city scene
period piece
James Denmark
Born In t936 In Winterhaven, FIO"dil
From Flonda A & M Unl'Vt.'rSI!y Ile H'c(>lv(>d
a B A and from Prat11nshlllW an M FA
He IS a pamter, p"n tmakef. sculptol
designer, and art educator He has b(,("n In
more than 50 one -m an and g rouP ShO WS
and hiS work IS In the Metropolitan
M useum and o t her collections
No lewo rt hy abou t the work of James
D enm ark IS hiS versat ility ranging Irom
bold efl lgy for ms In steel scu tpt l "(' to
pllnts and coll ag e com pOSi tions that
co mbmC co lorfu l fa<;hl o n Pll nts an d
Afncan forms With strong co ntraSt III light
and dark He lives In Brooklyn, where tli S
studiO IS tocated
BOln In 1938111 Chic ago. il linOIS B A and
(j,'q.('t'S s('cu rcd at Roosevelt
M A
UnlVI'r<;.ty Ch icago Ph D , t976 ) Iro m
p"Iln::;ylvanla State UniverS ity Smce 1971
h(' h,IS b('('n on the facu lty of V"9'01a
Common weally U niverSity In Richmond .
cur ren tly serv ing as D ean of the School 01
the A rt s H IS Icadcrshlp pOSitions Include
the N atIOnal Conlerence of ArIlSIS. 197377 H(' has been aClive as a consultant and
lectu re. on ethOic. SOCial and cultural
aspects o f art and art education. DUfing
the pe flod 1970- 1976. tliS work was
mcluded III more than 25 e~hlbltlons
s(' ven being o nc·an,sl shows One of
!i1es(> III 1976wilS at the StudiO Museum In
H:HI('m A number 01 book cover deSigns
i"l nd Illustrations for bOOkS have been
excculed by the arllst HIS draWing, '"Aunt
Jem ima". In the ex h ibi tion , IS a Visual
attack on slereotype roles tha t have been
Imposed on b lack people. a matter 01
concern lor a number of blac k artlsls
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Hayward R. Dinsmore. Sr.
Born 10 1913 In Moulton. Alabama He has
lived 00 OhiO. starting In Clnclnnall. Since
the age of Ihree. HIS BA and MA (t949)
degrees were received from OhiO State
UniverSity DUling t950 he studied In
Rome Several summers were spent In
study al vaflous univerSities Five years
were spent In CinCinnati as a commerCial
arhsl HIS lI(st art teaching. starting In
t948. was at Morns College In South
Carolina
He began hiS career as
chairman of the art department at
Ce!1Iral Sta te UniverSi ty In 1955. a
POSi tiOn Irom whiCh he retlfed In 1978. A
retrospective of h iS wo rk 1930-1978 was
pa rt of the ded ication of the Pa ul Robeson
Cultural Center at Ce ntr al State
UniverSity He IS a versatile ar tiSt, haVing
done 011 pa inting. mosaics. found
sculpl ure and wo r k 10 other media HIS
work has been IOcluded in ma,o r
exhibitions SlOce t940 and was shown In
three of the Atlanta University
Annuals Two examples of lound
sculpture by Hayward Dlnsmoreare In the
exhibitIOn. both remar kable reffectlons of
African trlba t sculpture In assemblages
built from discarded metal obiects. HIS
"Berlin Wafflor" in scrap metal spans the
time lapse of 500 years from the anginal
Benin bronzes
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Aaron Dou91as
Jefl R. Donaldson
Born in Pine Blufl, Arkansas. Degrees
from Arkansas A. & M., Illinois Institute of
Technology, and Northwestern
University (Ph.D. 1974). Presently
chairman of the art department, Howard
University. Dr. Donaldson has had a
leading role In many Afro-American
organizations and activities, including
Afri-Cobra and the 2nd World Black and
African Festival of Arts and Culture
(chairman, United States/ Canada zone).
He served as chairman of the American
delegation at FESTAC '77, Lagos,
Nigeria. He was one of the artists who
painted the "Wall of Respect" in Chicago
in 1967. one of the major inner city wall
murals of the period. Theartist uses color,
texture and compositional patterns to
express his concerns about the status of
and conditions faced by black Americans.
Born in 1899 in Topeka , Kansas. Died
February. 1979, In Nashville. Hesecured a
B.A. degree from the University of
Kansas, a B.F.A. from the UniverSity of
Nebraska. an M.A. from Teachers
College, Columbia, and studied at ,.
Academie Scandinave in Paris. He
studied with and was an assistant to
Austrian painter Wlnold ReiSS (1925-27) ,
who did portraits of black personalities of
the Harlem Renaissance now in the
National Portrait Gallery. Douglas was
the pioneering artist of the Harlem
Renaissance of the 1920's and the only
artist included by Alain Locke in The New
Negro, a special edition of the Survey
Graphic in 1925 for which Reiss and
Dou glas did illustrations. He was the
major muralist of this period. doing
mu rals at Fisk University (contracted in
1930) an d fou r large murals in 19341n the
Countee Cullen Branch of the New York
Public Library. The murals, with figures
silhouetted against a rayed background,
surveyed the history 01 the African
American from life in Africa to the
American depression. These murals were
one of the W.P.A. Art Projects of the
period. Among his book illustrations were
those for Harlem poet James Weldon
Johnson's God's Trombones in 1927, and
Paul Morand's Black Magic . Subject
matter for some of his paintings came
from study travel in Europe. Haiti. and
West Africa. Douglas received a Barnes
Foundation Fellowship in 1928 and two
Rosenwald Fellowships (1931 and 1938).
His paintings were included in significant
early eXhibitions of black art such as the
Harmon Foundation Annuals of 1928 and
1935. the Baltimore Museum show 01
1939. the American Negro ExpOSition of
1940 and the Atlanta University Annual of
1944: He was given a one-artist show at
the Caz-Delbos Gallery in New York In
1933. Douglas came to Nashville in 1929
and served as chairman of Ihe Fisk
University art department from 1939 unlll
his retirement in 1966. He was given a
retrospective exhibition in the Van
Vechten Gallery at Fisk in 1971. Aaron
Douglas' lile was an example of the thrust
of his teaching: cultural awareness and
involvement, vision. and craftmanship.
"
"
Marion A. Epting
William Edmondson
David C. Driskell
Born In 1931 In Ealonlon Georgia
DegreeS were received Irom Howard
University IA B ) and Catholic UnIVersity
Washington. D C 1M F A 1962) He also
sludled al Skowhegan (Maine) School 01
Painting as have many 01 hiS lellow
arhSIS. and In Holland HIS leadership In
exhibition curatorship and scholarly
publicatIOns IS retlected In two hOnorary
doctorates from Tougaloo and Daniel
Payne Colleges HIS teaching. curatorial.
VISiting-artiSt. consultan t and gallery
director eltpenences nave been elt tenSlve
and vaned. beginning With the art
chairmanship at Talladega College In
1955. succeeding Claude Clar k Before
gOing to Ihe UnlverSllyOl Marylandwhere
he IS now cha irman 01 th e art department.
he directed Ihe art deparlmenl and gallery
programs at Fisk UniVerSity, succee ding
Aaron Douglas He was at Howard
UniverSity Irom 1962-1966 HIs latest
guest cura torshiP was lor Two Centuries
of Black AmerlcanArtthe ma,ortravellng
show of black arl to date. assembled at the
los Angeles County Museum , lor whiCh
an Impressive catalogue was published
Among Amencan artis ts hiS record is
outstanding In such areas as fellowships.
grants. awards. board memberships.
lectureships. and publlcahon credits
Under State Department sponsorship he
lectured and trave led In Africa
Remarkably tliS exhlbilion credi ts and
work in collections have kept pace With
his Olher profeSSional activi ties HIS
paintings and pnnts prolec t Afllcan and
Afncan American Imagery In colorful.
Imaginative palterns H,s " Ghello Wal l"·.
lent by the 8lfmlngham Museum of Art, IS
an elta mple
Born In 1882 In Oavldson County
Kentucky He died In NashvlUe In 1951
Edmondson worked 10 railroad shOPS 10
SI LoUIs and the Mid-South mto the flfst
decade of the cenlury Followmg the
raltroad work. he did odd Jobs and worked
In a hospital In NashVille He began
carvmg religiOUS Images In stone. 10 the
early 1930's. followmg Instructions Irom
Jesus to sing the praises of the Lord and
10 carve He and hiS work were discovered
by LOUIse Dahl-Wolte. a New York
photographer. and the neltt year he was
given a one man show In New York's
Museum of Modern Art (1937). HIS stone
carVings, of subjects that could be used to
embellish cemetelles, were done by
dlrecl cu tting on the Slone. Without any
preliminary sketching or marking Many
01 his pieces convey the ImpreSSIOn of
figures just barely released from Ihe
stone . bemg square or bolt-like Even
these are vigorously elt pressive H,s Eve.
In thiS exhibition. lent by the Tennessee
80 tannlcal Gardens and FlOe Arts Center
a t Cheek wood, NashVi lle, is fully
rounded, w ith a very generous Ilg leaf
rather tightly adhered
Renaissance
artists portrayed Eve as a more realistiC
lemale, but none produced an Eve that
could say " I am Eve" With any more
COnVIctiOn.
26
Born In 1940 In Forrest. MISSISSIPPI
Studied at InstitutionS In Los Ange les.
Includln!J OtiS Arttnstllute (M F A . 1969)
Curren t POSi tion ASSOCiate Prolessor 01
Art at th e UniverSity of California al
ChiCO The artist and hiS pnnts have been
Included 10 such recent publications as
An Aftlcan Amencan (1971:\) by Samella
LeWIS Pnnts by Maflon Epting have been
In a number 01West Coast elthlblhons He
IS IMcluded In the collections of the
Oakland and Seallie Museums. Library 01
Congress. Whitney Museum. and others
Travels 10 the Near East. Far East, and
Europe have prOVided sub,ect ideas lor
hiS pnnts " Mlfab" and "Kaba" In the
eXhibitiOn are examples. The sacred
fIIche, emphaSized architec tu rally in the
Moslem mosQue, becomes the center of
Interest In the etchmg "Mlrab" th rough
perspective and other compositional
deVices
Burford E. Evan s
Born 1M 1931 1M Gollnda, Teltas. He had
l ive years 01 study at the Ecoledes Beaux'
Arts In Pans (1950-55) and later study In
Houston, w here he now lives. Most olthe
some 55 exhibi ti ons in which hIS
pamtlMgs have been shown, have been In
Teltas, but hIS work has been mcluded
also 10 showS In several other states and In
Europe and MeXICO. His list of work 1M
collections includes ttle Lubbock
Museum 01 FlOe Arts and the Johnson
Publishing Co. collection . His paintmg in
the exhibition, " My Son. My Son" shows
ttle art lsfs skill 10 representa tional
painting and in conveying Iheemotlonsol
Ihe subject. The particular stimulus lor
the a rt ist was seeing a young man in Ihe
Situation depicted: the broader stimulus
was a deslle 10 express the leelings of a
human bemg caugh t in a back-to-the·
wall , no escape conlron tation
Sam Gilliam
alii more. B.F A Irom
y. He is an arttst.
t
arid traveler. In the.
lallin College in S.C "
w.
In
Greensboro. N.C
as visiting artist and
of institutions in the
a, and Russia . HIs 17
. and Black Artists 01
ion (1977) present
01 37 artists. HIs
suiting f rom travel in
el Union, have been
h Black Eyes (197 4 )
ns. He lives on Long
"
"
Born 11"1 1933 In Tupelo. MISSISSiPPi 8A
and M.A . (1 961 ) degrees received from
University of Louisville. He was one of the
talented group at the UniverSity 01
Louisville that included Bob Thompson
and others who are represented In thiS
exhibition. Teachmg appOintments
Include the Maryland Inslltute 01 Art and
the Corcoran School of Art. Awards and
Fellowships have been received from the
National Endowment for the Arts and the
Guggenheim Foundation
HIS early
compositions linked him to the
Washington Color School. HIs reputation
became internallonal with his color
spattered canvases, some more than 20
feet long, which were hung by draping. In
addition to many e)(hibltlons In this
country his work has been shown in
South America and at the Vemce Blennale
(1970). His light reflecting panels of 1975
contrast with his so-called black
paintings 01 1977. In the e)(hlbll is one 01
his fan series of 1971 , a walercoloron rice
paper. lent by the MIssIssIPPI Art
Museum . The rice paper. folded in an
irregular fan pa tt ern. has sketchy accents
of watercolor. The effect of the whole is
oriental in spite of ItS imprecise form
Elton C. Fax
Sam Gilliam
Born In 1909 in Baltimore BFA from
Syracuse UniverSity He is an artist .
author, lecturer. and world traveler In the
1930's he taught at ClaWn College in SC.,
and at A & T College In Gr eensboro. N C .
Elton Fax has served as viSiting artist and
lecturer in a number 01 Institutions in the
United Slates. Africa. and Russia. His 17
Black Arlists (1971). and Black Arl/sts of
the New General/on (1977) present
penetrating studies of 37 artists. His
sensitive drawings resulting from travel in
Africa and the Soviet Union. have been
published in Through Black Eyes (1974)
and other publications. He lives on Long
Island. N.V
Minnie Evans
Born in 1892. in Long Creek, Pender
County in North Carolina, in a I~g ca~in.
She had done drawings as a ch ild whi ch
were discouraged by her teacher, but her
first adult experience in arl occurr ed in
1935, following the commands of voices
in visions. Her early work was linear. as in
the example in the exhibition. My Firsl, My
Second. done in 1935. lent by theWhltney
Museum of American Art. Later she used
oil paint and collage to produce a kind of
embroidered pallern expressing her
visions and whimsies in which 1I0ral,
foliage. and geometric patterns are
intertwined around frontal view human
and animal faces. Fo r more than a quarter
of a century she collected admissions at
the gate to Airlie Gardens Estate in North
Carolina. Since her discovery by Nina
Howell Starr, Minnie Evans' work has
been exhibited in such museums as the
Museum of Modern Art (1972) and the
Whitney Museum of American Art ( 1975).
60
"
27
Born In 1933 In Tupelo. MISSISSIPPI BA
and MA . (1961) degrees received Irom
Umverslly of LOUIsville. He was oneol the
talented group al the Umverslty of
LOUisville that Included Bob Thompson
and others who are represented In thiS
exhibition Teaching appointments
Include the Maryland Institute of Art and
the Corcoran School of Art. Awards and
Fellowships have been receIVed from the
National Endowment for the Arts and the
Guggenheim Foundation
His early
compositions linked him to the
Washington Color School. His reputation
became international With his color
spattered canvases. some more Ihan 20
leetlong, which were hung by draping. In
addition to many exhibitions in thiS
COunl ry his work has been shown in
South America and al the Venice Biennale
(1970). HIS light reflecting panels o f 1975
contrast With his so-called black
paintings of 1977. In the exhibit is one of
his fan series of 1971. a walercoloron rice
paper. lent by the MISSIssippi Art
Museum. The rice paper. folded In an
irregular fan pattern. has sketchy accents
of watercolor. The effect of the whole IS
onental in spite of ItS imprecise form
J. Eugene Grigsby. Jr.
Born In 1918 In Greensboro, North
Car olina HIs study Includes B A trom
Mo rehouse College, Atlan ta, MA trom
O hio Slate University. and PhD Irom
New York UniverSity He studied with
Hate Woodrull at Morehouse College In
the 193O"s. Art teach ing has been done at
Bethune-Cookman Co llege In Flo rida ;
Carver and PhoeniX Unio n high school s
in PhoeniX; and since 1966 al Arizona
State UmverSIty In Tempe He has
conducted ms\l1uleS and seminars and
served as a consultant 10 several stat es At
the U.S. Pavilion at th e Wo rld 's Fair m
Brussels (1958) he taught at Ihe
Children's Creative Center sponsored by
the Museum 01 Modern Art, New York
Lectures on Afro-American art. ethnic
oriented art educa tion, and African art
have been given in East Africa, South
America, Caribbean Islands, and at
various institutions and museums in Ihe
United States, A recent book by Grigsby,
Art and Ethmcs, Wm.C. Brown, 1977,
provides a background lor ethniC
dimensions in art and art teaching In
America . He has been active in
professional art and art education and
ethnic organizations althe national level
H is pamtmgs in various media have been
exhibited in several one-artist shows, the
fi rst being in Luxembourg in 1945. His
"Sain ts and Smners" in the exhibit is a
composition 01 mask lorm laces with
ligure details reflecting the ambigUity 01
the title. " Alflcan Journey: the Bfldge". by
Grigsby. IS a sertgraph 01 1977, one 01 a
series based on hiS experiences in Atflca.
Robert L. Hall
Born in 1950 In Miami, Flonda Degrees
mclude B.S m Art, Fisk UnlVcrSlty and
MAT. In Museum Education (1975),
George Washington UniverSity N EA
grant received lor graduate study as well
as internship at National Collec tion 01
f ine Arts, Smi thson ian. dUfing the sprmg
01 1975. Since 1976 Robert Hall has been
at Fisk University wh erc he IS education
curat o r. c urator lo r the Fisk Art Gallen es,
and instru cto r In Muscolog y For Carl Van
Vec hten Art Gallery exh ibits at Fisk he has
pro duced several exhibition c ata logues
Since 1970 his pamtmgs have been
included in shows in Miam i. Ten nessee.
K ansas and Dallas. His p a inting
"Chattanooga" in the exhibi tion is a kmd
01 abstrac t landscape rellecting th e
terra in and geology of Chaltanooga uSing
anthropolog ical lorms
.
the art program at Savannah Stale
College Presently he teaches paint ing
and doslgn at Southern illinOIS UniverSity
III Edwardsville. AI Savannah Stale
University he received the '"Teacher-olIhe-Year"' award In 1967 He has been
Involved In art related commurllty
actlvi l ies and profeSSiOnal art
orgallizations In both Georgia and
""nols Between 1950 and the present hiS
paintings and pflnts have been exhibited
m shows In several states and III
wash ington, D.C. HIS paintlllg," Flfe Jive
Fly", in acrylic and plastics media ca tches
the lIickering lummescent "jive" ol lirelly
pal terns
I sa ac S. H athaway
Born in 1872, in Lexington. Ken tucky. His
career began as a school principal al the
age of 19 in Kentuc ky . He-studied in the
East. in Cincinnati, and Pittsburg. Kansas.
His lirst work was in painting but he
turned to sculpture which he pursued
thro ughout his career. He introduced
ceramics in 1915 at Arkansas A. & M
Co nege, Pine Bluff, taught at Tuskegee
Institute from 1937-1947, and was at
Alabama State Conege trom 1947-1962.
where he provided training in ceramiCS
and sculpture to a generation of yo ung
student artists. His lirst studio was 10
Washington, D.C., 1907- 1915, and his lasl
One in Tuskegee Institute. Alabama,
where he created a museum and a portrait
sculpture productIOn center. Pflor to his
death in 1967 at the age of 95, he could
look back on a unique career in portrait
sculpture. In 1946. he was commissioned
to do the model lor the Booker T.
Washington Memorial hall dollar and in
1951 he produced the model lor the
George Washing ton Carver and Booker
T , Washington Memorial hall dollar
Among his many p rot rail busts were
t hose o t Frederick Douglass and George
WaShington Carver. replicas of which
have been distnbuted over the United
States. Hathaway also did a bust portrait
of Dr. J .F. Dr ake, president 01Alabama A
& M . Col
"
Ph illip J. Hampton
Born in 1,922 in Kansas City. MissourI.
Prmclpal institutions at which he studied
include. Kansas State College, Drake
UniverSity, Kansas City UniverSity, and
the Kansas City Art Institute Irom which
B.F.A. and M.F.A . (1952) degrees we re
received From 1952 to 1969 he dlfec led
28
"
Wilbur Haynie
,,
•
~
Born In 1929 In Camden, Arkansas He
aUended Wiley CoUege In Te:o:as, and arl
schools In OaUas and Glendale and
received his M.F A degree from the OtiS
Art Inslltule, Los Angeles, In 1959, An
teaching has been done at California
State Untverslty, Northridge. and
Pasadena City CoUege. The artist hves In
Afladena, California. He IS one of the 25
arllsts Included In Black DimenSions 01
Contemporary Art edited by J. Edward
Atkinson ( 1971 ) who are represented In
Black Artists/ South . Most Of thealmosl40
group shows In which he has been
included belwef"n 1948 and September,
1977, have been in California museums
and gaUeries. His acrylic painling o f 1975
in the e:o:hiblt, "Androgyny" is an example
of his "hard edge" painting format. It is an
intriguing expression In pattern of the
male-female relationship indicated by the
tille.
are detailed by Elton Fax In his Black
Artists of the New Generaiion (1977)
Hinton secured an MFA
3. the
University of Clncmna.1 In 1970, and
taught ar. at Western Michigan UnIVerSity
lor mos. 01 the peflod. 1970-1977, With
fellow artist Reginald Gammon He IS
presently a member 0' .he ar. faCulty of
the UniverSity 0' Michigan. Ann Arbor He
has had ten one-artist e:o:hlbltlons and hiS
WOrk has been shown In numerous group
shows_ His draWings and paintings were
figurative in hiS undergraduate penod but
have evolved into abstract compOSitions
His " Impflsoned Landscape" In the
exhibition is one of a series which,
partiaUy, at least, may reflect hiS
e:o:perience as a teacher of ar.to p ri soners
in Jackson State Pflson in 1973-74, Th e
viewer is barred from a luU view of the
landscape. The bars break up Into smaller
str ips, warm colored, lying at an angle like
a fa llen snow fence, the n reappear, ghostlike. in the foreground
"
~d!
Born In 1927 In Baltimore, Maryland A
B A degree was received from Howard
UniverSity Additional study was done at
Catholic Unlversdy. Washington, DC.
Rochester InShtute of Technology. and
School of Ameflcan Craftsmen. New
York HIS va fled teaching expeflence has
Included Shaw University (1953-54),
Raleigh, Indiana UniverSity. Gary public
schools. and Fisk University since 1968
Presently he IS chalfman 01 the Fisk art
department. Earl Hooks, the Oldest of
eleven children, grew up In the section of
Baltimore that was most burdened by
poverty. Elton Fa:o:. In his 17 Black A rtlSIS
(1971 J, relates the struggle Earl - aided by
the encouragemen t of his mother - had to
ob tain a star t In art training . AchieVing a
career In ar t was no less dilficult under
COnditiO nS faced by hiS generation of
asplflng black ar tists. His ImpreSSive
exhibition record makes him one of the
most widely e:o:h iblted ceramic artIsts III
the Mid-South. The artist has developed
the technical skill in ceramic processes to
bflng 11110 being hIS creative innovations
III ceramiC forms_ Such pieces In the
exhibition as "Ma ternal Famlty". '" Father
and Children". and "Current Forms" are
unusual expressions of the black
expenence III the ceramiC medium Other
e:o:amples of hiS vaned creative concepts
can be seen III the e:o:hlbl\lon.
'.
..
.,'"'
li ~
Earl J. Hooks
Allred Hinton
Born in 1940 in Columbus, Georgia. He
spent 11 of the ne:o:t 14 years in Sagmaw,
Michigan . His footbaU prowess In high
school brought him a lootbaU scholarship
atlhe University of Iowa where In 1961 he
was named to the Coaches AU-American
team and the AU Big Ten team. He played
pro football In Canada, HIS interest in art,
developed early in hfe, was in competition
wilh football - art finally won out, partly
because of the disillusioning racist
altitudes he encountered as a player.
These and other traumatic e:o:periences
"
"
•
"
Fann ie L. H olman
Born 10 Somerville Texas A B S degree
was received Irom Prairie View UniverSity
and BFA and M A degrees were
secured al Texas Soulhern Unlverslly
Additional study has been done at Ihe
University of Sou thern Calil ornia and
WisconSi n University Af ter teachmg a
number of years In I he Houston schools
she JOined the art laculty al Texas
Sou then University where she IS now
teachin g teKt lle arts The art ist uses the
anClenl cra ft o f weaving to produce
conlemporary COl or patterns, lextures,
and shapes Her " mask" In the exhibit IS
woven so I hat a three dimenSional form IS
produced relating to the ethniC Image
Earnestine Rainey Hull
Jean Paul Hubbard
Born In Bedford. Virginia Degrees were
received Irom Wilberlorce UniverSity
I B S ) and OhiO Stale UniverSity 1M A I
Addi tional study was done althe Dayton
Art Instllute. UniverSity 01 Cahlor nla
(Berkeley). Tulane and OhiO State
UniVerSities More than 30 years 01
college and unIVersity ar t teachong has
been done at Tennessee State University
N ashville (19 4 7-50): Cen t r a l S ta te
Colleg e (1950 - 55). and Sou t hern
University Bal on Rouge begonnmg 10
t 955 Smce 1964 he has been ctl alfman o f
the art department In add ition to g rou p
showS hiS work has been ex hibited In
several one- ar tist exhibiti o ns HI S lat es t
mural prOjec t was executed with Jac k
Jordan as co-artis t. for the new edu cation
building at Southern UniverSity In New
Orleans in 1975 . HIS paontmgs are
traditional in technique. done In a
painterly manner . and prov ide c olorful
ImpreSSions of the sublect HIS acryli c
pamtlng of "Grande Isle". In the exhibiti o n
IS an example
Born In At lanta. G eorgia Hercareeronthe
arts has been versalile. Involvmg ballet,
moder n da n c e
mUSIC reCitals ,
professional modelmg. palntmg and
dra w mg She studi ed at the Allanta
College 0 1 Art. Geo rgia State University
a nd Shaw Uni v ersity
Among
com m isSions she received was one Irom
the Stal e 0 1 N o rth Carolina to Illustrate a
book on Ihe history of the contflbutlons 01
blac k peo ple to the state Her work has
been In cluded on Illms and numerous
art icles In addi tion to exhibits m thiS
co untry. her draWings and paon tlngs have
been shown In Canada, MeXICO, Germany
and Saudi Arabia Currenlly she IS acting
director 01 the Southern ASSOCiation 01
Fine Artists In Win ston Salem. The mural
size mixed media drawing-paintings by
Earneslme Rainey Hull are remar kable,
not on ly for the realism produced by
detailed rendenng techniques but also lor
thel( expressi veness. Her " Madonna and
Child" In the exhibit Illustrates these
qualities
John W, H oward
Born In '9'2 in Alcorn, MissIssIPPi. Af ler
study at Alcorn College and Atlanta
University, John Howard wen t to
Arkansas A, & M. College to develop an
art pr09ram .in '939 when he was 27years
old. He IS stili head of the art department
01 the presen t UniverSity of Arkansas at
Pme Blull. In place 0 1 the original five
students there are now 300 students
taking art. At the '978 convention of the
Southeastern COllege Art Conference
held in little Rock, John H oward was
honored with a cita tion for hiS long years
of service to art in the region, presented
by the guest curator tor thiS exhibition. In
the painting. " Girl with Violin", I he arllst
uses the geometric vocabulary and
counterchange method of cubism to
crea te a paltern that uses Atri can mask
forms like those incorporated by Picasso
10 hiS cubist pamtlngs beglnnmg 10 1907.
The pamtlngs 01 John Howard are flchly
hued w ith well organized patterns.
30
s
James Hull
Born in 1949 in Elberton. Georgia, He
studied at Georgia State and North
Carolina State Universities wilh a
bachelor's degree from Shaw University.
Since t965 the drawings and paintings of
James Hull have been e:o:tensively
e:o:hibited in Georgia. North CarOlina and
elsewhere. His studies of older black
people catch the dignity of the subjects.
He has also depicted young subjects with
equal sensitivity. His work relates to the
photo-realism in vogue in the last decade
but he imbues h is su bjects with more of
an individual character than is o ften the
case in the work o f some o f the artists
worki ng in this directio n. In pencil stu dies
his techn ique provides te:o:tu rat effects
and fo rm relationships that particu larize
th e subject and at the same time projec t
the ch aracter 01 th e person an d convey a
sense 01 his life history. H is "Quest fo r
Knowledge" in the e:o:hibit shows the
expressive skill with which the artist is
able to handle the pencil medium in large
scale work. James Huff and Earnestine
Rainey Huff are the only husband - wife
artists in the e:o:hibition. Their work is in
both public and private collections.
story 01 Melrose Plantation which began
as Yucca Plantation in 1750 through a
land grant given Marie There'Se CoinCoin, a freed Congolese slave.
Clementine Hunter paints whatever "hits "
her from among her memories of more
than 85 years along the Cane River. She
considers painting a cotton picking scene
much harder than picking the cotton. Her
lirst paintings brought 50 cents - now they
sell for hundreds 01 dollars. Fame has lell
her relatively untouched. She is her own
person. She has painted her memories
over and over - the hanky-tonk beyond
the boundaries of t h e plantation,
b aptiz i ngs, weddings, lunerals,
plantation activity, religious themes, and
st ill-life paintings. Her signature has
become more sophisticated now with a
reversed C. Her vision is direct. focuss ing
on essentials, in conveying her narrative.
Figu res are usually in profile or lu ll
I rontal. fn processions she uses ground
lines one above the other, like primary
level child ren do, or as the Egyptian wall
pain ters did. Three paintings lent by the
Downtown Gallery, New Orleans and the
Fisk University Art Collection enable
viewers to share with Clementine Hunter
h er West louisiana Cane River Country.
A.B. Jackson
85
Clementine Hunter
Born ca. 1883, on little Eva Plantation ,
Natchitoches, Louisiana. For many years
she picked cotlon and cooked In the
kitchen 01 Melrose Plantation. She began
pain ting in the 1930's when she tried her
hand on an old window shade with some
brushes and tubes 01 oit paint telt behind
by a visiting artist. The story 01
Clementine Hunter is on ty riva led by the
A.B. Jackson is a Virginia artist whO works
in painting, drawing, and sculpture. From
Yale University he received a B.F,A. in
painting and an M.F.A. in applied design
(1955). He hastaughtand servedasartislin-residence in a number of colleges and
universities including Southern
University in Balon Rouge, and at
Dartmouth College. Since 1967 he has
been professor 01 art al Old Dominion
University in Norlolk. His work has won
numerous awards and he is represenled
in a large number of collections. In the
field of drawing he is a masterdrallsman.
"
combining skill in technique and
e:o:pressiveness in projection. His
paintings convey a sense 01 e:o:citement in
the manipulation of paint. One sees an
evocative pain ting first and then the
subject concept is realized. His painting
" Morning Duty", in thee:o:hibit is one of his
"Porch People" series. He e:o:presses his
impressions of human beings in an urban
environment with empa thy.
.
Wilm er Jennings
Born in 1910 in Allanta, Georgia.
Received B.S. degree (1931) from
Morehouse College, Atlanta. He worked
in the Federal Art Project, 1935-38. His
work was included in such early
pioneering e:o:hibitions as: Harmon
Foundation (1933-35), Baltimore
Museum (1939), Negro Exposition,
Chicago (1940), and Atlanta University
(1942). He studied for three years under
Hale Woodruff in Atlanta where his
technical facility in woodcuts and
linoleum cuts was developed . In the
e:o:hibition, his white line wood engraving,
"Still Life",lent by the Newark Museum of
Art. includes an African carved lig ure.
This contrasts with the boldness 01 some
of his linoleum cuts. The detailed
rendering in his "Slill Life" is like thai in
the while line wood engravings of James
Lesesne WellS which are also in the
e:o:hibition.
William H, Johnson
Malvin Gray Johnson
Bill Johnson
Bill Johnson, a native of Tennessee, has
B.S. and MA Ed degrees He IS art
chairman of the McGavock High School
In Nashville. He has had a number of
exhibitions and is In collections In the
Nashville and mid-South area. In the
1950's he traveled in Canada lor three
years studying Eskimo and Indian art. an
area of special interest for a sculptor He
workS both in wood and metal. In his
sculpture In wood he utilizes natural
growth forms to create evocative images
In his "Wounded", executed in elm wood,
he sought to express the emotions of
Christ thrust In the side with a spear.
Born In 1896 In Greensboro. North
Carolina. Hedled in 1934 In New York City
as plans were underway for a one-ar!!st
show at the Delphic Stud iOS, of the
paintings done al Brlghtswood, Vlrglnta.
the preceding summer The memorial
exhibition assembled by DelphiC Studios
in 1935 also Included sculpture by
Richmond Barthe and Sargent Johnson
He studied at the National Academy 01
Design desplle 'inanClal hardships. Along
With Hale Woodrulf he was one of the first
black artists to use Cubist patterns In
painting. He was one of the "Harlem
Renaissance" painters who exhibIted In
the early Harmon Foundation Annuals of
1928. 1929, 1931, 1933, and other
pioneering shows of the penod. He
worked in the New York Federal Art
PrOJect. 1933-34. His self portrait of 1934
in the National Collec tion of FineArts has
been IreQuent ly exhibited. The artist's
painting "Ermia", of 1934, in the
exhibition is lent by Atla nta UniverSity.
"
"
Harvey L J o hnson
Born In 1947 in Port Arthur, Tex as.
Received B.A E. degree from Texas
Southern University and M.F.A. (1973)
from Washington State UniverSity. He has
been on the art faculty at Texas Southern
University since 1973. The artist was
Included In a Washington State travel
Show and in several exhibitions in Texas.
HIs work is In Texas Collections and the
Golden State Mutual Life Insurance
collection in Los Angeles. A Ford
Foundation grant was received in 1977 for
a study of black traditional arts and crafts
in Texas and Louisiana. His lithograph in
the exhibition "The Harvest" has a
curving, swee ~ing move~ent reflecting
cycles of planting and reaping, and man's
st ruggles to cope w ith natu re and its
seasons.
.
32
Born In 1901 In Florence. South Carolina
HIS Interest in art led him to copy cartoons
early In hie, perhaps paving Ihe way for
hiS late peflod slmpltlled caricatures
DUfing hiS live years 01 pnze-wlnntng
study at the National Academy of DeSign
in New York (1921-26) he Supported
himself by doing odd Jobs. Friends 01 hiS
leacher Charles Hawthorne, raised a lund
10 help Johnson study In Europe in 1926
where he was Influenced by Cezanne and
Soutlne. He returned 10 New York in 1929
and won the Harmon Gold Medal
Re turning to Europe in 1930, he marned
Holcha Krake, an arllst-craftswoman
whom he had met the year before. and
during 1933-38 their art journeys took
Ihem through Europe, North Afnca and
Scandinavia. HIS paintings became more
expreSSionistiC With the flbboned linear
emphaSIS and saturated color 01 Van
Gogh. In 1938, to escape war they
returned to New York where Holcha died
In t943. Johnson VISited Florenceagaln in
1944 and went back to Denmark where he
had his last show In 1947, On hiS return to
N ew York he was hospitalized. never 10
recover. He died in 1970. While in New
Yo rk in Ihe late 1930's and in the 40's he
worked in the W.P.A. Art Project. Hlswork
became more direct. simplified, and
"primitive" HIS late paintings on black
poli tical history and religiOUS themes With
black subjects have bold and expressive
compOSitions. His w ork is in many
collections in thiS country and abroad
The Florence. SC., Museum has recently
opened a William H. Johnson Gallery. In
1970 the National Collection 01 Fine Ar ts
held a retro spective exhibition selecting It
from more t han 1,100 Items given the
Collec tion by the Harmon Foundation A
silk screen print 01 one of his Southern
ru ral scenes, "Going to Church". in the
exhibiti on. an example 01 his "primi tive"
period. is cha rg ed w ith w armth and
humor.
)€C"
Joshua Johnston
James Edward Jones
Born ca. 1765 and died ca. 1830. Actlveas
a portrait painter In Baltimore ca. 1790'slate 1820's. Joshua Johnston was listed as
a "Iree householder"' and a "!ree
househotder of colour"' In two 01 the
Baltimore directories 01 the early 1800·s.
The pioneering work of discovering and
documenting Joshua Johnston as the
first major black port rail painter of the
19th Century was done by J. Hall
Pleasants in articles in 1939 and again in
1942 (the laller in the Maryland Hisloncal
MagaZine). The 1942 article identifies 21
paintings by Johnston. Several muse,ums
now own paintings by this artist, with a
number in the possession of the Maryland
Historical Society in Baltimore. " Mr
Baylor", in the exhibition, is a recent
acquisition of the National Gallery of Art
in Washington, D.C. This portrait of ca
1810 has the kind 01 charm characteristic
of his other paintings of white aristocracy
in the Baltimore area, perhaps enhanced
by his lack 01 fluency compared to the
Peales who were his contemporaries In
the region. The artist suggests that the
subject is a man of refined tastes and
sedentary pursuits and not a man of
action in a seafaring or military sense.
"
96
Born in Paducah. Kentucky. A B,FA
degree was received Irom Ihe
Philadelphia College of Art and an MFA
was secured at the University of
Pennsylvania (1962). A scholarship and a
fellOwship was awarded by each
institution, respectively. He is aSSOCiate
professor of art at Morgan State
UniverSity, Baltimore. Between 1962 and
1978the ar\iSl"s paintings and prints have
been shown in 60 exhibitions on the Easl
Coast, in Ihe Midwest. and in the South
His work is included in a number of
permanent collections, ·'Ethel'·. a 1978
etching and aquatint in the exhibit,
presen ts an image of a person whose
dignity has survi ved struggles and
privations which we can onl y guess al.
William E. Joh nston
Born in 1917 in Salem, Ohio. Study at
Alabama State University (B.5.. t963):
Rochester Institute of Technology
(M.F.A., 1970): diploma from John Herren
Institute: and elsewhere. He went to
Mississippi Vocational COllege in t963
and is now art chairman at the present
Mississippi Valley Sta te University in Ilta
Bena. He has received various citations
and awards connected with his teaching.
His work has been shown in several oneartist shows since 1962 when he had a
show in the Tribune Tower, Chicago. His
paintings in collections include the
Barnell-Aden G allery in Washing ton,
D.C. (1963), The artist's participation in
group shows began wi th the Atlan ta
Universit y Annual of 195 1, He was
included in three o th er Atl anta Annuals.
Among o ther group sho ws have been:
"Discovery 70". Cincinna ti; "U.S.A.;
t971-72", Carnegie Institute, Pittsburgh,
and the 15th Delta A nnual, Little Rock.
William Johnston's painting in the
exhibition ("'Untilled", 1978-79) was
developed using a variety of media 10
produce a surface in relief. The artist
explores Iwo philosophical areas in the
painting: a personal search for identity:
and meaning in man's evolution.
3J
"
c
lois Mallou Jones
lawrence A, Jones
Born In 1910 In lynchburg, Virginia HIS
study ex tended over a 39 year penod. The
Impetus for hiS initial study at the Art
Institute 01 Chicago came from while and
black CitizenS of Lynchburg who raised
several hundred doUars to help the young
artist. the oldest 01 12 children, begin his
study at Ihe Art Institute from wh ich he
received continuing scholarships,
Charles White (Included In this exhibi t)
and Eldzler Cortor were fellow students.
In 1939 he secured a B A degree at Dillard
UniverSity and In 1971 the M.A. degree
from the UniverSity 01 Mississippi. He had
two years al the Taller de Graflca in
MeXICO City In 1941-43. He headed art
departments al Dillard UniverSity (193941) and Fort Valley College, Georgia.
(1 942-48) . From 1935-39 he had been art
director at Hull House in Chicago. He
served more recently as art chairman al
Jackson (MISSIssippi) State University.
For the tOOth Anniversary of Jackson
State in 1978, he did a 14 panel Centennial
Mural. In the 1940's he received
Rosenwald and Carnegie Fellowships to
study mural painting in Mexico and
MeXican pottery. In the 40 year period
gOing back to 1938 hiS work has been
exhibited and won awards in a number 01
shows He was included in a graphic arts
show by black American artists that
toured Europe and Russia in 1944.
Lawrence Jones is one 01 the artists
Included In 17 Black Artists by Elton Fax
HIS "Image" lent by Tougaloo Collegf'
presen ts a black man wearing an African
mask painted while. This evocative
painting will be accorded as many
interpretations as there are viewers
Born In 1906 In Boston, MassaChusetts
She studied at the Boston Museum
School 1923-27, on a scholarship. Study
con tinued at Boston Normal Art School,
Harvard and Columbia UnrverSltles,
Howard UniverSi ty (B.A.). Academie
Julien, and Ecole des Beaux Arts, PariS
(1 937-38), and in Rome. Teaching
included Palmer Memorial Institute,
Sedalia, N.C. (1928-30) and Howard
University from 1930 until her retirement
in 1977 as Professor Emeritus of design
and watercolor paintin9
She was
awarded the General Education Boards'
foreign study fellowship for 1937-38. In
1962 she was elected a Fellow in the Royal
Society o f Arts. London , Her exhibition
prizes and awards have been numerous-If'! the Atlanta University Annuals
beginning in 1942 and the Corcoran
Gallery shows starling in 1941. She
received a I,rst honorable mention for an
oil painting in the French Society 01
Artists exhibition in Paris in 1962. By 1977
her work had been shown in 49 one-artist
exhibitions. In 1973 she was given a onear tist show by the Boston Museum of Fine
Arts. the first black artist to be so honored.
She has been very aclive in behalf of black
women and their recognition in the ar ts. A
prolusely illustrated book on Lois Jones
with 110 of her paintings was published in
France: Peintur(JS - Lois Mailou Jones,
1937-1957. She has in progress curren tly ,
a book on Caribbean and Alro-American
women artists. Her current ShOw IS a
re trospective 01 her work 1935-1978. like
Alma Thomas her work continues to
evotve creatively and reflect her
enthusiasm for art and life. An example of
the paintings in her Cezanne period of the
late 1930's and the 1940's is "Panorama of
Grasse, France·'. 1952. This has
con trasting warm and cool hues and the
clarity of forms in space characteristic of
the artist's landsca,pes of this period. Her
"Moon Masque", acrylic and collage, of
1971 was exhibited at FESTAC '77 in
Lagos. Nigeria. It reflec ts the artist's
design ability and interest in color and her
skill in combining African motifs in an
integrated composition. This in one of a
series 01 paintings resulting from travel in
Africa
"
Ted Jones
Born 10 193810 New Orleans, LOUISiana
Received B.A, from Xavier UniverSity;
M.A. from Michigan Stale UniverSity
(sculpture and pamting): and M.F.A. from
Montana UniverSity, 1968 (printmakin9);
With additional work In museology at Fisk
University. He held assistantships during
his graduate work. He taught at Florida A.
& M, Unrversity (1965-68) and has been at
Tennesse~ State University since 1970,
where he IS art chairman He has been a
touring artist With the Tennessee Arts
Commission smce 1970. Since 1963 hiS
paintings, prints and sculpture have been
in 40 exhibitions rn the United States and
have received a number of awards. Twool
the print processes lor whiCh he has
developed advanced techniques are
direct printing in silk screen and cuI
masonite prints. He has published a book,
Thoughts and Verses. illustrated With his
block prmts. One of his masonileprrnts in
the exhibition is "Biko ", 1978, a dramatic
presentation 01 the subject An unusual
work in sculpture is "In the Spint of My
Ancestors", a round seven foot totem with
Af rican images carved in relief. His "Boy
Holding a Pigeon" shows a creatively
unique solution to carving a vertical shaft
01 wood.
Jack Jord an
Born In 1925 In Wichita Fatts, Texas
Degrees received from Langston
University (B A.); University of Iowa
(M A) and MFA
(1953); Indiana
UniverSity M S and doctorate In art
educatIOn Teaching appOintments
Langston UmverSlty and Southern
UniverSity, New Orleans, where he IS
chairman of the art department He was
chairman of the National Conference of
Artists for several years A book on the
hlslory of the conference from 1959-1975
IS being aUlhored by the arllst. Jack
Jordan IS a prolific artiSI in sculpture,
painting and pnnts. He has exhibiled In
four countnes and more than 30 of the
United Stales, and has had over 40 oneman showS. In the Atlanta University
Annuals. from the 1950's to 1970. his
sculpture received ten awards . In
sculpture he works in a variety o f media
welding. casting and wood carving. In
t978 he produced 18 pieces of wood
sculpture in his "Roots I Remember"'
senes. In 1975 Jordan and Jean Paul
Hubbard. art chairman at Southern
UnIVersity In Baton Rouge, painted a
mural at Southern UniverSity In New
Orleans on the "Con tribution of Blacks to
LOUISiana History" "Ghetto Family" by
Jack Jordan. IS a bronze sculpture of
sllhouelled figures arranged In a Circle to
give a feeling of family closure.
..
,
""
James E. Kenned y
Born in 1933 in Jackson. Mississippi.
Studied al Alabama State University
(B .S.). Indiana University (M.A.T., t964),
Beaux Arts . Academy, Paris (1956-57),
and Springhill Cottege. Secondary school
~rt teaching and administration in Mobile
Involved 1958-1968. He joined the art
faculty of the University of South
Ala~ama in 1968 and became department
chairman In 1978. tn addition to a number
of shows in Alabama his work has been
included in the 20th Atfanta UniverSity
Annual (1963) and al the UniverSity of
West Florida (1973). The Johnson
Publishing. Co. Collection In Chicago
Includes hiS work as do a number of
private collections. A mafor contribution
made by James Kennedy to the
knowledge and understanding of ethniC
art in America IS hiS involvement in the
Universi ty of South Alabama's Ethnic
American Slide Library (Afro-Amencan.
Mexican American. and NaliveAmerican)
which has been a source o f study and
l eachi ng slides fo r hundreds of
individuals and institutions in th e coun try.
The Kress Founda tion contr ibu ted more
than $121.000 to this project. James
Kennedy has served as lecturer, panelist
and consultant for variOUS groups many
times since t970. His awareness of
African cultural ancestry IS indicated by
hiS work in progress of which one,
"African Series #1". IS in the exhibition.
Virginia Jackson Kiah
Born in East SI. louis, Illinois. Studied at
Philadelphia Museum School of Art
(1927-31) and Art Students League, New
York. B.A. and MA. degrees were
received from Columbia UniverSity, the
latter from Teachers College in 1950. She
did high school teaching In Baltimoreand
J5
Savannah (1953-64). Virginia Klah has
been active In Such art organizations as
the National Conference of Art!sts and
has organized exhibitions for student
artists. In t958 she established the Kiah
Museum In Savannah which she stili
dlfects She also founded and is codlfector of the lillie Carroll Jackson
Museum (a Museum for the Masses) in
Baltimore. Since 1933 she has been a
portrait painter. Her more than 80
portraits have been widely exhibited and
received a number of awards Her oil
painting. "Ghett o Boy", was painted In
Cambridge, Maryland. She exp resses in
the painting the pathe tiC and forlorn
character of this little boy who frequenlly
passed her house.
Simmle L. KnOk
'"
Born in 1937 in Aliceville, Alabama. Study
at University of Delaw are and Temple
University (B.FA, Magna Cum Laude;
M,F.A., 1972). His varied teaching and
museum experience includes Uncoln
UniverSity (Penn sylvania), Bowie State
College, The Museum of African Art, and
th e Duke Ellington School of the Arts in
Washington, D.C., his present post. He
has had a dozen one~man shows.
Commissions in the past four years for
very large portraits include " Frederick
Douglass", Museum of African Art;
'"Martin Luther King". Bowie State
College: "Dr. Mary McCteod Bethune"
State House. Columbia, S.C.: and ·'Alex
Haley," State House, Nashville, Tenn. The
portrait 01 Dr. Bethune IS the first portrait
of a black woman to be hung permanently
in a State House in America. The
paintings of Simmie Knox have been In
many group shOWS and are in anumberof
collections. His '·Re tlrement" ' In this
exhibition reflects his background of
experiences in the fural South.
Larry Francis Lebby
LawrenCe Compton Kolawole
Born In 1950 m olxlanne. South Carohna
Studied al Allen UnlverSlly and UniverSity
of Souln Carohna B A and MFA (1976)
Smce 1963 hiS exhlblllon activity has
been increasing. He IS one of several
young artists m Ihe e~hlbitlOn whose
careers have been launched With
considerable promise. His emphaSIS now
is on lithography. a skill which he
developed under Boyd Saunders at the
UniverSity of South Carolina HIS
hthograpn in \he exhlbltlon . "'PrOject New
Day" (a tflbute to all collective black
views). was recently completed alter
eleven months o f work. The subjects are
the artiSt's uncle and aunt with hiS
daughter, Amanda. This print offers more
than the "'photo realism" format. popular
in recent years. It has a quality 01
personality prOjection and humanity that
is universal in nature.
Born In 1931 In Beaumont. Texas Studied
al San FranCISCo Artlnslltute Traveled In
Germany and Nlgena (1965. 1966. 1967)
and lived In Paris (t968-74). While m
Europe hiS work was mcluded m 30
exhibitions, among these the Venice
Blennale of 1978 In Munich he learned
gUlldmg and furrllture res torati o n ~hlle
m N lgena he adopted hiS Nigerian
surname Kolawole. HIS paintings and
prints have been shown m more than 20
one-artist exhibitions His oil painting.
·'Sun-4". 01 1977. IS one 01 a series on thiS
theme. Precise patterns 01 lines and
geometric shapes are placed on a reddish
surlace against the background drenched
With yellow Tne ellect IS surreal
"1
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....",",A,'"
Hughie Lee-Smith
J ean Lacy
".
n'
Born in 1933 in Washington, D .C . SM
received a B.F.A. degree Irom Southern
Universily in Baton Rouge and has
studied at theArt Students LeaQue in New
York , and the OtiS Art Inslltute in Los
Angeles. Current actiVities mclude
illustrator lor the United Methodist
Church Southern California - Southwest
Conference in Dallas: curator of African
American Cultural Heritage Museum in
Dallas: and docent at the Dallas Museum
01 Fine Arts. She has also developed
special exhibitions forthe Bishop College
African American Museum. Her work has
been exhibited in Texas and is in a
number of collections in Texas, California
and elsewhere. Her collage compositions
based on the black experience combine
archi tectural cons tr uctions, folk art figure
types, and at times. sophistica ted
painting. Her collage and acrylic
composition, "Noah's Ark. No. I", of 1971.
shows a black Noah in exhortation as he
points to the scriptures. It conveys a kind
of African wry humor and superficially
relates to Horace Pippin , but is too
sophisticated lor that level of Imagery
J6
Born in 1915 in Eustis, Florida . Studied in
Detroit and at the Cleveland Institute of
Art (high honors). Alte r N avy service in
WW II, received a B.S. at Wayne State
University in 1953. He has taught at
Claflin College, S.C., in Michigan and
New Jersey. and at the Art Students
League. New York . He was honored by
election to the National Academy of
Design in 1967 . He was artlSHnresidence at Howard University, 19691971 . Hughie Lee-Smith had his first oneman Show in Chicago in 1945. Since 1938,
he has received a series of exhibition
awards and prizes. His work is in
museums in this country and in La90s.
Nigeria. Charles Burchfield in the 1930's
and William Stuemplig more recently ,
caught the feeling of lost grandeur and at
times desolation in their pamtIM9S of old
houses and decaying buildmgs But
Hughie Lee-Smith adds a human
dimension of pathos in hiS pamtlngs of
inner city blight with children and you n9
people in Isolation. conveying a sense of
deprivation and loneliness. The eroded
walls or rubble strewn vacant loIS or
recrealion slles from which the musiC or
fun and eXCi tement have gone focus
attention on the lonely mdividuals left on
the stage - often unaware or obliVIOUS 01
the other's presence. This feelln9 IS
generated by the artis\'s paintlMg 1M thiS
exhibition "'Jazz Concert / Dukes Theme"'
''''
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"
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Samella S. Lewis
Oscar Logan
Sorn In New Orleans Studied at Dillard
University. Hampton Institute (85).
Pennsylvania State UniverSity. Ohio State
UniverSity. (M A. and PhD. t95t). Tung
Hal University. Taiwan. New York
University. and UniverSity 01 Southern
Calilofnia (1964-66). Currenlly she IS on
the lacully 01 SCriPPS College In
Claremont
Prevlousty a variety 01
educational appOintments were held
(LoS Angeles County Museum 01 Art.
Colleges and UniverSities In Cahfornia
and New York, FlOrida A & M. University,
Morgan State College, and Hampton
Institute.) In addition to college and
univerSity scholarships she received
three fellowships for Chinese language
and Asian cu lt ure study. (The Fulbright
provided for study in Taiwan). Her
publications and films have been o f
enormous benefit to both the black and
white communities in making the
significant work of African American
artists better known and in providing a
showcase for developing talent. Black
ArtJsts on Art. Volumes 1 and 2. were coauthored with Ruth Waddy. Her Art
African Ameflcan, Harcourt Brace, was
published In t975, Her publication
involvements Include Slack Art. a
quarterly now In ItS third year. She has
been guest curator for lour shows on the
West Coast. With all her actlvilles Samella
Lewis has lound time to create paintings
and pnnts lor exhibitions and permanent
collections. Her t9740il painting. "Oulof
a Dark and Glonous Past". affirms pride In
the ethnic past and the identity it prOVides
for the new life that Will face the luture.
114
Born In 1950ln Columbus. MiSSISSippi, He
received a BS. degree Irom Jackson
State University and M.A. and M FA
(1976) degrees from the UniverSity of
Wisconsin With a major In sculpture In
the arl education area. hiS major for the
B.S, and M.A. degrees, he is interested in
programs which respond more
adequately and are more relevant to the
SOCially and economically deprived
Oscar Logan uses a vanetyof media in hiS
sculpture: ceramic, cast metal. welding,
and fiberglass HIS themes are satlriC31
and ohen provide confrontation With
white establishment mores and values
"No' Mo" in the exhibi t is an example of
hiS satirical treatment of subject theme
and both thiS and the aluminum partial
torso show his multi-media skill in
sculpture.
Henri Linton
Born in t944 in Greene County, Alabama
He studied with scholarships at the
Columbus (Ohio) College of Art (196266): Stillman College; Boslon University
(B. F.A.); and UniverSity of Cincinnati
(M. F.A .. t974). He has been on the art
faculty of the University of Arkansas at
Pine Btull since t969 HIS exhibitions
have been primanly in the South and MidWest. He received three awards in the
Atlanta University Annuals lOr work In
graphics and painting (1966 and t968).
His expressive ligure study " Alone ", lent
by Atlanta UniverSity. received the t968
purchase award. ThiS paintmg IS
illustrated in Black DJmenSJons m
Contemporary American Art (t97t). The
oil painting "American Forever", lent by
the artist. received the firs t award in the
Arkansas Art ists competition. An older
black man wearing a purple heart IS
shown against a background of American
flags. The artis t uses selling and pose 01
figures to create through the total
composition the feeling that he Wishes 10
express
'"
J7
u,
Jesse Lott
Born In Simmesport, LouIsiana Jesse
Lott attended Hampton Institute In
VlrgJnla In the early t960's. While living In
Cahlornla until t969 he did additional
study. He nas traveled e)(tenslvely in the
Southwest and Pacific Northw est.
creating "relics of the future" out of
discarded matenals (wood , wire. et
cetera) lor vanouS outdoor sites. His
present home IS Houston. His
assemblages are an extension 01 "Dada"
01 the early decades of the Century, but
without a tongue-In-check attitude. The
Robinson Galleries in Houston held an
exhibit 01 Lott's work in 1977 titled:
"Urban Environment, Relics 01 the
Future", which included animal and
humanoid forms and abs t ract
compositions created with urban scrap'
wire, broken glass, and other discarded
remnants Of current technogical waste.
His "Sun worshipper" in the exhibit.
crea\lvely recycled from urban junk,
holds a mirror up lor twentieth century
America to view itself.
Phillip lindsay Mason
Nina Lovelace
80rn In t95t In Florence. Alabama Study
at Skowkegan School In MalOe ( t970),
Fisk UniverSity (8S.), and IIhnols State
UniverSity (M.S,), t976. She has been an
Instructor in art at Tennessee State
University since 1977 Previously she was
an illustrator for Meharry Medical
College. Freelance graphic art has been
done since 1970. During her period of
study she received scholarships or
assistantships at each 01 the institutions.
Since 1973 her paintings have been
shown in Nashville, Black Expo In
Chicago (1976) and at Washington State
University (1978). Her 1978 watercotor
panels " Ebony Man - Golden Woman"
make a pair that are innovative in the
relationship to each other and in the
pictorial ideas involved. The theme "Black
in Beautiful"is e)( pressed here with a high
level of fluency in the watercolor medium.
Edward McCluney. Jr.
Studied at VirgiOia State College (B.A.)
and University 01Massachusetts (M.F. A .)
He has taught at VirglOia Stale College
and the University 01 Massachusetts
Presently he is leaching at the
Massachusells College 01 Art in Boston
HIS etchings have been shown in such
e)(hibltions as "Alro-American Artists:
New York and Boston" (t970) and are in
several collections "lady In Black
Stockings" is a 1971 etching from the
Tougaloo CollectIon. The black stockings
serve to connect the bent dark figure.
leaning on the cane as each step is taken.
with the black cast shadow.
".
Born In 1939 In St Louis, Missouri. SF A
In palnhng With High DiStinction and
MFA (1970) Irom Cahlornia College 01
Arts and Cratts; further graduate study at
Ohio State U.nlversity Art teaching
positions in CaliforOia between 1968 and
Canterbury School,
1972 Included
Walnut Creek: Lane Mountain College:
Calilornla College 01 Arts and Crafts: and
Laney College. He taught at Indiana State
UniverSity, 1972-73, Vincennes
University. and North Carolina Central
UniverSIty, Durham, 1973-77. Presently
he is professor 01 art at Fisk UniverSity
One-ar\lst shows 01 his work have been
held at StudiO Museum in Harlem (1975),
Virginia Union University (1 978). Indiana
Stale UnIVerSity, Fisk University, and
elsewhere. His paintings, prints, and
drawings have been included in 25 group
shows since 1967. among these were
exhibits at: Oakland Museum: Howard
University: " Expo '70", Osaka, Japan: the
Whitney Museum: and Cornell University,
Prizes and awards were received 10
several 01 these shows. His large acrylic
paintings exemplify "Black is Beautiful" In
an impellln9 way. "Woman as Body /Splfll
01 Cosmic Woman" in Ihe exhibition
presents the physical beauty of black
women and conveys a feeling of spirit and
soul through symbols of a red rose, the
brightly hued disc above the figure, and
the "presence" radiated by the subject
The contrast of the satura ted blue
background and the warm accent hues
relate to the impression created.
"'.
'"
<
-
Sieve Matthews
M. Marianne Miles
Steve MaUhews is a young man who lives
Born In 1941 Attended high school In
Austin. Texas. Received A B In art Irom
Fisk Unlveslty. and M A In art from New
Vork UniverSity In 1968 Her vaned
leaching experience has been at
Cameron H igh SchOOl In Nashville and at
Fisk UniverSity and Tennessee State
University in Nashville from 1963-1973
For three years preceding her gOing to
Huston-Tillotson College In Aus tin.
Tex as in 1977 she was in personnel
manage ment lor a mUSical production
company. The artist's draWings. pnnts.
and paintings have been shown In ten
o ne-artist exhibits since 1956. Her
pain ting s were included In four of the
Atl an ta U nivers ity Annu als. Her painting
" Pockets" in th e ex hibition IS a character
study w ith cl othing being part o f the
personality project ion.
in
Murfreesboro,
Tennessee
He
IS
completely sell-taught. He has enjoyed
drawing as long as he can ~emember
Recently he tned his hand at 011 painting.
with rather astonlshmg results as the
observer will note In viewing Ihe portrai t
of hiS nephew.
None of .:he nalv~
conventions 01 the self-taught pnmltlve
are present in his painting.
Lev Mills
Grady Garfield Miles
Born in 1944 in Birmingham, Alabama. He
received a BS. degree from Alabama
Slate UniverSity. an M.A. in urban
educ ation from the University of
Roches ter, and an M.A. in a rt education at
Ohio Stale UniverSity In 1977. He also
received
certificates
from
study
,,.
In
photography, cartooning and ta xiderm y
During 1969-7 1 he taught al Dillard
University Since 1975 he has been
teachln9 art at Barber-Scotia College in
North Carolina. Paintings. drawings and
photographs have been exhibited In more
than 35 shows since t962. His drawing in
the eXhibi tion. ··SecurityT. humorously
queshons the assumption 01 security
based on the presence 01 a guard
J9
Born In 1940ln Wakulla. FlOrida Received
B A degree hom Florida A & M
University and M A and MFA (1 970)
degrees from the University 01 WisconSin
(Madison) With amaJor In printmaking He
received a Ford Foundation grant In 1970
to continue study at the Slade School of
Art. University College. london. and to
attend Atelier 17. Paris. lor work With
Stanley W Hayter The artist taught SIX
years (1962-68) In the Broward County
PubliC Schools. Fort Lauderdale
Recenlly he was teaching art at Clark
COllege. Atlan ta Currently he IS working
on three large colorful glass mosaic
murals commisSioned for a station In the
new Atlanta subway prOject HIS
prmtmakmg Includes lith09raphy.
etching, photo-etching. ser igraphs and
collag raphs . In 1971, he published a book
01 etchings With the poem "I Do" m
london. HIS prints have been acqUired by
many museums and ins t i t utions.
Including. the Victona and Albert and the
Bnlish Museums in london; National
library 01 Scotland; Blblio theque
Natlonale. Pans; library 01 Congress;
Museum of Modern Art. NY; High
Museum. Atlanta; and many others. From
1968 to 1978. 27 one-arllst exhibitions
have been held of hiS work. In England
France. Holland. Africa. and the United
Slates He has been mcluded m group
exhibitions In West Germany and
Sweden. In addition to shows in thiS
coun try. HIS etching. Merry Christmas
IS an example of hiS pho to-etching
realism and hiS Imagmallve presenta tions
that are never commonplace
Cllflord Mitchell
Born In 1925 in Birmingham, Alabama
Received B.S. in architecture Irom
Tuskegee Institute, Alabama (1949) and
BFA degree from the Art School of the
UniverSity of Hartford, Connecticut
(1958). He served as presiden t of the
Connecticut Chapter of the NatIOnal
Society of Interior Designers (1969-72)
and of the Connecticut Watercolo r
Society (1970-72). He is a registered
architect. His watercolor paintings have
won more than 24 awards in exhibitIOns
since 1958 and are in a number of
collections in Connecticut and
elsewhere. In his '·Autumn New England"
in the exhibillon the artist has created a
montage of archi t ectural forms
characteristic of New England inctuding
details from typical structures 01 the 18th
and 19th centuries. A mosaicoflall colors
conveys the seasonal setting for the
architectural elements
representation. Coftnne Mitchell's "Civll
Rights March IT' in th e exhibit expresses
the artist's reaction to CiVil Rights
Marches -- like the ones she saw in
Washington -- endless lines of people
protesting conditions of the past and the
present, seeking a better future.
Jimmie Mosely, Jr.
Born in 1927 in Lakeland, Florida
Received B.F.A. degree from T exas
Southern University and M.A. ( 1955) from
Pennsylvania State UniverSity. He taught
at the Eastern Shore Division of the
University of Maryland (Pnncess Anne)
from 1952-75, being chairman of art
education from 1956 until he was
mu rdered 18 years later. He had served as
preSident of the National Conference of
Artists and been active as a consultant or
summer session teacher at a number of
institutions including Texas Southern
University. Between the mid 1950's and
1972 his paintings, prints, and sculpture
had been shown in more than 40 exhibits
and were in 93 public and private
COllections in the East, Midwest and
Sou th. One of his three prize winning
w orks from the Atlanta University
Annuals of 1955, 1963, and 1965. in the
exhibition is his watercolor, "Pro tes!'·,
from the 1965 Annual
Sister Gertrude Mo rg an
".
Corinne Mitc hell
Born in 1914 in Baskerville, Virginia. B.s.
degree received from Virginia State
College. Additional study includes:
George Washington University, Howard
Un iversity. D.C. Teachers College, and
University of Maryland . Independent
study and travel in Africa, Asia, and
Europe, During much of the past 40 years
Corinne Mitchell has been a teacher in
Virginia and Maryland. In addition to
several on,e artist shows, her paintings
have been Included In more than 55 group
shows since 1951. She has been active in
many professional art and education
organizations including the National
Conference of Artists in which she has
served as an officer since 1972. Her
paintings have spontaneity with fluid
color movements within areas of subject
Born in 1900 in lafayette, Alabama. After
moving to New Orleans she became
involved with a fundamen talist group
concerned with glorifying Ihe Lord
through music and dancing. This street
missionary artist receives her inspiration
and direction directly from Jesus. Sales of
her Jesus guided paintings help keep her
mission in New Orleans' black ghetto
operating, Her painting, "Jesus, I love
You ", is a dynamic and cotorful
exposition of her unabashed belief in the
power 01 Jesus. The wh ite garment she
wears attests to her role as a bride in
Jesus' service. (Info rmation based on
catalogue of an exhibitio n of black
American folk artists prepared by William
Fagaly, cu rator, New Orleans Museum of
Art) ,
'"
40
'"
•
Ar chibald J. Mo tl ey. J r.
aorn In 1891 In New Orleans, Lo uI siana
He studied art at th e Art Instit ute o f
Chicago and In Europe llke many black
artlslS of hiS generation wo rk as a laborer
supported his art 1ralOIOg Th e Harmon
Foundation Catalo gue and Revi ew of
1935 lists many awards, prizes and
exhibits He was In each Chicago Art
Institute e;.:hlb tl smce 1921 and won the
Logan PrIZe there In 1925. The Harmon
Gold Medal was awarded to him In 1928.
Durmg this period he won a Guggenheim
award He worked in the illinOIS and
Federal Art PrOJects, 1934· 35. Most 01 hiS
paintings were sold in aone-artlst show In
the New Gallery In 1928. the first one-man
show for a black artist since the one given
Henry Tanner. He was included in the
Century o f Progress exhibition in
Chicago: the Baltimore Museum
exhibition 01 1939: and lhe Negro
ExpositIOn also In Chicago in 1940. The
above listing indicates why Archibald
Motley was considered one of the major
artists of the Harlem Renaissance. His
exhibition activity and acquisition of his
work by collectors contmued into recent
decades 01 the century. HIS paintings of
Parisian street scenes: Harlem streets,
parades. night hIe: and Ilgure studies 01
the 1920's and 193O's provide an
unparalleled record 01 black America in
the pamtmgs of this period. A very
appealing pam!lng by Archibald Motley is
'"Mending Socks" . lent by the North
Carolina Museum of Art. ThiS pamting 01
a mother-grandmother kind of person can
hold ItS own with similar paintings by
Whistler and Bellows. The partial view 01
the portrait on the wall indicates the
setting lor this scene.
'30
Trudell Mimms Obey
Otto Neals
Born in 1931 in lake City. South Carolina.
He moved to Brooklyn with his lamily at
an early age. Thearlist is employed in the
illustration department in the POSt Office.
~e has nol had extensive formal traming
In art so has had to depend largely on his
own resources lor his development. Artist
friends in Brooklyn have provided help
and encouragement. He was a member of
the group thatlounded the 'Weusi" group
in Harlem with an exhibition gallery
named " Nyubba Ya Sanna" (""House 01
Art"") . He works in a vaflety 01 media'
painting. printmaking, draWing. pastel,
and sculpture which he took up alter
visiting Guyanna. his wife's home. La ter
he wen t to Ghana and Togo in West
Africa. His experiences in Guyanna and
Africa have had a profound influence on
his ar t. Otto Nea ts is included in Black
Artists of the New Generation by Elton
Fax from which some of the above da la
were based along with information from
the artist. "Life's Vessel'". carved in elm
wood, has an African prototype. The
vessel on top of the figure could have a
number of connotations. such as
indicating ancestral-cultural-biological
lifelines. His '"Jungle Magic" , acollograph
print. invokes the mystery and power of
tribal gods and spirits.
41
R
Born in 1943 in Houston. Texas. Study
Includes Chouinard Art Institute. Los
Angeles. Aspen School 01 Contemporary
Art (on a scholarship), and Texas
Southern University (BAE. 1975). She
has taugh t junior high school art In
Houston . She is another of the artists
included by Elton Fax in his Black Artlsls
of the New GeneratiOn. In addition 10
exhibitions in Houston and Texas her
work has been included in shows in
Aspen and Chicago. Her creat ive
production involves paintings, printS.
sculpture. ceramics and weaving. The 011
portrait, "'Mystical Woman '", shows a
woman who projects a strong character
against a background that has a mystical
feeling .
'"
Hayward L. Oubre
Born In New Orleans louIsiana A SA
degree was received from Dillard
UmverSlty and an MFA degree from the
UmverSlty of Iowa He taught high school
art in Marion. Alabama and served as art
chairman at Flonda A & M University
(1948-49) and at Alabama State
UniverSity (t949-65). Currently he IS
chairman of the art department at
Winston-Salem State Umversity. The
artist workS In a variety of media. The
most unusual three-dimensional
technique he has developed is his w ire
sculpture -- twisted coat hanger wlfes
which encase the exterior shape 01 the
subjects Some pieces are life size. His
work has been ex ten sively exhibited
throughout the South and Mid-West and
has been in exhibits elsewhere, Between
1947 and 1968 he won eight awards for
work In three dltferent media In the
Atlanta UnlverSl\y Annuals
'Tribal
Chleflan" , an example of his wire
sculpture. fun ct ions In space in a manner
suggested by the two-dimensional
curvilinear line patterns of head forms
done by Pavel Tchehtchew.
35 exhibitions In Califorma and other
states He has lectured extenSively and
has been Included In a number of
publications on Afro - Amencan art. tn one
of these. Black Artists of the New
Generation, by Ellon Fax, the author
recounts some highlights In John
Outterbrldge's creative development an
officer's recogmtlon of his talents asa G .I
In Germany, hiS contacts With Alonzo
Davis. the development of the Brockmann
Gallery In los Angeles. the
encouragement provided by sculptor
Noah Punfoy (who was born In Snow Hill,
Alabama). and his tranSition to work In
sculpture from draWing and painting. The
artiSt's "Untitled" (EthniC Doll) IS one of a
senes in progress, called "Oem Folk", an
ethniC hentage senes In which black
lifestyle icons are projected. The pattern
of this figure in miniature rellects the
inlluence of African tnbal Images
Joe Overs treet
Born In t9t4 In Conehatta, MISSISSIPPI
Studied at Califorma Schoot 01 Arts and
Crafts and the Uiliversity of California
(B F A. ). He has worked In California and
New York and has taught at long Island
UniverSity and Richmond College
(Queens) Some 01 hiS pain tings 01 the
early 1960's were Visually Violent protests
against dlSCflmlnatlon and demeaning
stereotypes. His work has been exhibited
It1
major museums and univerSi ty
gallenes In the later 1960's he used the
form of o fte n large, shaped canvases on
stre tchers or held by ropes The artist
used abstract patterns based on Alflcan
mask and other sculpture lorms. One of
the mOSt intriguing of these was "He and
She" shown at the Stud iO Museum In
Harlem In 1969. His large shaped
canvases With geometriC pa tt erns may
seem non-objective In deSign, but there IS
always a sense present of denvatlon from
African ancestral Imagery HIS acrylic
painting, 44" x 84" In the exhibition IS lent
by Tougaloo COllege
•
Ro d eri c k M. O wen s
135
'"
J oh n W. OuUerbridge
Born in 1933 in Greenville. North
Carolina. Study at A. & T. University.
Greensboro. North Carolina. American
Academy of Art. and Chicago Academy of
Art . Since 1975 he has been director of the
Watts Towers Arts Center in los Angeles.
Between 1969 and 1975 he served as
director of the Communicative Arts
Academy in Compton and held college
and museum appointments in the region.
HIS work has been included in more than
42
Born In Ig52in NashVille, Tennessee. 8.S
degree received from Fis k UniverSity:
M.S. in pnn tmaking from Illinois State
University (Normal) 1977. Add itional
study at Skowhegan School in Maine and
a summer internship at Detroit Institu te of
Arts ( 1975). Scholarships were received
lor under-graduate and graduate art
study. He worked in th e Fisk Umversity
gallery, 1974-76, and served as a research
assistant to David Driskell. guest curator
for the eXhibition. Two Centufles 01 Black
A merican Arl. His most recent art activity
has been as illustrat or at Meharry Medical
College, His prints have been selec ted for
several exhibitions since 1973. His
etching "2nd Transformation" evokes the
Space Age. possibly in terms of a modern
day Ic aru s.
.....
_.---------------Curtis Patt erson
Will iam E. PaJaud
J ohn Payne
orn In 1925 in New Orleans, Louisiana.
Becelved
~nlverslty.
.
BFA. degree from Xa~ler
He also studied advertising
at Chouinard Art Institute. Los
~~~~I:S.
He IS public relations director for
the Golden Stale Muluallnsurance Co. In
Los Angeles. The arllsl has served as
reslden! of the National Watercolor
~oclelY and of the Art. Education
Foundation . His paintings and
lithographs have been include~ in m~re
Ihan 25 e)(hibl\lQnS to date, live being
one-artist shows. Filleen colleclors
a~d
museums own his paintings. Included In
thiS group are Bill CO~by (who also owns
a painting by Lois Ma,dou Jones), Norton
Simon. a collector
In
Rome, and ,the
pushkin Museum in MOSCOW: W~llIa.m
Sculptor CurtiS Pallerson received a BA
degree at Grambling UniverSity In 1967
and a M.V.A. degree from Georgia State
University in 1975. Heheaded highschool
art departments In COlumbus. Georgia:
Shreveport. Louisiana, and In Allanta
before joining the faculty of the Atlanta
COllege of Art. Since 1978 he has been
chairman of the sculpture department for
the Atlanta COllege 01 Art. His SCulpture
has been el(hibited intheHigh Museum of
Art and elsewhere in the Atlanta area, and
in FESTAC ' 77 in Lagos, Nigena. Recently
he has been working on a commission for
sculpture for a station in the new Allanta
Rapid Transit Authority system. In the
el(hibit is a model for the projected piece
in Corten steel that would be 60' by 30'.
Pajaud's fluid, im~resSlonlstlc
watercotors con tras t with his st:ong
ethniC sta temen t pain tings cast. In a
Simplified "primitive" format. The IItle of
his oil painting, "The Wake I. Insurance
Policy", will lead to conjectures by
viewers as to the identity of the woman,
her Situation, and the purpose of the
animated dialogue of the silhouetted male
figures
Ie, Teru'IeSS<@:
lFISk~
rom JlhnoG~
1977. A~
:hoolinll.a"l!!'"
'"
DetrOitI~
ips werereu
nd gradiil!
leFis~U~
rve<!asar~
;ell,gueslQ!t:
-;enWileso rB
recenlan~
Metrtrry/,!e:'
been~
nee 19i3'
~tlon· evoli'!"
~rmsoh¢
'"
Born In 1932 In POntotoc, MISSISSIPPI
Studied at BelOit College ( B.A.).
UniverSity of WiSCOnSin j MS. and
M.F A.), and University of Kansas. HIS
teaching expenence has been vaned
beginning In 1961 (inClUding department
ChairmanShips), al Langston University,
SOuthern University in New Orteans, and
In
Baton Rouge : George Mason
UniverSity ; and GOvernor ' s State
Unrverslty, Park Forest South. 1IIrnOIS.
( 1971-73, 75-present). He has also been a
T ,V art director. The artist was a prOject
director for N.E.A. and state Arts CounCil
grants, one for outdoor sculpture at
Governor's State UniverSity involving
several nationally known artists. The work
of John Payne has been shown in more
than twenty one-artist exhibits. His
Sculpture. prrn ts and paintings have been
In many group shows (inCluding the
Atlanta UniverSity Annuals) and have
been aCquired for a number of
collections. He has el(ecuted outdoor and
architectural sculpture of monumental
scale. HIS wood and plaster compOSition
In this e)(hibltron. "N.D.W and Pigtails 'N'
All ", Involves an assumed mirror-Image,
but in a humorous reverse arrangement
The units were created over a SIX year
period.
Marion M, Perkins
Clillon Pearson
Born In 1948 in Birmingham, Alabama
Degrees received. B.S. from Alabama A &
M, University, and M.S. and Ed.D. (t974)
from Illinois State University. StudiO
concentrations were in ceramics and
glass blowing and forming . Scholarships
and fellowships were received dUring the
periods of univerSity study Since 1969 a
number of one-artist shows have been
presented and work has been included in
group shows in Alabama, Tennessee,
Illinois, and Indiana. Prizes have been
awarded his entries in several of these.
Beginning in t975 he has presented a
series Of hall hour programs on various
aspects of ceramics on Alabama
Educational Television. The upper
portions of his large salt glazed stoneware
vases are ceramic sculptures. The
example illustraled, "Party Girl"', which
also combines fiber with the ceramic is
one of a series of female effigy vases
which express Ihe idea, "Black is
Beautiful". in an unusual formal. The
artist's design sense and his
crallsmanship are such that pottery,
sculpture. and decorative accents and
delails flow together in a unified
composition.
I~ _
'"
_ __
_
Born In 1908 in Marche, Arkansas. Died in
1961 in Chicago. His sculplure was
exhibtled In Ihe I 940's and 50's at Howard
University and at the Art Institute of
Chicago (purchase award in 1951). in the
American Negro Exposition in 1940,
Atlanta UniverSity annuals (first award in
sculpture in 1956) and elsewhere. He
taught al Jackson Slate College,
MiSSissippi for a period. His sculpture in
stone uses the quality of the stone as an
expressive asset
His piece "The
Musician",lent by Professor and Mrs, Earl
Hooks has a compactness and solidity
and ethnic orientation that is
characteristic 01 his work
Harper T. Phill ips
Born in 1928 in Courtland, Alabama He
received a B.S. degree from Alabama
State University and an M.A. degree from
New York University. His art teaching
experience includes: Alabama State
University, Hampton Institute, Grambling
College. New York City public schools
and Bergen Community College in
Paramus, N.J .. where he is now located
His sludy and interest in music has
carried over into his art. An extenSive
exhibition record has been compiled by
the artist including a one-artist traveling
show called "An Experience in the Arts",
which involves personal presentations
HarperT. Phillips is acreativeinnovatorin
technique, format. and Ideas. as Shown in
his composition in the exhibition.
"Harlem Cursoriness", a kinetic (the
kinetics provided by the viewer)
construction done with acrylic on canvas
and wood. As the viewer moves from one
side to the other, changing multi-images
are presented through the use of: a
painted gold metallic fabric on a
corruga ted surface (fi rst level), nylon
mesh screen superimposed (second
level), four inch ribbed vanes painted In
primary and secondary color value scales
(third level), a painting of a performing
musical group on stage on the surface
corrugations seen from the left side. and
panoramic scenes of Harlem on the
corrugations seen from Ihe right side
(fourth level of visual phenomenology)
--- -
Robert S. Pious
Born in 1908 In Mendlan, MiSSiSSIppI He
studied atthe Artlnstllute of Chicago and
Ihe Nahonal Academy 01 Design (193135) on a scholarship. He exhibited in the
Harmon Foundation Annuals of 1930,
1931, and 1933, Winning the draWing
awarded in 1931 of $50.001 HIS work was
included in the 1940 Negro ExpOS ition
exhibit in Chicago. and the Allanta
University Annual o f 1942. He worked in
the New York Federal Art Project, 193639. Pious did illustrations for Bronzeman
and Opportunity. Robert Pious In his
portraits combined realism With an
expression of the character of the subject
His oil painting in the exhibition of Hamel
Tubman, whose remarkable exploits are
now well known t hrough TV
presentations, was done in 1951. The
painting, lillie more than 12" x 9", in Its
detail, shows the skill of the artist when
work ing on this small scate. The painting
is Jent by the National Portrait Gallery of
the Smithsonian Institution in
Washington, D.C
'48
»
Stephanie pogue
Born In 1944 In Shelby. North Carolma
She studied at Syracuse University and
received a BFA In 1966 at Howard
UniverSity. Her M.F.A. was received In
1968 at Cranbrook Academy With a major
In graphiCS. Smce 1968 She has been on
the art laculty at Fisk Umverslty In
NashVille. Her work IS
In
more than 20
collections and has been shown In some
55 exhibitions Oetween 1966-1979. The
artist considers the Circle as an Important
honors and awards lor hiS PhotograPhy.
the most recent being a speCial portfolio
Volume 2 01 Black PhOtographers
Annual (1lrst volume published In t973)
HIS photographs 01 IIle at TUSkegee
Ins\ltute and the black people 01 rural
Alabama lour or live decades ago are
period pieces that are more than mere
records of appearances He is an arllst
With his camera. probll1g and revealing
character. as shown in hiS study 01
"George Moore" and others 01 thiS penOd.
element In past eullures and the
undulaling line as e)(presslve ollile. Both
of these compositional elements
~ppear
in her prints. Two of her coloretchmgs
In
the e)(hibition: "Arabesque" and "Sea
Storm", were done in the viscosi ty
process in which she has been a mal?'
"
N anc y Elizabeth Prophet
In
pioneer in this region. RhythmiC
movement is characte r istic of her
compositions. In some works color .is
used with dramatic con trasts in hue. In
other prin ts color is used with subtle
restra int.
Born In 1890 In WarWick. Rhode Island
She studied at the Rhode Island School of
DeSign and Ecole des Beaux Arts, Paris
where she lived and worked at SculptUre
lor several years. Her work was shown 111
the Paris August Salons of 1925and 1926
She exhibited In the Harmon Foundation
Annuals of 1930, 1931, and 1936. and the
Whitney Sculpture Biennial. 1935 and
1937. She 10lned Hale Woodrufl .n
teaching 111 hiS art program at Spelman
COllege and Allanta UniverSity In t931
Her wood Sculpture. '"Congolaise'" 01
t931. 111 the eXhibition. lent by the
Whitney Museum 01 Amencan Art, was
purchased by Mrs. Juliana Force for the
Whitney Collection. The head IS
delicate ly formed.
Roscoe C. Reddix, Sr.
P.H. Polk
Born in 1898 in Bessemer, Alabama. He
attended Tuskegee Institute for lour
years. majo r ing in photography.
Completed a correspondence course in
Photography and served an appretlceship
under Fred Jenson in Chicago. From
1923-27 he did freelance photography in
Chicago. Except for a briel interlude in
Atlanta, he has been back In TUSkegee
since 1927. For ten years he taught
Photography at Tuskegee Institute. Since
1939 he has been official photographer
lor the Institute and has operated hiS own
stUdio. Prentice H. Polk IS 01 the
generation 01 James Van Derzee. the
pioneering black photographer 01 New
Vork Ci ty. Over the years he has received
Born in 1933 in New Orleans, LouiSiana.
B.S. degree from Southern UniverSity,
New Orleans: M.S. in art education Irom
Indiana University. Additional study at
University of Sou thern Mississippi. Xavier
University, University 01 N ew Orleans.
and Peabody College. N ashville. H e
taught art in Shreveport and in the ~ e:-v
Orleans parish schOOlS. Roscoe R~ddlx. IS
on the art laculty of Southern UmverSlty
in New Orleans. Hiswork has been shown
in one-artist and group shows in t ~e
South, in Illinois, Wash ington D,?, and In
lagos, Nigeria. The 1976 oil pal~ting by
Reddix "Syncopated Pattern In Two
Major Movements", shows three African
American dancers in diSCO poses against
vibrant background pattern. Smaliligure
details and lolk art symbols are tucked
into the background. At the top is a sunmoon disc nnged with rays and a face
with a counlerchange pauern of the type
used by Picasso.
,,.
Robert Reid
Leon Renfro
Born in 1924 in Atlanta, Georg ia. He
studied at Clark College. Atlanta, the Art
Inslltute of Chicago. and Parson's School
of Design In New York (1948·50). Recent
tea chmg appOin tments have inctuded
Parson's School of Design and the Rhode
Island School of Design. Beginning in
1965 he has had more than 15 one-artist
shows. the first three being at Grand
Central Modern s. New York . His group
shows since t959 include the 1965 Dakar
Fesllval of Negro Arts: several exhibits In
France and Belgium: the 1971 Whitney
and Newark Museum black artists shows;
and the illinOIS Arts Council touring show
of black artists . By the mid t970'shis work
had been acqu ired lor 17 collections. The
Newark Museum has a group of his
" Failing Senes" paintings in oil and
collage. His oil painting. "Figure on the
Beach" of t975. lent by the FairweatherHardin Gallery 01 Detroit. is an
abstraction that gives a feeling of an airy
expanse of space.
Born in 1939 In Houston. Texas. Study
Includes Texas Southern UniverSity
(B.A .E .• 1964). North Texas State
University: Fort Worth Technical School:
and Sam Houston State UniverSity. He
has worked as an illustrator at the Manned
Space Center, Houston: Volt Technical
Corp., Fort Worth: I.T & T .. Houston: and
as a graphic artist In Houston. He has also
done secondary art teaching Since 1972
he has been on the art !aculty at Tex as
Southern University. His work has been in
a number of exhibitions in Tex as and in
"FESTAC '77"" in Lagos. Nigeria. His
drawing . "Shrine of Black Culture"'. has
the nuances of a palntmg and the
preciseness of a drawing . The
iconography is both space age and
ethnic. The ro bot figures have the
postures and figure proportions of
African sculpture figures. This is one of
the most unusual works in the exhibition
and should be a favorite with engineer
viewers, but it projects much more than
technical illustration
John W. Rhoden
151
168
Born in 1918 in Birmingham, Alabama. At
the age of 20 he went to New York to study
under Richmond Bart he, major black
sculptor of the 1930's and the next two
decades in America. After service in W.W.
II . in wh ich he was able to continue his
activity by doing sculptures of generals.
he studied sculpture at Columbia
University. A Rosenwald Fellowship was
rec eived in 1947, the first of many
important fellowships and awards which
include: Tiffany award (1950); Fulbright
(1951-52) for study and travel in Europe;
the prestigious Prix de Rome (1952-54):
Rockefeller Grant (1959) : and
Guggenheim Fellowship (1961) . When
Howard University's new gallery opened
in 1961 he received a medal of honor and a
purchase award. Under the auspices of
the U.S. Stale Department. he made an
exhibition tour of Europe, Turkey. Egypt,
and Africa (1955-56). In 1959 he was one
of four artists who toured the Soviet
Union, Poland and Yugoslavia. In 1960 he
toured Japan, Korea , India, and
Southeast Asia under Stale Department
sponsorship. and in 1962 he served as
consultant for a technical institute in
Indonesia. Exposure to Indonesian art
and culture was reflected in his wood
sculpture of this period. Since 1957 the
"
ar t ist has received a number of
commisSions for his sculptures For the
Sheraton Hotel in Philadelphia. le we l
glass w as combined with metal
Collections holding his work include the
Carl Mittes collec tion at M illesgarden In
Stockholm. Three 01 his scul ptures in the
exhibit represen t different facets o f his
work. "'Dedicated Public Servant"· in
bronze. is an abstraction that uses forms
from African sculpture and at the same
time satirizes American poli ti Cians. HIs
"Laika"' is a bronze abstraction derived
from the Soviet space dog that expresses
composl tl onallv both "'doo" and "soace"'
His "Richanda"', a female nude in wood
lent by Atlanta University, is in the
tradition established by RodlO and
Maillot.
J o hn T . Riddle, Jr.
Born in 1933 in Los Angeles. John Riddle
had a varied work career before getting
A .B. and M.A. (1973) degrees from
California State University at Los
Angeles. He has done welded metal
sculpture, but currently is concentrating
on painting. He was an art teacher in Los
A ngeles belore moving to Atlanta in 1974
In Atlanta he has worked with the
Neighborhood Arts Center. His paintings
are bold, richly hued, and imaginative. His
"Unending Rhythm of Human Existence"
combines details from African ancestral
sculptural forms. family life scenes, and
soaring figures that convey the mood of a
spiritual with hue contrasts that give a
feeling of a composition in two planes.
s
Gregory O. Ridley, Jr.
Haywood Bill Rivers
Aurlhur Rose, Sr.
Ofn in 1925 in Smyrna. Tennessee. He
8 . d al Fisk University. Tennessee
(8 .5 .), and the UniverSity
01 Louisville (M .A. 1955) . where, he was
one of the talented group of arllst,s ,thai
included Bob Thompson. Sam Gllha,m.
Robert Carter, and G.C. Coxe. At Fisk
University he studied under Harlem
;~~~~euniverSiIY
Renaissance pioneer. the
lat~
Aaron
Douglas, who taught him, technique ,and
gave him an inlere~l . In the Ahl~an
heritage and ils sigmflcanc~ as a rich
visual art resource. His leaching odyssey
beginning in 1951 at Alabama Siale
College (leaching with Oubre, Hathaw,ay,
and Phillips), led him to Grambling
College, Elizabeth City (N.C.) State
College, a high school on Long Island,
•
z
•<
,,""
"
fisk University, Tennessee Stale
University, several colleges in N.ew York,
and etsewhere. He is now teachmg ar.t at
Tennessee State University m Naslwille.
Gregory Ridley is a versatile arlt~t,
working in a variety of techniques In
sculpture and painting. Recently he ~as
been dOing construcllons using fabriCS
and a wide range of other materials. His
productivity is indicated by the number of
exhibitions and work in collection to his
credit. He has become a master of
repouss~ in brass and copper. In t~e
exhibit is his prize-winning relief In
copper of the Bailie 01 Gellysbury. one of
more than a dozen compositions in
copper repouss~ depicting major battles
in the Civil War. Also shown in the exhibit
is an example 01 his sculpture in elm wood
of a family group, which makes use of the
natural growth pallens 01 the wood.
Born in 1922 in Morven, North Caro lina
Study at Art Students League. N.Y. (194649). and Ecole du Musee du LOuvre, Pans
(1949-52) . Fellowships rece i ved :
Maryland State ScholarSh ip ( 1946) ,
Rosenwald fellowship (1948), Whitney
Fellowship (1952) . Since 1971 he has
taught art at Manhattan Community
College. He has served as gallery
organizer, curator, director. or aSSOCiated
dealer for galleries in New York. Paris and
California. The artist spent the years
1949-54 in France and lived in Spain.
1964-67. He had a one-artist exhibit in the
Baltimore Museum in 1948. His numerous
group shows have included: Carnegie
International. PittSburgh, 1949;
"Evolution of Afro-American Artists".
New York.. 1967; '"Afro-American Artis ts
New York and Bos\on", 1970: "Black
Artists of Two Generations", Newark.
1971; "Rebullallo the Whitney Museum".
Studio Museum. N.Y., 1971; and several
shows in Paris. 1949-1950. A number of
major collectors and museums own his
paintings, among them: Baltimore
Museum, The Louvre. and Harry N.
Abrams. His oil painting "Op" of 1965 is
unusual as a record 01 a movement in
contemporary art. Two of the dominant
movements in American art in the late
1950's and the 1960's were " Pop" and
'·Op·'. River's painting is an example of the
taller. Its geometric pattern 01 contrasting
hues is not only in the Op format but·,Op"
is stated in the painting.
-I
Born in 1921 in Charleston. South
Carolina. He studied at Clallin College,
S.C .. (BA) : New York University (M.A.,
1952): and Indiana University (1966-68).
For more than 20 years he taught art at
Clallin COllege and served as department
head. Currently he is teaching at
Voorhees College, Denmark. S.C. His
steel SCulptures and paintings are in eight
collections Which include Indiana
University: Ihe South Carolina Collection;
Johnson PubliShing Co. Collection.
Chicago: and the Beau/ord Museum.
Between 1967 and 1975 he had six oneartist shows. His work has been in a
number of group shows in Sou th and
North Carolina. He has been included in
five o f the Atlanta University Annuals
'"Don Qui)(o te··. a 1969 sculpture in steel,
charac terizes Don Qui xote through
posture and the ragged edges of the
pieces of welded steel.
".
'"~
'"
47
John T , ScoU
Th omas Sills
Carroll Harris Simms
Born m 1940 In New Orleans, LouISiana
B A degree trom Xavier University,
M.F A Irom UnlVerSlly ot Michigan
(1965). Presently he IS chairman of Ihe
Xavier UniverSity (New Orleans) arl
department. Smce 1959 his Sculpture and
prmts have been In exhibits In several
states - in more than 20 shows In the past
three years John Scott IS mnovatlVe m
sculpture, printmaking, and m his cast
paper compositions He believes that the
direction 01 his work should resul1 trom
the creative Internalization of his
experiences of IIvmg and Interactmg with
his human and phySical environment. and
should not be dictated by mandates
others mlgh l wish 10 impose from outside
ThaI he IS sensitive to Ihe problems of
diSCrimination and oppression 10 which
mlnorilies are subjec ted is Indicated by
his works in this exhibit: "Ritual Mask "
and "South African Shoot ing Gallery" in
bronze, and "Requiem for Steve Biko" in
casl paper, part of a series involving target
symbols.
Born in 1914 in Castalia, North Carolina.
He has lived in New York City Since t928.
He has three things in common with Mose
Tolliver, another "primitive" artist In th e
exhibition he came from a large family In
the rural South, he is self-taught, and
painting was not an early development
(not until 1952 In the case of Thomas
Sills). The response to his work has been
phenomenal. A recent listing includes
more than 30 major museums and
collections in the United States that own
hiS work, among them: the Museum of
Modern Art the Whitney Museum of
American Art, and the Metropolitan
Museum in New York . In the exhibition
are tw o contras ting compositions by
Thomas Sills. "Alta Plana", lent by th e
ar tist, projects both an o rie nt al landscape
feeling and the patterns of a kind 01
planetary landscape that might exist in
outer space. Th e u ndulating curvilinear
shapes also convey an anima ted sense of
rounded human for ms. An interesting
reve rsa l of the convex shapes here can be
seen in " Earth's Womb" by Harry Vital.
(No. 189). "Moon Beams" by T homas Sills
lrom the Fisk University collection is a
two-dimensional composition 01 Ilat
areas o f contrasting hues, a kind 01
pa ttern often used by the artist.
Born in 1924 in Bald Knob, Arkansas
Between 1945 and 1953 he studied al
Hampton Institute. University 01 Toledo
and Toledo Museum School. Cranbrook
Academy, and Wayne State UniverSity
Study In London. 1954-56, resulted from a
Fulbright Fellowship. The summer 01
1964 was spent at the Swedish Instltute in
Stockholm, also through a grant. A grant
from the Southern Fellowship Fund
provided lor study and research in West
Africa, 1968-69. A Texas Southern
University grant in 1973 enabled Simms to
auend seminars in N igeria, Sierra Leone
and Liberia. Bronze casting in Mexico wa~
studied in the summer 01 1974 through a
scholarship. He has given many lectures
and served as consultant. on black art, on
human r elations, and on a rts and cralts in
various par ts of the country. Between
1955 and 1978 he was invo lved in a
number of TV programs, including one
each in London and Nigeria . His sculpture
in various media, ceramics, s ilve rsm ithing
and paintings have been shown in group
and one-man shows in many museums
and art galleries in the United States. He
has also shown in London. His
commissions for sculpture and work in
other media include several in metal and
plexiglass lor individuals and institutions.
monumen ta l installations at Texas
Southern University . three large
plexiglass murals (one lor the
Longshoreman's Temple in Houston in
1957,9' x 40'), and stained glass windows
for a private chapel. For a new church in
Coventry, England, he did a nine foot
bronze cruci fix, " Christ and the Lambs",
dedicated in 19S7 . His two sculptures in
th e exhibi t are in different media.
"Weaver" in bronze, is an abstraction that
is still explicit in indicating the activity
involved. Although it reflects ancestral
African ideas in sculpture. it is a
contemporary expression. His "Prophet
and Son", carved in walnut in 1949, 30"
high, also combines a sense 01 African
imagery in a contemporary solution.
Carroll Simms is a master at select ing the
signilicant essentials of the idea or figure
relationships involved to create a more
powerlul and expressive composition .
'69
48
-
Jewel W. Simon
n 1911 in Houston. Texas. Since
Born I
rfst has lived in Atlanta where
~~:'hl::; ~IS\ln9uiShed
record 01 civic
She graduated with a B.A . from
aC!l~:~e~niverSjIY. Summa Cum Laude in
~~~1
COllege~1
and a B.F.A. from Atlanta
Art i~ 1967. the lirsl blac~ 9.r aduale of this
school. Her work in painting " s~ulp.'ure.
and graphic arts has been exhibited In 23
Allan!a University Annuals and ~ave
received awards in hall of them . The hst ~f
her e.hibitions lills three pages. S~e IS
represented in 70 public and private
collections in this country and abroa~.
Included in this exhibition is work In
painting and in sculplur~. Her lan.ds~ape.
"The Early Birds", 1$ convincingly
representational, as is her sculptured
head, ''The Tusl Princess", The artl.sl has
also done abstractions, concentra ting on
color pal terns.
Charleston: and the Detroit Art Institute.
More than 20 private collectors own his
work. He was included in three of the
Allanta University Annuals (1950, 1951 ,
1956). Merton Simpson operates one of
the sucesslul galleries Showing African
arts in New York City . In his
"Confrontation'" Series in the 1960's.
heads with angry faces and battered
features were shown in closeup.
" Figurescape" in the exhibition, shows an
abstraction of an imposing upper lorso,
monumental in scale, pre-empting a
moody skyscape setting
Van E. Slater
Merton D. Simpson
Born in 1928 in Charleston. South
Carolina. He studied at New York
University and the Cooper Union Art
SChool. with Motherwell , Baziotes, and
Halsey. During 1951-54 he was an arlist
with the Air Force. His painlings have
been included in some 25 exhibitions
inClUding such museums as: Guggenheim
Metropolitan, BrOOklyn, National Gallery
in Paris. and the National Museum of
Japan. Among the more than ten
permanent collections in which he is
represented are the Guggenhe i m
Museum: Howard, Fisk. Michigan, and
Atlanta Universities: the Gibbes Gallery in
Born in 1934 in Arkansas. He studied at
Los Angeles Ci ty College and received
B.A. and M.A. from U.C.L.A. Pr esenlly he
is on the art faculty of Com pion
Community College in Compton ,
California. His major medium is graphic
arts, especially woodcuts. He was
included in the exhibition of the work o f
black American artists shown. In the
Soviet Union, 1966-67, His pfln~s , a~d
drawings have been shown in eX~lblts In
California and Florida and are In SUCh
COllections as that of the Oakland
Museum. His 1977 pencil drawmg of
"Doris" expresses the sensual beauty of a
black woman.
.
Maurice Strider
Born in 1913. in Lexin9ton, Kentucky
Received B.A. from Fisk University. M.A
from University of Kentucky (1960) .
Member of art faculty of Morehead
(Kentucky) State University since 1966.
He has also taught at Kentucky State
University and Alabama State University.
Maurice Strider has been active in art
education organizations and programs.
local, regional, and national. He is also a
professional correspondenVphotograph_
er. Research grants have been used to
develop material for Afro-American
studies programs and institutes, His
painting. The Carnival, in this exhibition,
lent by Atlan ta University, is an expressive
interpretation of the excitement of a
carnival, a place o f ris ky wonder.
Clarence Talley
Born m 1952 In Atexandrla. LOUIsiana HIs
BFA came from Southern UniverSity in
Baton Rouge and MF.A from LouISiana
Slale University Clarence Talley IS
currently teaching art at Prame View
College In Te xas. HIS one-3rt 1St show m
February at Prame View College
composed o f 20 acrylic paintings and
techniQues and processes. and personal
mSlghts resulting from hiS experiences
with materials Which have revealed Iheir
nature and their potentiaL Tanners
" Airship II"' of 1971 is an example 01 his
creative work In glass which led into his
ceramiC and mult,-medlaexpenmentallon
With the P.F.O. concept
monoprints. emphaSized biblical th emes
and evils that tempt man. His figurative
painting. like the one in the exhibit. often
show the figure enclosed in a pattern
related to or contrasting With the color
patterns of the figure. Areas that would
often be plain backgrOund in the work of
some arltsts. Clarence TaUey develops
into patterns of tone and color that utilize
the whole compositional space.
180
elaine F. Thomas
Born in 19231 n Cleveland, Ohio. Received
B.S. (Magna Cum Laude), Tuskegee
Institute: M A, New York UniverSity
( 1949) . Additional study includes Black
Mountain College, Mexico Ci ty COllege,
University of Paris and Columbia
University, travel and seminars in Spain
and Portugal. India, and Africa. Elaine
Thomas has been involved in many local,
sta te, and natIOnal ciVIC and Cultural
activities and teleVision programs. She IS
chairperson of the art department,
Tuskegee Institute and has served as
director of the Carver Museum there. Her
paintings have been exhibited in the
United States and Mexico. She works In
both abstract and representational
modes. Her painting " The Family", in this
exhibition, expresses " family" in the
collective sense and also conveys this
theme in an African roots sense.
Alm a W. Th om as
James L. Tanner
".
Born in 1941 in Jacksonville, Florida.
Degrees earned al Florida A & M .
University (B.A., 1964): University of
Wisconsin , Madison (M.S. and M.F A
1967). He has been leaching cera~ic;
and glass blowing at Mankato State
University, Minnesota, for a number of
years Since 1968 his record of one-artist
shows, group exhibitions, and work in
collections, has been impreSSive. He has
conducted a number of workshops and
demonstrations in glass and ceramic
processes in several states. In his own
creative work he is now concentrating on
ceramics and developing a theme hecalls
PF.O (Potential Flying Object). He is
concerned With natural relationships
between
matenal
(Clay-metal-glass).
Born in 1891 in Columbus, Georgia. The
late Alma W. Thomas received the first
B.S . in art offered by Howard UniverSity
(1924) studying under James V. Herring.
who founded the department. Her M.F,A
was secured at Columbia University In
1934. Her years of teaching at Shaw
Junior High SChool in Washington, D .C. ,
did not diminish her creative activity aiter
she began to paint and eXhibit seriously
Her paintings were shown in as many
exhibitions as the years of her long and
artistically active life. In 1966 she was
given a retrospective eXhibition in Ihe
Howard University Gallery. Her approach
to art as well as to Hie was youthful. The
inspiration for her paintings came from
her environment. from the parks and their
foliage and flowers in WaShington. and
from Space. Her painting style has
evolved creatively over the years. Her
" Tenement Scene, Harlem ", illustrated in
Dover's American Negro Art. is in the
abstract-expressionist styl e of the early
1950's. Her painting In thiS exhlbition,lent
by Fisk University, "Flo wers at Jefferson
Memorial" (1971) IS non-oblectlve in
relation to obvious subJect matrer, butstlll
conveys a sense 01 subject derivation
Paintings from this senes called " Alma 's
Stripes". are extensions of th e colorful
patrerns developed by the "Washington
Color Scho.OI " of artists. They are also
representatIVe of "Op" art. but have a
quality of dynamism that is characteristic
of the work of Alma Thomas
so
182
•
Bob Thompson
Mose T olliver
Born in 1937 in Louisville, Kentucky.
Studied at Boston Museum.SChool and at
the University 01 LouIsville ( 1955-58)
where he was one 01 a talented group who
later had important careers In art From
New York he traveled In Europe a~d Nl?flh
Africa, (lived in Paris, 1 961-~2; In Ibtza,
1962-63) . A Whitney Fellowship had been
received lor 1962-63. He returned to New
y k and then went to Rome in 1965
w~~re he lived until his d~ath ~n 1966. He
lived lile to the fullest durmg his 29 years
Between 1958 and 1974 his work was
shown in 17 one-arllst ShOws. eleven 01
them in New York and Chicago galleries
His paintings and drawings were included
in 50 Qroup shows, 1958-1975, In 19691he
New School Art Cenl~r held a
retrospective exhibition 0,' his work. HIs
paintings are large, vivid. m color, boldly
conceived, and o ften prOject the~es from
mythology. Flat areas in contrastmg hues
were used for figures, usualty nude. He
studied Renaissance masters in
European galteries an.d based some of his
drawings and pain t ings on their
compositions. An example is his large
" E~pulsion and Nativity" of 1960. based
on Masaccio and Piero delta Francesca
His briltiantly hued "Judgment of Paris" of
1954. in the exhibition, lent by the Martha
Jackson Galtery in New York. illustrates
his use of subjects appearing Irequently
in Renaissance painting.
Born s?mewhat less than six decades ago
on Pike Road near Montgomery ,
Alabama. on a ··Iour-horse farm ·'. Mose
Tolliver was one of twelve children. He is
the father of fourteen . He is a self-taught
·'primitive" artist who began painting after
his foot was crushed in an aCcident. He
began to work after quitting school in the
second grade and became an upholsterer
and furniture builder. He applies paint
directly to any lIat surface that is handy,
using house or wa ll pain t, brushing the
paint on the surface - it is not mixed
beforehand. Some of the paint lands on
his crutches. Remembered Or imagined
scenes and illustrations in children·s
books (radically altered), provide sources
for his very personal imagery. His
"Farmyard" may be considered by some
to be one of the most delightful paintings
in the show , in its whimsey, freshness,
and naive objectivity. From the standpoint
of space filling , it is a remarkable
composition. (Da ta supplied by ·Jay
Johnson, America's Folk Heritage
Gallery, New York ).
Do~
Thra sh
Born in 1893 in Griffin, Georgia. His first
art stud y was a correspondence cou rse in
the earty 1900's. After WWI he stu died at
th e Art Institute of Chicago (1919-22). He
worked in the Federal Art Project of
Pennsylvannia ( 193S-40). His prints were
exhibited ex ten si vely in the late 1930·s
and in the early 1940's. Lithography was
his speciali ty in prin ts until he developed
the Carborundum process for which he
was cO-Inventor with Claude Clark. The
process and his work in it appeared in
periodicals and newspaper articles, 193844 An example of his work in printmaking
in the exhibition, lent by the Newark
Museum IS " Coalyard", done between
1935 and 1943.
Leo F. Twiggs
Born in 1934 in SI. Stephen. South
Carolina. Oegrees: B.A. 1956 (Summa
Cum Laude). Claflin College, S.C.: ~A ,
1964, New York University: UniverSity of
Georgia, Ed.D .. 1970. Additional study at
Chicago Art Institute, 1960, He was the
first black student to receive a doctor~te
in art at the University of Georgl~ .
Secondary art leaching was done In
Sumter, S.C., 1958-64. Since 1964,
Twiggs has been at So uth Carolina State
College, Orangeburg, servmg as art
"
chairman from 1972 to the present. He has
been active in the field Of art education for
the cultUrally disadvantaged through
articles and presentations at conferences
leo TWiggs is the only artist in America
uSing the batik medium for pamtings
which have been accepted in major
exhibitions and selected for collections
throughout the United States. He began
experimenting With the batik process as a
seriOus medium for painting in 1965. HIS
painlings have received a number of
award s in eXhibits since 1966. His work
has been shown in one-man eXhibitions in
various galleries, a recent one being in the
Studio Museum in Harlem in 1978. Twiggs
is another of the Black Artists / South
participants who are included in Black
Artists of the New Generation by Elton
Fax. His batik paintings deal with children
and adults and persons with lamily
associations 01 the ru ral South presented
with warmth and candor. Two examples
in the exhibition are: " Mother Image, No.
13·', and " Blue Wall", of 1969. The two
boys in the " Blue Wall"' are projected with
a sense of isolation in a deprived
environment. The paintings 01 HughieLee Smith convey this same leeling.
Harry Vital
Born In 1941 In New Iben a, LOUIsiana
Studied at TeKas Southern UnIVerSity
(BAEd.), Stephen F Au st in State
UniverSity (MA , 1975). Since 1975 hehas
been on the art faculty o f Texas So uth ern
University in Housto n . In addition to
exhibitions In Te xas hiS w ork was shown
In Germany (1 968-70). HIS oil painting
" Earth 's Womb ", reveals h is unusual
ability In realistiC repr esentat ion. II 1I Iso
shows a concern lor the earth in an
organic blomorphic sense. The setting
gives ethnic significance to the
association made between the eroded
land and an area of liVing for deprived
blacks
prizes and awards In national. regional
and local exhibi ts between 1957 and 1979
As might be expected from hiS exhib it ion
activity. his work IS In a number o f
collec tions. He has served as panelist
lecturer. and tech niquesdemonstral o r o n
nu mero us occas io ns. His 01 1 painting 01
1976, "One Call Does It"", is a vig o rou sly
pain ted composition in con t rast ing hues
and values that should be vi ewed
p ri mari ly as a painting with ou t attempting
to read a story In It
JameS Watkins
Born In 1925 In Macon. Georgi a Studied
at Socmty 0 1 Art s and C raft s. De tr Oit.
1949-52 He exhibi ted In the Atl anta
UniverSi ty A n n ualS. from Ihe 16th throu gh
th e 22nd. Winning an award . ho norable
mentio n , o r the populafl ty pnze In each
Three 01 hiS paintings received purchase
awards In the 1958. 1959. and 1960
e xhibitions and so are in the Atlanta
U niverSity Collection. Healso exhibited at
the Akron, OhiO Art Instllute, a Beaux Arls
Guild exhibit at Tuskegee Institute. and
the EmanCipation Proclamation exhibit In
Chicago. HIS ability as a portrait ar tist IS
indicated by " Wid ow Wom an" from
Atlanta University ThiS pain ting received
a purchase award In the 1959 Annual
".
Larry M. Walker
J ames W. Washington, Jr.
Born in 1935 in Franklin, Georgia. Studied
at High School 01 Music and Art. N.Y. C.,
and Highland Park (MiChigan) Junior
College. B,S. in Ed. and M.A. (1963)
received from Wayne State Un iverSity.
Public school teaching was done in
Detroit (1958-63). Hejoined thea rtfaculty
of the University olthe Pacific, Stockton ,
California in 1964. becoming department
c hairman in 1973. ExtenSiveexperi e nce in
TV presentations on art education,
pain ting, and graphics techniques, and
African American art has been compiled
by the artist in Detroit and California. A
sabbatical leave in 1970-7 1 enabled him
to pain t in Guadalajara, Mexico. Between
1962 and 1977 he had 20 one-man shows.
pnmarily In Detroit and California. HIS
work was Shown in an equal number o f
major group exhibitions from 1927 to
1978, including "FESTAC '77"' in lagos.
Nigeria . His paintings , graphiCS,
drawings, and collages won more than 60
Born in 191 I In Gloster, Mississippi.
James Washington was a painter from the
age of IS u ntil 1956. During this period he
studied under Mark Tobey. Since 1956 he
has been a sculptor with a unique
orienta tion: God's creatures sensitively
revealed in their envi ronment . Birds are
among his subjects. Many pieces from his
production of several hundred works in
sculpture are in public and private
collections in the United States and
abroad. His carving in stone shows a
respect for the medium and Its text u re and
character. His sell portrait in stone in this
exh ibition is an example, It has a linear
quality and an expressive economy of
means which relate it to the finest Mayan
relief sculpture. James Washington ' s
studiO is in Seattle. Washington
'"
'"
"
CUllon G. Webb
James Lesesne Wells
Born in 1950 in New Orleans. Louisiana
Studied at Louisiana State UniverSity.
B.F.A and M.F A. (1973) In sculpture
Taught at Soulhern University S~hOOI for
the Blind. CUlton and Jo Griffin Webb
operate GrifflOlWebb. art and program
consultants in New Orleans. They
coordinated the "New Orleans Legacy"
exhibit for the Nexus Gallery and the
University 01 Texas. 1977 and 1978 which
included work by Webb. Brice. Scott.
Nelson. and Payton. Clifton Webb has
had one-artist shows since 1972 at
Stillman College and at galleries in New
Orleans. His work has been included in
group shows ,in Louisiana and :exas.. His
1979 composition "Souvenir Gris-GriS" IS
one of a current series that involves a
varie ty of media. i.ncluding cast. paper,
synthetic hair. palOt and pencIl. The
African fe tish magical charm is up-dated
in th is version by the use of contemporary
materials
Born in 1902 in Atlanta. Georgia HIS
minister father died when he was ten after
the family moved to Florida. Study at
National Academy of Design. With
"Atelier 17" in New York City and
elsewhere. The distinguished career 01
James Lesesne Wells goes back to the
Harlem Renaissance and the pioneering
Harmon Foundation exhibitions and
workshops of the 1930·s. He won the
Harmon Gold Medal in 1931 and
conducted the significant Harlem Art
Workshop sponsored by the Harmon
Foundation and the !35th Street Public
library in New York City. Prizes and
awards in numerous exhibi t ions for hiS
paintings and - prints have continued
unabated, since the 1930·s. He joined the
Howard University art facul ty in 1929 and
retire d in 1969 as professor of
printmak ing. One of a series of one-man
sho ws was o ne held in the Van Vech ten
Gallery of Fisk University in 1973, The
University of Pakistan is one of a dozen
institutions and museums in whose
collections he is represented. H is whiteline wood engravings are done with
expressive verve with flowing linear
movements creating complex patterns in
each detailed area but these are
subordinated to the over-all sweeping
figurative composition. Two good
examples in the exhibit ion in this medium
are "51. Anthony" and "Jonah and the
Whale". A large and colorfullinocut in the
exhibit. "Bus Stop at Ghana" expresses
an experience in travel in Africa and
provides a contrast with his wood
engravings in scale and boldness related
to creative use of media potentials. A print
of "Bus Stop at Ghana" has been acquired
by the Metropoli tan Museum
Jessie Whitehead
Born in 1954 in Picayune. Mississippi.
Miss Whitehead is the youngest of the
artists in the exhibition, She is
represented by a large self-portrait of
herself as she appeared in her cap and
gown on graduation. With a B.F.A.degree
from Ihe Mississippi University for
Women. in 1976. The pamting receiv~d
the firsl award among undergraduates In
the Mississippi Arts FestIVal.
"
Amos White
Born In Mont90mery. Alabama Studied
al Alabama Slate COllege. B.S. (1958)
University of Southern Cali fornia . M.F.A
( 1961 ). and With Isaac Hathaway (195758). Taught at Florida A. & M UniverSity,
1961-69. BOWie State College (Maryland )
chairman of art department from 1969
The artist has given numerous
demonstrations of ceramic processes.
lectured and served as a consultant for
various groups. Awards were received for
automotive styling designs in 1951 and
1952 and other awards and cita tions have
been given the artist lor his design ability
and ceramic craftsmanship. HIS ceramics
have been shown in more than 60
exhibitions since 1957 and are
represented in many collections. That the
artis t' s design concepts have kept pace
With the chang ing times is indicated by
"Lunar Form" 01 1978.
Charles White
Born In '918 In Chicago The parents 01
Charles White were part of the migrating
group from the rural South who sought
Jobs and a better life In the Industnal
North In spite of grinding poverty, hiS
hard-working mother encouraged hiS
Interest In art In which he showed early
promise. The translhon to the world
renowned Charles White of today, one of
the linest graphic artists in America, was
the result of overcoming serious tnals and
tribulations all along the way. At the age
of 25, aHer Rosenwald fellowships had
enabled him to travel and make studies of
life in the Deep South, he painted thenow
famous 18 by 60 foot mural at Hampton
Institute, a vivid depiction of 'The
Contnbutlon 01 the Amencan Negro to
Democracy"
Viklor Lowenfeld, who
became an internationally known art
educator. was head of the art program
then at Hampton Institute. The mural and
the draWing 01 a detail developed in the
mural ("Sojou rner Truth and Booker T
Washington", lent by the Newark
Museum 01 Art) indicate the artiSt's
compOSitional skill and graphic
lorcefulness. The book, Images o(
Dignity, published in 1967 bytheHerilage
Gallery In Los Angeles. presenting the
graphic art of Charles White. was one of
Ihe earliest books to be published on the
work of a living black artist. The drawings
and paintings by Charles White in the
exhibition provide striking evidence 01 the
artist's genius which has resulted In his
work being exhibi ted and held in
collections all over the world. As an
educator and artlst-In-residence, Charles
White has nurtured talent in young artists
in many institutions, including Howard
University.
Ches'er l. Williams
Claudia Widdiss
Born In 1950, In Harlem New York City
Claudia W,dd,ss has achieved as much In
her less than thirty years as many artists
are able to accomplish In tWice Ihal period
of time She matored In sculpture at the
High School of Art and DeSign, from
which she graduated wllh Ihe medal In
sculpture Numerous scholarships and
grants enabled her to do advanced study
in sculpture In New York. professional
schools In England, and In Italy After
coming 10 Allanla she learned welding
while l eaching in a black commUnity
program and In the Georgia prison
system. After a year In the "Artists in
Schools" program in 1975-76, she moved
to Athens. Georgia, where she has a
studio. Her 1978 "Lock of Ages" in this
exhIbition reflects Ihe expertise she has
acquired in the creative use of both stone
and metal.
-
Born In 1944 In Durham, North Carolina
BA degree received from North Carolina
Central UniVersity, Durham, and MFA
Irom UniverSity of Michigan (197t). Malor
art teaching pOSitions since 1964 have
been at Wright Re-Educatlon-School for
mentally disturbed. Durham, 1964-68;
Voorhees College, Denmark. SC, 197174, and Since 1974 associate prolessor 01
sculpture at Florida A & M. UnI~erslty,
Tallahassee. tn sculp ture heusesavarlety
of techniques and malenals castln9
bronze and alummum, polyester resm
and fiberglass Chester Williams'
ImpreSSive record 01 exhibitions InCludes
24 one-artist shows (t965-1977) and 24
group exhibitions (1956-1978). His
sculpture is in more than 55 public and
private collec tions. Theartlst IS Interested
10 Afncan SCulpture, particularly masks,
and has done a series of mask forms. but
In a universal sense. including Halloween
expenences, and not 10 imitation of
African masks. per se. Some of hiS cast
bronze pieces are highly polished which
adds another Visual dimenSion to the
reaction to lorm
"Untitled"', which
combines welded , painted steel and wood
IS a form concept that has mtrlgued a
number of SCUlptors. Different observers
may read such things as vise or clamp.
Imprisoned space. the feeling 01 a pillory,
or other Ideas in vlewmg the work . The
fusion of a nd the different character of the
surfaces and textures of the materials
combmed also are involved in the
responses eliCited.
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Waller J. Williams, Jr.
William T. Will iams
Born In 1922 10 Biloxi: MisSissippI. High
SchOols allended In BiloxI and Memphis
Tennessee
Studied
Melflzmger Art
SchooL Society 01 Arts and Crafts,
Oelrolt: and UniversIty of DetrOit For
almost 25 years he served as Illustrator at
USATAC. Detroit Arsenal. retIring In
Born In 1942 In Cross Creek. North
Carolina Study at NYC Community
College. PralllnStitule (B F A). and Yale
UniverSity (M FA . 1968) He has received
two grants from the National Endowment
for the Arts (1966and 1970). The list of his
exhibition Sites from the late 1960's to the
present reads like a traveler"s Itinerary tor
the United States and Europe. including
Germany and Moscow HIS work In the
U.S. artists' show was In the best of
company at the Fondatlon Maeght In St
Paul de Vence in Provence In 1970. The
artist has been included In several of the
sho ws at the Museum of Modern Art and
the Whitney Museum of Amencan Art In
New York and is In the permanent
collections 01 both. Some of hiS titles are
involved wi th idea development as IS true
for "Do You Think A is 8". a large acrylic
paint ing of 1969 in the exh ibit, lent by Fisk
University. Straight and curved bands In
colo r interact With geometriC color
shapes.
1974 He was a co-launder and later
presIdent of Contemporary Studio, Inc ..
an innovation group in Detroit For the
DeirOil Society for the Advancement of
Culture and Education, a pioneering
organization involving all the arts. he
served as art director, He was a leader
among the group of artists who restored
the medium of pas tel to its 18th century
position as an accep ted fine ar ts medium .
In the late 1960's he coordinated AlroAmerican art exhibits lor the De troit
Institute of Arts . Wayne State University.
and other exh ibi t sites. His work has been
exhibited extensively in Michigan and
Ohio and is in 30 private collections. An
example 01 his use 01 pastels in Ihe
exhibi tion is "The Winners". The pastel
medium is used here to p roject the
liveliness and excitement of Ihe young
boys
Ed Wil son
Ellis Wilson
Born in 1899 in Mayfield, Kentucky. He
studied at the Art Institute of Chicago.
Ellis Wilson is one of the pioneers among
black artists who exhibited in the early
Harmon Foundation shows. He was
included in the New York World's Fair of
1939 and the important Chicago
exhibition of 1940 held in connection With
the American Negro ExpOSition. His work
was also shown in the Atlanta Unviversity
A nnuals. In 1944. he received a
Guggenheim Fellowship. He painted in
many places: Charleston. Harlem, Spain.
Morocco. and elsewhere, but he is best
k nown for his painting of the people and
scenes in Haiti. As was true for many
artists in his generation Haiti became hiS
home away from home (meaning Africa) :
His paintings of processions in Haiti
conveyed Caribbean rhythms and caught
the cadence of island life. Processions to
and from market and in such fltes as
funerals. are also a pallern of rural life in
Africa and African America. projected by
such diverse artists as John Biggers, lois
Mailou Jones. and Clementine Hunter
Wlison'S painting, "To Market" In the
exhibition is an example of his Hailian
period.
"
Born In 1925 In Bailimore. Maryland BA
and M A degrees were received al the
University of Iowa (1946-511. With
additional study at the UniverSity of North
Carolina Dunng 1963-64 he was art
chairman at North Carolina College In
Durham. He has been on the art faculty 01
the University of New York at
Bmghampton since 1964. during part 01
thiS penod serving as department
chairman and Vice-chairman The artist
has received a number of research grants
for sculpture. IOcluding a Carnegie grant
Among organizaltonal appointments held
are Board of Directors. College Art
ASSOCiation. and screen 109 committee 10f
sculp ture. Fulbflgh t-Hays Fellowship
program. Commission s have been
received for major sculptu re installations
since 1963 in Nort h Carolin a, New York,
Baltimore. and O klaho ma Ci ty ; one of
these comple ted in t969, bein g for the
JFK Monument and Park in Blnghampton
HIS sculpture h as been exhibited
extenSively in group sho ws and one-artist
shows since 1955. Ed Wllson's bronze and
chrome plated steel composition 10 the
exhibit, titled ""Board of Directors"",
presen ts a rather unflattering pictUre of
American corporate management. The
satirical projection is conveyed by
posture and gestures of the abstracted
figures - a klOd of pantomime charade o f
pompous meptness
Viola Mariethia Wood
Everelt L. Winrow
Born m 1936 In Newark, New Jersey 8.S
degree In 3rt education received from
Hampton Institute with M A from Vlrgmla
Commonwealth UniverSity He taught art
In the Portsmouth pubhc schoolS for SIX
years and was mvolved m a vanety of
summer and extenSIOn art teaching
actlvlltes College art teachmg has been
done at Vlrgmla State College and
Hampton Institute where he IS now a
member of the art faculty. Wmrow IS a
printmaker, pamter, photographer and
cinematographer: and also works mother
media From 1965 to 1975 his prints and
pamtmgs received awards in more than 40
exhibitions. HIs untitled t978 etchmgaquatmt in the exhibition shows a variety
of textures and a nch Iconography of
symb ols. Zodiac signs and other Images
and symbols, all connected in the
compOSitIOn, suggest an Individual m
touch with his past, present. and future.
Born m 1949 In Nashville Tennessee
Studied al Fisk UniverSity (B A 1
Northern illinOIS UniverSity (M FA).
1974. Smithsonian. Museum Technology,
1969: Anzona State UniverSity. 1978 Pnor
to JOIning the Tennessee State UniverSity
arl faculty in 1976, she taught art m the
Children's Museum In NashVille and had
additional study at Fisk UnIVersity
Between 1969 and 1978 her ceramics
were shown In 25 exhibi ts mclud lng
showS at the Smithsonian, m Chicago: at
the StudiO Museum In Harlem, at Bishop
College Museum, Dallas, and at
Washmgton State UniverSity Her ceramiC
deSign shows Inventiveness and technical
mastery. as eVidenced by "Fes tival Form"
and "Funeral Form" m the exhibition
"Festival Form" an elabora te ceremonial
vase, has a decorative feeling that
suggests both Afncan art and early
French Romanesque architectural
Sculpture "Funeral Form" IS a wall p iece
The art ist has used a Similar surface
ornamentation and color scheme In the
two ceramic deSigns, but the sense o f
function is qUite different
Golden Slate Mutual Insurance Co.
Home Oilice buildmg. Los Angeles. IS
reproduced In a special display m thiS
exhibi tion The art ist went to New York
UnIVerSity to leach m 1945. When he
retired m 1968 he was named by lhe
Alumni ASSOCiation, "Teacher of the
Year". Hale Woodruff has had a long and
productive career. HIS pamtmgs and
pnnts have been widely exhibited and are
In many Important museums and
collections He will be honored by a
retrospective exhibition thiS spring m Ihe
Studio Museum m Harlem. In " A ncestral
Memory" m thiS exhibition lent by the
Detroit Institute of Arts. the artlsl"s abil ity
to combme motifs from Afncan tnbal art
III an expressive contemporary palllllllg
forma l is shown.
Hale A. Woodruff
212
Born in 1900 in Cairo, Illinois. His early art
study was secured at the John Herron A rt
Institute and the Fogg Art Museum at
Harvard University. Alter a Harmon
Foundation award 01 $100 in 1927 and
with additional help from Otto Kahn, he
was able to study at art academies in Pans
lor lour years. He went to Atlanta
UniverSity in 1931 as art director. In the
summer of 1936, he studied mural
painting in Mexico under Diego Rivera
Hale Woodruff began the Atlanta
University Annual exhibitions in 1942
These ran until 1970 and provided Ihe
major showcase in the South where AfroAmerican artists could display and assess
th eir ta lent. While teach ing in A tla nta a
number of the young artists he taught
went on to achieve national recognition
During this period he developed a lively
technique for tinocut prints, an example
of which, "View of Atlanta ". is in Black
Artists/South. Hale Woodruff became a
major mural painter. His series on the
"Amis tad Mutiny" and the "Building Of
Talladega College" are in the Savery
Library m that institution. His mural of
" The Negro in California History" in the
"
219
..
Doris W. Woo dson
Born in 1929 in Richmond, Virginia. S~e
receIVed a B.A. degree from Xavier
University. New Or.le~ns. and an M .F.A.
(1969) from Virgm.l~ Commonwealth
UnIVersity, with addlhonal study .Ih~r~.
She has been on the art faculty.of Virginia
'.,
Slate College, petersburg: since 1969,
and haS also served as dlrect.or of the
Meredith Art Gallery. H~r p~m~l~gs ha~e
been shown extensively In Virginia an,d In
several other slales and have receIVed
more than 20 awards in Ihese shows.
Some of her figurative ~aintings afe
ethnic because of the subjects. Others,
like " New Beginnings" in the exhibition,
pose questions of identity and concern
for the luture that is a common
denominator of adolescence
Nonobjec t ive construc t ions represe~t
anoth er direction in the work 01 DoriS
Woodson. "Beauty is ... Composi tion", in
the exhibition, is an exampte of her three
dimensional wh ite surfaces with organic
shapes wh ich do not remain static but
change forms and tones as the light
varies.
!-ll":
,.
Charles A. Young, Jr.
Born in 1930 in New York City. Study at
Hampton Institute (B.S.). New York
University (M. A., 1959), with addi tional
study at Catholic universi ty o f America
(painting and print-making) and Bowie
State College (African History). Alter
teaching in New Jersey public schools. he
taught art lor eighl years at Fayetteville
(N.C.) State University and Tennessee A.
& I. University. Since 1968 he has been at
Federal Ci ty College, Washington,
D.C. where he is chairman of th e art
department. His travel in Europe. the
Caribbean, Central and South America
and Africa, have provided subject matter
lor painting and prints. One-artist shows
have been held in North Carolina.
Tennessee. and Washington. D.C. Since
1951 his work has been included in a
number 01 group shows in the South and
East Some of his paintings involve a
mosaic panern of color with a collage
effect. producing a lively surface. His
1974 oil painting, " Faces Encased" is
subjec t to as many interpretations as
there are viewers: " roots ", family,
teaChers. et cetera. Such a paintlOg has a
~Ultl-level universality of possible viewer
Idenllflcatlons.
Kenneth V. Young
Born in 1933 in lOUisville. Kentucky. He
received a B.S. degree Irom the University
of LouiSVille 10 1962. He studied With a
number of distinguished teachers at the
University of Louisville and at the
University of Indiana, the University of
Hawaii, and at the Bavarian Fine Arts
Institute. Pro fessional apPOintments
incl ude eXhibi ts deSigner With the
Nat ional COllection o f Fine Arts. His list of
numerous one-artist shows between 1960
and the present include the UniverSity of
Louisville. the Franz Bader Gallery. the
Corcoran Gallery, Gallery K. and Fisk
Un ivers ity. His paintings and prints have
been shown in many group eXhibits in
Washington. the South, the Midwest, the
East, and in Paris. France. Among
collections holding his work are the
National Collection of Fine Arts. the
Corcoran Gallery. and the Johnson
Publications Collection. "Peacock No. 1'",
lent by Gallery K. Washington, D.C .. is a
large (96" high) abstract painting in
acrylics. The paintmg process involves
colors placed on a raw canvas and
manipulated with a brush andl or sponge.
The edges of the color areas and the
spaces be tween them are especially
important to the artist. Theword "Vibrant"
is an ap t description of Young'S pamtings.
Milton Young
Born in 1935 in Houston, Texas. Studied:
Los Angeles City College (A.A.). and
California State UniverSity, Los Angeles
( B . A .. 1961-64 ; 1965-61). Work
experience: Los Ange les Co unty Museum
51
»
of Art (1965-66). Art craft '1966--f!7). and
smce 1967, Exhibit Coordinator at
U.C.LA Hehascoord inated morethan 35
exhibitions installed in the Frederick S
Wight Art Gallery of U.C.LA Travel
between 1956-1977: Europe, Mexico, and
Canada The artist has had !ourone-art lst
shows In California His paint,ngs and
sculpture have been included ina number
of group shows, most of them in Los
Angeles (1960-76) . He has completed two
mural prOjects. HIS colorful 1975 acrylic
paintlOg in the exhibition, " Black Bird in
Af rica ", depicts a black bird a9ainst the
proli Ie of West Africa. 01 Course thiS IS just
the beginning of a search for meaning 10
the compOSition. The artist believes hiS
paint lOgs advance visual opinions that
contradict each other. He has said. " If you
do not see these thmgs as a viewer, then
work on It. I am" Many artists would
endorse thiS point of view.
"
-CA\TAllOGUIE
C,A\ lr,A\ IL OGUE
A~SWIPtu ..
j
r""" FIg'''''' M-', .1Id ',m.lt,
,",
Yo.ub.,
H~·n.d
'lJoo6. 10'~ .nd 81+ (heIght)
2 h~ Mo"~." M.d, M.II, nd
Wood. 15'~ (height)
Lent by Toug'loO College
"OI'f Co.. t, n.d.
• AnI"..1 Mud, Sen"fo, ' oo'Y Co.. r, n.d .
Wood. III (height)
Lent by TougalOO Colleoge
N~ro
28 U" ....plo'men~ 1976
AcrylIC, 36 .. 24
lent by lhe ~rt<$1
29 A Slieni Se, ...... 1969
Inlegho, 34 ~ 2.
lenl by lhe '''<51
Emma nuel V, A. ih ....
Arthur C.rraway
17. Prep erl"'1an Aftlea" Mo.', 1978
0<1, 22'~ .. 15%
Lent by lhe artisl
30. AncienllllOlhl,/Ancienl Fllher, 1976-77
Gouache, Collage. and PencIl on Paper. 40 .. 26
lenl by the a"<SI
Alehmond B,nhe
H. AI.ton
5 ',mlly, 1955
0, 1. 46¥, x :>51'0
Collection 01 the Whilney Mu"um 01 American Art,
New York, Artll'. ,nd Students Aulst.ne, Fund
6. TIl.
Arthur L B.III, Sr
W... dtll T. 8roob
16. V..e, 1970
Stoneware, 24 (he;ghl)
lenl by F<sk Unr.ers<ly
woo:o;l.15(lMIig h1)
lent by TougalOO College
Ch'~"
I~O'S
IS. Corered J .., 1970
Sloneware. 19 (he<ght)
lent by Fisk Unive,s<ty
L.... t by TougalOO Colleg.
3. 0"":_ M.,~, Gil"'.
I. Woman W/lh Kltch'el,
Tetra colta
lent by AUanta Unr.ers<1y
In C,IIIOIm. HI,'ory:
~1Ip10'.tJO"
.1Id
Colo"Iz.//on,I9-t9
~u,,1 in Golden St,te Mu1ual life !"'Urlnc. Co
Home Oll,et BuHding. Lot Angel", 11114 ~ 197
Photo reproOuclion 01 origln.1 mu,,)
Courtesy 01 Golden SI.t.
1 L,t. ",.ur,nce
1.4"' ....
"""~'"
Frl'dtl'kk C. ..... Ion. Sr.
1 NObody Know, Ih, T,.,.,"", /\<,
S"", 1916
001. 30. 2'
lent by the .rl,S'
a. NIc~,, 1977
18. Th, B/.ckberry Wom,n. 1932
Bronze. 34 .. 11 'h .. 14
lent by Ihe Wh ilney Museum 0 1 Arne "can ""'. New
York
31. Ro .... 1929
Drawing, ca 4 .. 9 '~
lent by TuS~t!9ee Inslllule Nauonal HISlone Slle
Yoonne P.,k. C.,chlngs
19, JeIU., n,d
Bronze, 20 (height)
lent by Heritage Gallery. LOI Angeles
32 Blaeh TflppHl'n '''' City, t973
Acryhe 11'1<1 Collage. 50 .. 40
Lent by Irle art<sl
Rom . " Bearde n
20. Carolina Blue, n.d
Screenp,int Cottallf!, 24 .. 18
lenl by North Carohna Museum 01 Art. Museum
Purchase Fund
21. S"n and CredS., 1971
Collage and Pamhng . 18101. .. 12%
lent by Tougaloo College
33 The Black Wo,...n Spo.h, 1970
Spln<51'! Cedlr, 16 (hl!lghl)
l ... , by Prot and Mrs David C Driskell
34 Targll Pflcllce, 1970
Bronze. 13' ~ (1I4I1ghl)
Lenl by Alron DougllS COlle<:uon, ReligIOUS
Commun<"es lor the Arts
22. Unlit/ed, C8, 1973
Color Etching. 28 .. 30
Lenl by Fisk Unive~ly
35 Lo.ey '..-ICI, nd
Lunograpn. 16 • 21
lenl by Alabam. A. & M Unlversny Art Departmenl
Engf • .,ng and .ilk te'Mn, 26 x 30""
Lent by the e"iSl
He rman Beliley
9 U",lIIed, n.d
Serigraph, 27\10 ~ 2711.
lent by Arkansas .11"1 o.nler
23. BIrth
36 Sh.r<tCropper. n d
l<nocul. 18 .. 16
Lenl by Dr and Mrs ClIl10n Pearson
10. Unlllled, n.d
JOhn 8lgge ..
37 The Burden, 1978
24 . Th,o. Klnfll, Ghana, '951
Conle' Crayon. 40 .. 60
lent by Ihe artist
Acryhc. 36 ~ 24
Lenl by lhe artlsi
25. Conlrlbullon of N-'JI'O Woma " 10 Ametlean We
a"" Edw;atlon, 1953
Mural In Blue Triangle Branch YWCA. Hou$lon.
Texas, 96 .. 288
PhOIO reproduction original murat
Coutesy ollhe artist
38 Illy Church. 1946
0<1 on 8o"d. 20 '~ . 37'.
L."tby IllearllSI
Etching, 18 .. '3
len' by Tougatoo Co llege
M63 ~, 1977
CeramiC. 9 (heighl)
lenl by the arllSl
Don Clneone
WIHlem AI'I<I ...on
11 ""'IOtll, Me", ' 965
WOOd (Lignum V<tae), ()lief III. Jize
Lent by Or &. Mrs. Robert H, HlrvtOy, Knoxv<tte
BflI"y Andr...
12. Your Ad H_, 1978
Oot &. CoItege, 30~ 19
Lent by the ..... ,
WlllomE. ArtIo
13
"'Ie,..... n.d
r
Teo- ac01te. 10 (height)
Lenl by The NQ<1h C ..ot<nl Museum 01 Art
G<h ot the Nationat Endowmenl lor lhe Ani and the
NDr1h C •• otina Ar1 s.xte1y
Claude Clari<
CI.ucll Lockh,,1 Clerk
39 Ace, 1970
B.lIy 81aylon
Fell Blush and Ink 11',..
L"" by lhe "US!
26 Emergenl FortH, 1973
Color Etctung, 12 ~ 16
lenl by Tougaloo College
Benny Cole
40 Fu ..... ' w~n and Colt/n /0. Dr. Martin lul_
~~ ~:~ M..ed Med, "
Shlrle, Bolton
21 Opu_I, 1974
AlrDo'ush. 18 .. 26
Lenl by Ihe arllst
22'~
11 (""'ghl) ' 40 (wl(l1n ) " 19
(dePlh )
lenl by Prol ROC""" POpe
"
70 Repllc, PI."" C.II o f Georg e W•• II/nglo"
e.IVI'
8 00'" T. WIlII/"II /o" Memo ,I., H. II
DOll., of IjSI, 1951
PiaSTer 8' Id,ame'er)
lent by ISaac Hathaway SIU"'O
M.rlon A. Eplin9
."d
56 Mlr.O, 1978
In18911O. 20 • 17
lent by!he artISI
Acryl,c, 80 ~ 202
lenl by lhe .rl,11
11 Repllc. P I,,/a ' e."
51 K.Oa. 1978
Intagho. 24 • 20
lent by the ,rl,SI
G, C. CO"
0", 60 ~ 40
lenl by F'5~ Un,ve'SI'y
o f Booh r
r.
Burlo<d E. Eunl
E....... tCrlcltlo ..
.t3 O.y OrHml, 1973
Etch,ng. 11 "" .9
len' by Toug.'oo CoUege
E. rn, "t J. O.vldlOn
44 Croucll.., 1972
Aluminum , 30 (heighl)
lent by Mrl . Hazel Un'on
58 My SO". /Illy Son, 1969
011 on Muon"e Panal. 48.36
Lent by Or and Mrs ArItlur H'9\l1
Minnie Ew.nl
p,,*.NI '" Yo r*, 1975
61. Four Ulland. Women. 1968
Lilho Crayon and Wash, 20
lent by Ihe art ist
~
30
J.m.. O. nm"k
47, TIN F. mlly." d.
S<!rill"ph. 23. 25""
lent by lhe art'"
MUrry N . O. PMt . ..
48, Aunt J . mlm• . 1969
Ink on P.pe' . 38 x 32'"
lenl by lhe .rl,11
Haywlrd R. OlnlmO< ' Sr.
49 8enl" W.rrlo" n d
A,sembl,ge (Foond Obj..::t,). 22 x 15
lenl by lhe an,,,
SO. MII~. 1912
Assemblage (Found Objecl5)
lent by ,he .n"t
Jelt R, Don.ldlon
51 Vldory /" Va" , y of E. llu. 1971
S e rill"p h, 3S • 26
len, by the arhSI
A..on Ooull'"
52 . 8ulldlflll MOrl St.f, 1y M.",'onl, 1944
0,1.54 x 42
lenl by F,sk Un,versilY
53. Glorla. 1969
16 x 14
lent by Prot .nd Mrs Gregory 0 Ridl.." , Jr
PI" ,,, e.1I 01 BUI '
W.,IIlng/o" C,IV" ('" ""n,alure), n"
Plasle<. 12 (f)e'ghl)
Le'" oy
H.maway Stu",o
of
'""lie
GIO'II'
,.. ..
,~
,."
13 And'OfIY"" 1975
AcryliC. 48.48
lenlt;Jy IMllt,S1
All red Hlnlon
60 MoIlle' a"d Clllld, Nlgerl•. n,d
In~ . 26 Yi x 14'';
lenl by Fisk Uni""SIly
45. y".,nlllldy, 1975
28 x 23
len! by lhe .rtisl
72 Repllc.
Wilb ur H.ynle
59 /III, V.,y Flrsl. My SKOnd. t935
Ink Ofaw,ng. 11"".7',"
lenl by lhe Wh lmey Museum 01 Ama"can Art, New
York GIft 01 Dorothea M and lsa"ore S,lverman
Ellon C. F ••
Ja..pII 0 . 1. ... '
46 Wll lllnllfo" SquIrt
Oil , 12x 17
len ' by 'he arti$l
o f Bud
W..lling/o" lIn m,n,ahl!e). n d
Pla"e< 12 (helg~')
lenl by ISaac Hamaway StudIO
62. Oeleled.
74 Imp" I Ofled L. nd. c.pe, 1975
MIX '" Ac ryhc, Melal , Fabroc , 48 . 40
Len l by lhe ari iSi
F."nl. l. Holm.n
75 M •• k. nd
Weaving . 38 • 28
lent by tha arllSI
E. rl J, Hook.
76 /III " "nal F.mlly. n d
S. mGilll.m
f."
63, No. , 01
S.,htl, n d
Watercolor on R,ce Papa', 21 ''; . 19'';
lenl by tf)e M,sslsslpp' Museum 01 Art
Ceo-am,c. 16. 10 x 5
lenl by PrOI and MIS Oav'" C Droskell
77 FII/"'r . nd CII' ldrln, n,d
Ce,.mlc
lent by P'ol .nd Mrs Ted Jones
Euge'" Grlglby , J •.
64 S.lnt. . nd 51"" .... n.d
Oil , 48.30
lenl by Ihe anisl
65, AlII" n Journ.y: Tile 8r1dge, 1977
Serig.aph. 23 • 35
lent by the artlsi
18. Fem.'e Form, 1975
C$famic (o<.nge)
Lent by M, .nd MIS Oeb.. ry
79 Fem"e Fo,m, 1968
Ceram,c (bl ack) . 32"2
len' by lhe arl,51
80, Cu,,,nt Forml, 1972
CeramiC, 16 (MIght)
lenl by Fisk UnivelSl1y
Robert C, H.II
66 Ch.If.I>OOIl" 1976
Oil. 31 . 35
lenl by Ihe ".Iist
81 F,ull Fo,m •. 1965
Ceram,c, 14 • t6
lenl by Fis k Univers it y
Phillip J . H.mpton
81. Firl Jive Fly, 1974
Rhoplex acrylic/D, cron, lB. 18
lenT by the artisl
JOhn M. How.,d
82 Girl Willi VlolI", 1961
0,1,45''; • 43 h
lent by the an'SI
J .... Paul Hubb .. d
68. Deleted .
83 G'and. lite, 1968
AcryhC. 36.48
lenl by the .,lISt
O ..i d C. Orlllt..1
IIIK S. H. 'h . ... y
54 a lllno W.II, 1912
CoUaga.nd MIxed Med" , 39 x 35_
lent by B"m,ngh.m Museum 01 An
69 Rap/lea PI" /,, C. " 0/ BOO~., T. W" IIlnll/on
"', mollal H.II Oollar 011!lot6. 1946
Pili'... 8''; (d,ameler)
lenl by Isaac Hathaw.y Sludoo
WiUI.m UmoncllOn
55. E... , n.d
limeslo .... 32 (height)
Tennessee BollnlCal Garden •• nd F,na Artl Canlar.
Chaak.. ood, Gift 01 M... A1frl'd SlIrr
60
E...... II ... R.lne y Hull
84 Mado""" nd Clllld. n d
MIXed MedII. 90 • 48
Lanl by lhe .n,SI
McK,ss,c~
."
....
"
.
.
"
>
•
-
l ola M.ilou Jane.
J.",p$, H ut1
85
QU,., lor Know/.d"•.
n
d
~01,60.4(/
LefI! by tile ,,"51
CIe".,..,Une Hun' ..
86 U"cI. To",', Land, ca 1969
()oj on Canoas Panel. 16" 20
byllle Cowntown Gallery. New Orleans
tefl!
H.nri linton
99 Mo .... MuquI, 1911
Acrylic Collage. 41 • 29
lent by the ~rtlSt
114 A ....rlc ... Fora.e,. 1971
0 ,1On Maso'Ht e , 48 .. 35
l e nl by M,s Hazel l ,nton
100. Panora"'a 01 GraUl, Franel. 1952
011 . 22 x 26
Lent by Ihe an,st
TedJ .... es
Oscar l 09.n
87 CaM Rift, W~d/n", 19601
011 on Ganvas Panel, lI t. • 18~.
lent by111e ()()wntown Gallery. New Orleans
101. 8 0y Hokllng P lgflOn, nd
Wood (walnut). 30 (heIght)
lent by the art,st
88. 8.pl/mo, n.d
102 In I,.,. S plrll 0/ My "' neulor •. n d
Wood. 88 x 12
lent by Ihe artlsl
0.1 on Board . 15" 25
ll!fl' by FIsk Uni~,slty
A. 8 .
J.ck....,
89 /110",1"11 Du ly (porch PeOple Series). 1977
MIxed Medi •• 60" 60
103 8 11ro. 1978
CuI Masonile Prin!. 44 x 24
lenl by Ihe artlSI
lMlby the •• I,s \
J a ck Jordan
Wilma , J ennings
104, Ghetlo Fa",lIy. n.d.
B.onle. 34 (height)
Lent by the arTiSI
90 s rlll Wa, 1935-43
Woodcut, 13\'0" 11
Lent by the New. rk Museum of Ar,
8 111 Joh nlon
91 WOIlIld.-/,1970
lIS AIo_.I968
0 ,,- 58 ' .. 45
lent by the Atlanl. Unlvl!r$<ty
116. No Mo. 1975
M'.ed Med, • . 12 x 60'"
lenl by lhe artIst
117 Unlll~.1975
Alum,num , 36 (hf!'l9hl )
lem by Ihe 8'11St
J .... lOti
118. Slrnwof1l11pP4Ir, 1911
Const'lrction, Wllh Found ObjeclS. Wire and Glas.
32 x 30 .. e
Lent by An " H~"lhas, RobInson Gallery, Houston
Nina l ove lltCl
119 Ebony Man - Gnldan Woman. 1978
WaterCOlor, two panels, eaCh 25 .. 46
Len l by lhe arllS!
J l mes Kenne dy
105 A/rle,m Serle. I, n.d
Acrylic. 48 .. 60
Lenl by the art,st
Elmwood. 72 (!leigh!)
Edward McCI\lney
120 lady I" Sink Slocklng •• 1971
Elchlng. 20 x 13
le"t by Tougaloo College
Lent by rhe anoll
106. De le led .
H.,...y L. JohnlOn
92 TIN H.,.. •• t 1978
Lithograph. 21 Ii " 27
lent by the 'r!,SI
93 E,mI•. 1934
0,1.
121 Wom.n al Body/Spirit o/Cosmk: Woma "," d
Acrylic, 60 .. 37
Lenl by the artist
Simmle l . Kn ox
15'~ " 13 ~.
len! by Allant.
Phillip lInd.ay Mason
Virginia J.ck ..... Klah
107 G,.,."o Boy. 1940
Oil, 28t ... 28*
lent by the artlsl
Uni~'slty
WI"'.", H. J o h"IOn
94 GOo'" " 10 CII.m:h. CI 1950
$,ll:.sc'een
Lent by Fisk Uno •• rlilY
JOlhu a John. lon
122 Port..If of Nephew_ 1918
0,1 on Canvas Boa,d. 24 x 18
lenl by lhe .nrsl
108. Rell ..",enl. 1976
Acryhc. ca. 72 x 72
Lent by the art,sl
Law rence C ompton Kolawole
Gtady G ..II.ld 1.111"
123 Sf<;urlfy, 1974-15
In ~, 20 x 16 (h~med)
Lent by the a" ..1
109 Sun - 4, 1977
Oil. 32 .. 26
Lent by Ihe ar\ISI
95 /tI " BayIG" e. 1810
0".
nt."
19 ~.
Lent by Ihe Nal ional GaUery o f Ar!. Washinglon, O.C
G,1t of Edgar W,lham and Bernice Chrysler Garb,seh
WiUi.m E, John.lon
96 Unllll~, 1977-78
MIxed Med" , 54 x 36
lent by the artISt
J.mnE.tw.rdJ ......
91. £1,.,." 1978
EtChing and Aqua!!nt, 8 x 8 (plale)
lent by lhe ani"
l_,ence A, JOf\H
96 The ''''agol, 1911
AcrylIC, 45 .. 36
lent by Tougaloo CQII~
Jean Lacy
110 Noah No. J, 1977
Collage/ AcrylIc On Masonite. 21 x 25
Lenl by Ihe artIst
larry F. lebby
III Pro/eel New Day (A Tflbute 10 All Collectl"e
Black Views). 1978
lltt>ograph . 221; x 1810
lent by the arllS!
Hughie lee-Smith
lenl by the a.115\
l • • MUll
125 M.,ry Chri.'mas. 1972
Photo Elchmg. 30 x 23
l enl by the arl lst
Clinard Mitchell
126 Aulum" Haw £ngl.nd. 1967
Wale,calOf. 32 .42
l e,,1 by Ine , ,1 151
112. J azz Concartl Ouke', Them .. n d
011 . 28 .. 28
l e nt by lawrence HIlton
Corinna Mitchel
SameUa l e ....1s
127 CMI Rig"" "'atC" 11,1961.05
0'1,62 . 78
l8fl1 by lhe .rtlst
113 Oul ola Oa,k and Glo,lou, Pul. 1914
0 ,,- 52 .. 33
len t by the 8"ISt
61
SI.t •• GertnMl' Mcni'n
128. Je." .. I Lo ... YOII , t970
"'cryllC and tnk, 13.15
Lent by tl'le "'rk..,UI ... rts Center
J;mmle Mo..t~
ProlalL CII 196(1"
WalercolO •. 171,:< 24'.
Len! by "'ttanta Un,vers,ty
129
.... ctdwld J. Motle" J •.
130 /IIIandlng SocU. 1924
0,1.43';".0
Lent by the Nortl'l Ca.oIina Museum 01 ... n
Olto N.'"
131 lI1,', \/"",. 1977
Mapkl wood
Lent by the artist
132 J''''9Ie /IIIeglc, t972
Collograph
Lent by Ihe artISt
Trudell Mtmm .
O~,
Roberl R, ld
Cllflon purson
141. p, rly GI,1. 1978
Sioneware. sail glaze. 3(1 lhe,gl'll)
Lonl by the art,SI
142 Celebr.'ed Led,. 1978
Stoneware..... It gtaze. 32 (1\8191'11)
Lonl by Ih" art,st
156 FIg"re 0" /h' 8.Kh, 1975
0,1.48 x 36
L""t Dy Falf ...",th"r·H.'d,n Gallery. Chicago
LltOn Ren/ro
S,.d C"""",
157 Shrln, 0 1
n.d.
Pon and Ink. Colorod Penc,l. 23 '11 :< 30
L .... t by the I.t,st
143. Celeb.. ,ed Je"" .. 1919
Stoneware. 30 (h",g/'lt)
Lont by l/'Ie art,st
144 Tm.. Faced Je"" .. 1973
Sioneware. salt glaze. 23 (heighl)
Lon! by the artosl
145. Th,ee 810wII , .. d Formed Ch,'Ic ... n.d
Glass. 8\10. H'•. and 9 (height)
Lenl by the art,sl
John W. Rhoden
,.o
158. t lllh (R" ..
Bronze. 24 x 18
L"nl by th" ani$t
SPK' Dog). 1958
159 Dedk, led P"b/Ie 5..,.,.01. n.d
Bronze
L""t by the art'"
160. Fem,'e Fig"". n,d
WOod. 29 (h"ighl)
L"nt by Atlanta University
Marion Perltln .
146. TIN /III",leilln. c a. 1950
L,mestone. 16';' (height)
Lent by P,o!. and Mrs. Ea,1 J , Hooks
Harper T.enholm Phillip.
JOhn T. Riddl e. Jr .
181, Une"dlng "hythm. 01 Humll" E.I"enc". 1977
Acrylic and Collage On Canvas. 48:< 36
Lent by Commiss,on(lr and M ~ , Michael Loma.
133. /IIIy,'Jeel Woma". 1975
O,t. 30 x 20
Lent by the artl,t
147 Hllrlem Cursorln" ... 1978·79
Construclion: Acrylic on Canvas. ,nd Wood, 42.60
Lent by the anis!
Ha ,wlfd L. Oubr,
Raborl Piau.
134 Tribal Chlenen. n.d
Wire. 25 (he,ght):< 8 (width)
Lent by lhe art,.t
148, Herriet T"bmI ... 1951
Oit. 1214~ 9lIo
National Po"rait Ga''''ry. Smithsonian In.1itulion.
Washington. D.C
163 G.lty.bulll, n.d
Co~. rehe!. 24 :< 36
Lonl by the anist
John Wilt.ad Outtefbri.
SIeph",1e Pogue
Haywood (81_) Rive ..
135, U,,1II1ed {"hnle doll}. 1977
M,xl!'d MI!'d". 40 (height)
Lent by Mr and Mrs John Witf.ed Ounerbridge
149. A"_Il"e. n.d.
Etching (color vncos,ty). 151+ x 22"
Lonl by tho afllst
164 Op. 1965
0,1.49 '11 x 35
Lent by lhe .. tlsi
JoeO ..... t . . .1
ISO. See Sionn, 1978
Elchong (colar ";sCO$ily). IS'll x 2210'.
Lent by lhe arlist
136, U,,1I1t.d. n.d
"'crytic on Shaped CanvlI. 44 • 84
Lent by TougalOO College
Rod.rlck Ow.".
137. Second T.. nf/o.m.tlo ... n,d.
Etcl'llng, 19 • 2O~ (Iramed)
Lent by the a rtist
151. "-..011 ', "'eedow. 1977
Etching (color). 11 'II ~ 1510'.
Lent by the anist
Gregory O. Ridle y. Jr.
162 F,m/ly. 1977
Elm wood . 36 (h"ighl) • 24 (diameter)
L"nl by the artist
Arlhu. ROM. 5 •.
165 DOli O"lIrole. 1969
Steel.36 . 18 x 15
Len l by the artist
John T. Scott
152. HU, Me, dow. n.d
Etching (colo,). 16 ~ 20
Lent by the artist
166, RII"" Milk. n.d.
Bronz". 7 ~ 3';'
Lent by the arlls!
P. H. Polk
167. So,,'h AI,lce" Shoollog G, II",y, n,d.
B,onze. 12.141+
Lent Dy tho artist
Wltll, m E. Paj aud
138, The W. ka I. I".",enc. PolIcy. 1977
Oil. 49.60
Lent by lh" an ,st
Curti. p,nerson
139 /IIIodil/o. T.a,,111 51111011 Se"lplu,..
" ,"
(Sculptu.e prOlecl planned torCorl"n StHI. 60'.3(1')
Lenl by tho ,nOSI
1.0. H.O.W. end PIg/.,I. 'flj ' AI, (... mirro< i.... ge).
1969-75
Wood and Plul"r. CII. 18 (helghl)
Lent by tho ani,1
153. G""Ille Wood. nd
Photograph. 10 x 8
L"nt by th" art,st
(Other photographs not listod. but in<;tudod In
exh'bihon)
168
R~"lem
",
Cl$t Pape,.
/0, SI"va Sileo (Targ,,'" 2) No. II.
3O'~ x
18
Lent by tho Irtist
Nancy Ellubeth Prophet
154 Congol,I.., 1931
Wood. ISh x 7" x 7'11
Lenl by t/'le Whitney Museum 01 Americ,n A.t. New
York
169 IC.,,, • . 0 d .
Woodcut. 151+ x 23 '11
Lenl by Fi5k Unovers,1y
Thomas Slit.
RO II(:~
C. Redeli.
155. SY"COPtlted Pette ... In Two /111./0. /IIIo ...... n/•.
1976
Lent by lhe afllst
62
170 Alte PI." .. 1956
34 x 49
Lenl by tho ""5t
200 Lo •• L' '''T, 1971
Lithograph. 32 x 24
Len! by Hema!!!! Gallery. los Angeles
urn 01 Art
',.
201 SOj(wm . , Trulll . nd Boohr T. WIshing/on,
1943
WOIt! Pene.' on Paper. 30 x 20
len! by 1I'Ie Nl!wa,~ Museum 01 An
Ink on C8r(looard. 21', x 29 •
Lent I)y the Wn,t ney Museum at Ame<lcan Afl. New
York
203 ' S olill AI ' ROCk. 1959
Siock pnnt, 40 x 18'.
Len t by Allinla UnIversity
s <" pel ,nd
204 81~~ Am. rlc. ,,", Conl,lbullon to Damocl'llcy.
1943
Mu.a' 12' x 18
Photo '''P'OduChon 01 lne 0"9,nal mural
Courtesy 01 Hampton Inst,'ule
,
...
,"",
"
27 x 22
J UII. Whirehud
205 Sail Po",..III" Cap and Go ...n, 1976
Acry lIC, 53' , x
53- ~
Len t by t he art ist
Claudl s Wld ellu
206 Loe. 01 A~I. 1978
Steel and Marble. 34 x 25 x 24
Lent by the .rtlSl
"
Chn 'e, Williams
207 Un/jtlad. n d
Welded. Pa,nled Steel. Wood, 33 x 14 x 6
lent by the
afHSl
1979
We Ue. J . Williaml. Jr.
208 rM Wlrm .... 1967
Paslel. 18" 24
LenlDy lhe arl ,SI
WlI1lam T. William .
",
209 Do You Think A h 8 . 1969
0,'.60 " 84
Lenl Dy F,sk Urroversny
Ed Wili on
• • n.d
210 808rd 01 Dlreclors. 1969
Bronze and Chrome Plaled Sleel. 16 Ihe'ghl). 34
(Ienglh) x 16 (w,dth)
Lenl Dy Ihe enoSI
,,.,
Counly Museum 01 Ar1. Los
ElliS Wilso n
211 To Ma rhl, nd
0,1 on Panel . 23 x 26
lenl Dy North Carol,na Museum of Arl. Spec,al G,lt
'"~
Ewerell l . Winrow
ler)
",
I Center PurChased wolh
ctoon and lhe Nat,ooal
a Federal Agency
,3
212 IJnlllt.<l. t978
Etchrng. 24 " t8
LentDy tl>e amS!
ViOl. Wood
213 Fun.ral Form. n d
Ceramoc Wall P,ece
lenl Dr I he art,st
111 Moon Dream. 1960
011.500 0 500
Lent Dy FIsk UnlYfl'wy
188 COllly.,d, 1935 -43
Lithograph, 10'•• 14',
Lent by the Newark Museum Of A'I
C.rroll H . Slmm ,
172 Wu . .... 1948
aronle.23 • 9 x 4
Lent Dy the anosl
Do. Thr.s h
~50/.,..,,,., T,uth
Leo F. Tw igg,
•
113 Prop/tflland Son. 19<19
"merlcan Black Wllnut WOOd. 30.6'.•• 8
lent by the IIrt,st
Je_1 Woodard Simon
114 r/tfl E.rly Bird., n d
011. 30 x 24
l..ntbytl!elrtlst
175, The Tu.1 Prince .., n d
Plasler, 19Ihelg"l)
L..nl by the a.llst
MerIon O. Simpton
176. F/guIII.c.pe No. 19, 1977-78
Acry he and Oil. 60 • 12
Lenl by lhe a 'l lst
202 Pl/llleher. 1952
~:~: by lhe WhItney Museum 01 Am8l'ocan
H.,ry Yital
203 -Solid A, • "OCt, 1959
B~~ pllnl. 4{). 16',
lent by Atlant. Unr""r'IIy
~:3 BI.d A ....,I<:.n·. Contribution I.. D.mac,.cy,
la,ry Wal ke,
Mural. 12'.18
PhOIO 'eprOductlon 01 Ille 0"9'nal mural
CourteSy 01 Hampton InSlI1ute
190 One Call Doe./I, 1976
0,1 On Illust ratIon Board. 27 x 22
Lenl by the ar".t
J ...... Tanne'
180 Alnhlp II. 1971
Glass. 12. 7 . 5
Lef1lby IMan,st
181 Onc •• Day. 1974
CeramIC, 13. 8'~ . 9
lent by the a rt lS1
Aim. Thom ll.
182. F/owe,'al Jellll"on Memo,"', 1970
AcrylIC, 60. 50
Lent by FISk Un,"ersity
Elaine F,eeman Thom..
163 T/tfl F, mlly. 1970
0<1.32. 26
lent by 1he artlSl
Bob Thompo.on
UU Judg .... nl 0/ PII,I., 1954
011.74. 58
Lent by lhe Manhll Jackson Gallery. New York
...... Totl i....
185 F' ,mY"d, n d
Otl. 24. 30
lent by Jay Johnson. Am&flea', Folk Hernltge Gallery
192. Widow Woman. 1950's
011. 29 x 21'~
Lent by Atlanta Un,verSlty
AcryhC. 53' . • 53'·,
Lent by 1M art lS1
Claudl, Wkldlll
206 lact 01 All'" 1978
Steel and Marble. 34 . 25. 24
Lenl by lhe IIrtl51
207 Untitifld. n d
Wikle!!. Parnted Sleel. Wood. 33 x 14 • 6
lenl by the arllSI
Clition G. Webb
193. 50u.e";, G,ls -G,". 1979
MIXed Med,a. 22.30
Lenl by the artlSl
W.ltt,J. Willlaml.J'.
208 TIN Winne,., 19tH
James l unne Weill
P.slel. 18 • 24
Lenl by tM
t
194 SainI Anthony. 1965
Wood EngraVIng. 29' •• 20',
len t by the afllSt
WIlliam T. Will!.m.
195 Bus Stop al Ghana, n.d
Linocut, 50 . 24
Lent by the art,,,
196, Jonah and Ih e Whale, n.d
Wood Engraving. 15 xI I
Lent by the arllst
.n ..
209 Do " ..11 Th/n~ A I. B. 1969
011.60,64
Lent by FIsk Un .. e,.,ty
Ed Wil,on
210 SOlid 01 Dlllclor., 1969
B,onze and Ch'ome Plated Steel. 16 IMlght). 34
(length). 18lwldth)
lent Dy 1M ar1lS1
Edwa,d Weslon
197. William Edmond.on, 1941
Photograph. 8 x 10
Lent by Ihe Los Angeles County Museum of "rt. Los
Angeles
211 TaM,rhl, n.d
011 on Pane[, 23. 26
Lent by Nc"l0 C.,ollna Museum of Art, Spe<:I.1 Glfl
,,",
Amos White
198. Lunar Form. 1978
Stoneware. 6. 15 (dlamet8l')
Lent by the art,.t
lE.e ' lI11 L. Wln,ow
212 UnUlIlld. 1978
EIChrng. 24 • 18
lent Dy the a,llst
Charle. While
199 Chlld,e,, ', allmllS II, n.d
011 O,awlng. 54' , x 47',
Lent by lhe Arlcansas A,ts Center. Pu,chllsed Wll~
funds from Tabnz AuCllon and tne Nallonal
Endowmenl for the Ans. a Fec!efll Agency
6J
bz
J anie Whitehead
205 5.11 POrl,all/n Cap . fId Go ...n, 1976
James W. Washington. J,
Jamu Walkins
179 YOU"II Blae~ Arl/II. 1977
Acryhc, 48 • 30
Lenl by lhe a'llst
A,t New
189 Earth', Womb (I.ndseape), n d
0,1.24 . 32
lent by the artIst
171 Do./s, 1978
ClII,enu Talle y
In~ on Cl1dlXl.rd. 21', x 29 ,
188 MotlN, Image, n d
Balik palnllng. 34 • 21'1
Lenl by the art.st
PencIl. 23.15
L..nl by the IIrllst
178 T/tfl Caml.a/. 1958
0.1. 17'~ . 23'
lenl by Atlanta Un.ve~I'y
. nd 800t ... T. WUhlt>gton.
WOltt Pencrl on Paper. 30.20
Lent by lhe Newark Museum 01 Art
187 B/ue Wa ll, 1969
Sat,k painting. 22 x 28
Lent by the arl1S1
191 Study 01 Sell. 1976
Stone relIef. 19 x 14
Len t by Ihe 3rtlSt
Van E. SI.ler
200 Lo • • lillie ,. 1971
Ll1nogr",Ph. 32.24
lent by He",age Gallery, Los Angele s
213 Fun.,.1 Form. n d
Ceramrc W.II P,ece
lenl by tne ar'"l
2" F•• /,,..,/orm, nil
Getamlc
H ... Wooc!rult
215 ",,,c•• ,ra! Mlmo<y, 1966
0,1,60"" 52',
lenl by Ina Delro,'lnSI"u'e 01 Ans, G,l1 0 1 Ah,e.n A,'
G.ll e .... Comm,llee
216 Via"" 01 "'lInl., 1939
Unocul, 10 .. 8
lent by Tougatoo College
217. Tru.'y on. Mula, 1939
Linoeut. 8 .. 10
Lenl by Toug.loo Coli.
218. rIM H~ro In Cal/tomla HI.,OI1'S.",.", .... , and
O.oeIopmenl
Mu .. t in Golden State Mutuat Ute Insu..nc. CO.
Home Olliee Bu,lding, los Angeles. 1~9
9·3h" .. 16'5"
PtoOIO 'eproductlon 01 orig,nal mUfal
Courtesy 01 Golden SlaHl Mulua l Lite Insurance Co
55
Oorl. WoodlOn
H.""
219
Sfg'n,,'ng., 1978
0,1. 50 .. 47
lenl by tna ..",t
220 S .... ty I• . ,. Compcnll'rm, 1975
Ac .... he (Con$1rueloon). 36 .. 47
lent by tile .rtist
Ch.".. A. Young
221. F.c •• f"nc••Itd, 1974
0,1.56 .. 36
Lenl by llIe a ,t ,st
K. nn.lh Yo .. ng
222 P..cock ".1972
AC .... ,'C. 196 .. 48
l&lll by G.,H:o<y K (Kame, Wachi). Washington. 0 C
MiltOn YOU"9
'I'
223 Black Bird Alrlc., 1973
Ac<yl,e. 43 .. 32
lenl by'he artISt
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