• Editor’s Perspective: One Planet, One Human Race
• Contemporary Artist: Dr. Synthia SAINT JAMES, Artistic Marketer
• Washington Project Deck of Cards
• Mark your calendars!!!   Jenne Glover, Artist-in-Residence & Exhibition at Iona Wellness and Arts Center – May 16 to September 6, 2012 – Reception: June 15, 2012 from 5:00 to 8:00 p.m. – 4125 Albemarle Street, N.W.  Washington, DC

 Editor’s Perspective:  One Planet, One Human Race

For nearly twenty years, workplaces across our Nation have been educating leaders, managers, and employees on the importance of diversity as an organizational resource. 

Yet, Congress is willing to throw the baby out with the bath water and stall our political system rather than work with an African American president. 

It’s a sad commentary on our leadership or lack thereof, since we are a diverse nation operating within a global economy that’s in crisis.  I know there are people who long for the “good old days and how it used to be,” but I’m sure that instead of lamenting the past, African Americans, Asians, Hispanics, women, gays and lesbians, transgendered individuals, people with disabilities, and many others are grateful for the progress.

Dr. King’s, “I Have a Dream,” speech speaks of the future so eloquently, “We cannot walk alone.  And as we walk, we must make the pledge that we shall always march ahead.  We cannot turn back.”

Instead of political stalemates and self-centered pledges driving the agenda, we need holistic leadership to pull together in the spirit of cooperation and compromise for the good of the country.  It can be done, in much the same way that divorced parents put aside their differences to raise healthy, happy children. 

It is my hope our society will embrace the 21st century with a passion for balancing the economy, sharing the wealth, and preserving the planet.

Have a Blessed New Year!!!

Contemporary Artist: Dr. Synthia SAINT JAMES, Artistic Marketer

Abounding Faith & Creativity +

Strategic Thinking +

Decisive Action =

Success!!!

When I spoke to Dr. Synthia SAINT JAMES to schedule a time for our interview, I immediately knew why she is so successful; her positive winning spirit is refreshing.  Born in 1949 in Los Angeles, California, SAINT JAMES is an internationally celebrated self-taught visual artist, author, keynote speaker, licensor, and architectural designer.  She credits the creator and her ancestry (African American, Native American, Haitian, and German Jew) for her artistic gifts.
 
Her signature style is distinct, characterized by people dressed in brilliant gemstones of color, their geometric-like bodies are poised, looking upward and onward, they are celebrating life.

Elevation   Acrylic on Canvas   30”x30”
Signature painting commissioned by Saint Augustine College

SAINT JAMES is a tireless, over achiever and her biggest challenges are keeping finances flowing in and pacing herself so she won’t burn out.  Her latest accomplishment, the just released publication, Living My Dream: An Artistic Approach to Marketing provides insights on her art career, marketing tips, and her favorite affirmations.  Click here to purchase Living My Dream: An Artistic Approach to Marketing.
 
She is a sought after key note speaker, exhibitor and workshop facilitator.  Touring colleges and universities nationwide, as resident artist, she’s presenting workshops on the business of art. 
 
SAINT JAMES has been practicing her craft for 42 years and made her first art sale when she was a 20 year old living in New York City.  She’s known since she was five that she wanted to make money selling her artwork; and credits her success to her self-determination and by consistently letting people know she’s available.  She does extensive research to find out what’s going on and to find venues that are interested in exhibiting her artwork. 

As she developed and emerged as a fine art painter she found employment to keep money coming in.  She’s been a certified tax practitioner, an accountant, publicist, publisher, biographer, free-lance writer, and actress.  She’s grateful for the varied work experiences because the skills acquired have helped her build her art career.

A turning point in her budding career occurred in 1980 when she was selected to exhibit in a group show in Paris, France where she won the prestigious Prix de Paris award.  Other breakthroughs occurred in the mid-80’s when Richard Pryor purchased five pieces of her art for his home; and in1990, the House of Seagram’s commissioned her to create a painting as a fundraiser for the National Urban League.  This artwork was exhibited on Park Avenue in New York City and a limited edition of 100 original lithographs were produced and sold at $1000 each.  

Kwanzaa stamp issued by the U.S. Postal Service, October 22, 1997

Doors have opened for her in divine ways; in 1997 she had her “all-American week,” with two significant projects offered to her that would significantly help to establish her career.  First she received a request from the U.S. Postal Service to design the first Kwanzaa stamp.  This was followed by a commission from the Girl Scouts of the USA to create a painting to commemorate their 85th anniversary.  Her successes were then highlighted in the Los Angeles Times - Lifestyle section.

SAINT JAMES has completed many commissioned paintings for major organizations, corporations, non-profits, and individual collectors, some include Kayser-Roth/Maybelline, Essence Magazine’s 25th Anniversary, the American Library Association, UNICEF, the United Way, the National Education Association, Dance Africa, Coca Cola’s “The Lady of Soul Awards,” the Natural History Museum of Los Angeles, the International Association of Black Professional Fire Fighters, Children’s Institute International’s “Project Fatherhood,” Susan G. Komen for the Cure’s “Circle of Promise” campaign for which she now serves as a National Ambassador, and “CROWNS” for Regina Taylor’s play CROWNS. 

CROWNS   Acrylic on Canvas   40”x30”

In 2010, she was commissioned to paint two new awards, The “Mosaic Woman Award,” commissioned by Diversity Woman Magazine was presented to Dr. Maya Angelou; and Africare commissioned her to create a Lifetime Achievement Award for His Excellency Nelson Mandela.  SAINT JAMES finds commissioned work challenging because she wants to meet and exceed the client’s expectations by finding the right symbolism to convey their message.

She has written and/or illustrated 13 children’s picture books, 3 poetry and prose books, 4 children’s activity books, a cookbook, and a postcard book.  Her artwork is featured on the covers of 70+ books, including Pulitzer Prize winning author Alice Walker, New York Times bestselling authors Terry McMillan and Iyanla Vanzant, and she’s licensed her art for merchandise sold by Barnes and Noble.  

The backstory on her art appearing on the cover of  Waiting to Exhale is another example of the wonderful opportunities that come her way.  Terry McMillan had purchased “Ensemble,” a print of SAINT JAMES art, to hang in her home.  While writing Waiting to Exhale, dissatisfied with the rendering prepared by the publisher’s designer, McMillan had a light bulb moment when she noticed SAINT JAMES artwork had four women in it, the same number of women in her book.  They were wearing hats and McMillan loves hats.  McMillan contacted SAINT JAMES for permission to use her artwork, SAINT JAMES agreed, and her artwork was licensed for the book cover in the USA and abroad.  McMillan’s publisher also commissioned SAINT JAMES to design the rerelease covers of Disappearing Acts and Mama. 

Aruba Fantasy   Acrylic on Canvas   22”x28”

SAINT JAMES has exhibited on Tom Joyner’s Fantastic Voyage Cruise to connect with representatives of historically black colleges and universities.  On the 2009 cruise, she met Dr. Dianne Boardley Suber, president of Saint Augustine College in Raleigh, North Carolina. 

SAINT JAMES was invited to speak at Saint Augustine College and she visited in September of the same year.  Her visit included working with art students and attending a luncheon held in her honor.  During the Q&A, she was asked what she wanted her legacy to be.  SAINT JAMES expressed the desire to set up a foundation at a college to award scholarships to young women interested in pursuing a visual arts career.  Dr. Suber offered Saint Augustine College and SAINT JAMES accepted.  

The Synthia SAINT JAMES Fine Arts Institution was soon established, and several exhibitions have been held to raise money for the foundation.  The first scholarships will be awarded to students for the 2012 fall semester.  On May 8, 2010, SAINT JAMES was awarded an Honorary Doctor of Humane Letters from Saint Augustine College and in September 2010 she did her first week as Artist-in-Residence.  

SAINT JAMES is inspired by life and all it encompasses, it may be something she’s seen in a book, a play, movie, song, or someplace she’s been.  Every morning at dawn, she takes a walk at the beach to say her prayers and affirmations.  This clears her head and gets her focused on what she wants to accomplish this day.  She takes care of herself physically, spiritually, and mentally.  She eats right, takes vitamins, and works until she tires. 

She advises artists to be prepared to spend their lives building relationships, researching, and actively pursuing their art careers.  She cautions not to worry about art representatives and galleries, and instead listen to your inner voice and be your own self.

Over the years, SAINT JAMES has received many awards including the distinguished Trumpet Award in 2010, which acknowledges the accomplishments of Black Americans who have significantly contributed to enhancing the quality of life for all, and she is the first painter to be recognized.  The same year, she was inducted into the National Organization of Women Business Owners – Los Angeles, Hall of Fame.  She’s also the recipient of the 2008 Woman of the Year Award for the 26th Senate District; and has received the Parent’s Choice Silver Honor, a Coretta Scott King Award, and an Oppenheim Gold Award for her books. 

Sisters of Providence   Acrylic on Canvas   36″x48″

Recently, ten limited edition remarques of her painting “Sisters of Providence,” were unveiled and auctioned at the Providence Health & Services Excellence Awards Dinner in Seattle, Washington.  The auctioned raised $126,000 which was matched by a corporation bringing the total to $252,000.  Proceeds went to the Sisters of Providence Mission in Chile.

Diversity   Ceramic Tile Mural at the Ontario International Airport   2’ 8” x 150’

Some of SAINT JAMES architectural designs include a ceramic tile mural at the Ontario (California) International Airport, and stained glass windows for the West Tampa Library, Tampa, Florida.  She just completed “Totem” which will be painted by a team of muralists in the courtyard of an apartment complex for people who were once homeless or have mental health issues.  Her goal was to create an image to encourage residents to rise to a higher point in life. 

Totem   Acrylic on Canvas   48” x 13” - Mural will be fabricated in paint   30’ x 8 ½’ 

She is featured in many periodicals, as well as, Africana Women: Her Story Through Time, a book written by Dr. Cynthia Jacobs Carter.  She’s in the cast of M. K. Asante’s latest documentary The Black Candle, which screened globally; and she appears in Breast Cancer Examined: An African American Perspective, which aired on the TV One Network.

SAINT JAMES is now booking her 2012 speaking engagements, workshops, artist-in-residencies, and exhibitions.  To book her, call 323-993-5722 or email tobooksynthia@synthiasaintjames.com.  See more of her work at http://www.synthiasaintjames.com/ and click here to purchase an autographed copy of Living My Dream: An Artistic Approach to Marketing.

The Washington Project deck of cards is produced by Art in Hand Cards.com.   The deck features 54 artists from the Washington Metropolitan Area.

Click here to order the Washington Project deck of cards for $12.95 per deck. 

Mark Your Calendars!!!  Reception: June 15, 2012 – 5:00 to 8:00 p.m.

Jenne Glover – Artist-in-Residence & Exhibition at Iona Wellness and Arts Center, 4125 Albemarle Street, N.W., Washington, DC 20016.

70+ pieces of art – paintings and mixed media will be on  exhibit from May 16 to September 6, 2012. 

 Praying Ritual Bowl   Mixed Media   6″x6″

Girl with Substance & Presence   Oil on Canvas   24″x18″

 Editor’s Perspective:  Connecting to Family

On August 12, 2011, I traveled to Gettysburg, Pennsylvania for the weekend.  Initially invited by Martha, an aspiring genealogist, I was going to meet some ladies that I didn’t know, but who are connected to me in a primal way.  We are genetic cousins, descendants from a woman from North Africa, and our DNA dates back 70,000 years.    

There are 9 women we know have the same DNA and 7 showed up for our gathering.  Constance came in from Texas; Sharon from Missouri; Martha from Washington; Phyllis, Dorothy, and Virginia (who are sisters) from Pennsylvania; and I’m from Washington, DC.  Cheptu who lives in Georgia and Nadia who’s in Australia were unable to join us.

Our interaction was easy; it was like we’d known each other for years.  We shared family photos and stories, laughter, food, and history.  We saw similarities in family facial structures, especially foreheads and lips; heard parallel life experiences; and had similar taste in clothes and cars.

Saturday morning, we went to the Gettysburg Visitors Center and Museum to view “A New Birth of Freedom.”  The film, narrated by Morgan Freeman, details the Civil War conflict over slavery, and how the Battle of Gettysburg helped secure the Union’s victory over the Confederacy.  We also experienced the Gettysburg Cyclorama which stands 42’ high and is 377’ around.  Depicting Pickett’s Charge, the final fury at Gettysburg, this detailed oil painting on canvas, painted by Paul Dominique Philippoteaux, is enhanced with sound, lighting, and landscape effects. 

That evening, we went to see “The Help.”  The film is set in Mississippi in 1962, a difficult time and place to be an African American, but it felt good seeing the women working together to publish a book exposing the contrasting lives of affluent white families and their servants; and airing what it was like living in an oppressive, mean-spirited culture.  After the movie, we strolled back across the complex to the Courtyard Marriott knowing we’ve lived to see progress.

Sunday afternoon, we gathered in the hotel’s gazebo to finish up the business of the day.  God be willing, we will meet next year in Montreal, Canada. 

Peace!

P.S.

I’m offering advertising on my website and in Voicing Art, click here to learn more. 

I’m pleased to announce Visioning Ritual Bowl will be in the Peoples’ Choice Exhibition at The Pen and Brush, Inc. from October 13 – 30, 2011 at 16 East 10th Street, New York City.

 Visioning Ritual Bowl 2011, mixed media collage 6”x6” 

 Contemporary Artist: Martha Jackson-Jarvis, Trailblazing Organic Sculptor

Repurposing…
Reenergizing…
Nurturing Life Cycles!!!

Photo by Jarvis Grant 

“One experiences the magic of a mythic transformation in Jackson-Jarvis’ work.  The ancient mysteries of clay becoming solid rock take place before one’s eyes, and new universal forms are born emanating from that wellspring of magic and myth where imagination and belief blend into one level of reality.”  Dr. David C. Driskell

Martha Jackson-Jarvis may be petite, but her artistic vision and courage are gargantuan.  She creates sculptures, site specific installations, and corporate/public art projects that would leave most of us exhausted at the thought.  Born in 1952, Jackson-Jarvis credits her early years, living on a farm in Lynchburg, Virginia at the foot hills of the Blue Ridge Mountains, for instilling her with a great love for nature, a natural affinity for working with clay, and a fascination for how things grow and change through time.  Growing up in a family of skilled craftsmen heightened her awareness and appreciation for how things are built and how making things with your hands is directly connected to mind and spirit. 

Jackson-Jarvis received a MFA in Sculpture/Ceramics from Antioch University, a BFA from the Tyler School of Art, Temple University, and she’s studied mosaic techniques in Italy.  Throughout her career she has worked as a teacher and artist-in-residence at many institutions.  In 1989, she was artist-designer for the film Daughters of the Dust and in June 2008, she traveled to Tajikistan as a Cultural Envoy Artist for the U.S. State Department. 

Some of the awards she’s received are a Fellowship from the National Endowment for the Arts, a Creative Capital Grant, a Virginia Groot Fellowship, The Penny McCall Foundation Grant, a Lila Wallace Arts International Travel Grant, and a grant from the Pilchuck Glass School.  She is featured in many publications, including Contemporary Visual Expressions: The Art of Sam Gilliam, Martha Jackson-Jarvis, Keith Morrison, William T. Williams by David C. Driskell; African American Art and Artists by Samella S. Lewis; and Creating Their Own Image: The History of African-American Women Artists by Lisa E. Farrington.

Music of the Spheres 2003, glass, carnelian, jade, mortar, steel, 7 spheres  10’x4’x40’ 

Fannie Mae,Washington,DC

Jackson-Jarvis says the 2 years she studied at Howard University helped her realize art was a serious life adventure and prepared her to be competitive.  Dialoguing with some of the best young minds from around the world made her feel linked to something greater than herself.  And, it was a blessing to study with extraordinarily talented professors — Elizabeth Catlett, Lois Mailou Jones, Skunder Boghossian, James Porter, Charles White, and Ed Love.  They advised her to take her craft seriously and to ensure her vision and research were stellar. 

Producing a solid body of progressive work for over three decades has resulted in many solo and group exhibitions in galleries and museums throughout the United States and abroad, including the Corcoran Gallery of Art, Washington, DC; Anacostia Museum, Washington, DC; Addison/Ripley Fine Art, Washington, DC; the Studio Museum of Harlem, NY; Snug Harbor Cultural Center and Botanical Gardens, Staten Island, NY; Southeastern Center for Contemporary Art, Winston-Salem, NC; the University of Delaware University Museums; and The State Tretyakov Gallery, Moscow, Russian Federation. 

When I arrived at her studio in Mt. Rainier, MD, she and her youngest daughter, Njena, were busy adhering mosaic stones on one of the 12 boards compiling her latest corporate art project called “Moon Dance,” each board is 7’x50”.  This project, commissioned by The Galaxy, will be installed in a new condo complex in downtown Silver Spring, Maryland.  If all goes well she hopes to install the project before it gets too cold. 

Jackson-Jarvis is attracted to the scale and landscape of public art projects because it’s seen and experienced at a distance and creates a dialog with the viewer as they get closer to it.  In order to do this work she had to retrain herself to think like an architect.  She researches for site specific requirements to determine what the site will bear, what are the climate and weather conditions, how will materials react within the natural environment, what kinds of adhesives can be used, and what’s the best way to install.  Her designs are executed with permanent materials including glass, stone, clay, wood, cement, tiles, steel, and mortar.  Her sculptures may also incorporate plants, animal forms, and pieces of possessions of family and friends. 

TECHNO 368, 2006, mosaic glass, lime stone, marble, and quartz  16’x50’
NYC Department of Education, Public Art for Public Schools, MS/HS 368, Bronx, NY

When a prospectus is announced for a permanent public art project, Jackson-Jarvis begins developing a broad perspective on the design.  She begins researching for historical references because she believes a historical context provides an interesting narrative, keeps the work alive and vibrant, and links it to the community.  After designing and submitting her concept, if selected as a finalist, she will sell her vision in the board room to the financiers, developers, architects, engineers, and community members who want to hear details on her vision and how she will execute the project. 

Some of the public and corporate art commissions she’s completed are with the North Carolina Museum of Art; South Carolina Botanical Gardens, Clemson, SC; Spoleto Festival, Charleston, SC; Prince George’s County Courthouse, Upper Marlboro, MD; MS/HS 368, Bronx, NY; Merck Company, Pennsylvania; Fannie Mae, Washington, DC; Washington Metro Transit Authority, Anacostia Station; and New York Transit Authority, Mount Vernon Station.

Crossroads/Trickster, 2005, brick, steel, mortar, glass tile, and stone  20’x23” diameter
North Carolina Museum of Art Park

Jackson-Jarvis’ Crossroads/Tricksters is made from bricks hand-made by prisoners housed in the Polk Youth Correctional Facility in the beginning of the 20th century.  When the prison was demolished Jackson-Jarvis brought truckloads of the bricks to her studio where she broke open each brick to reconfigure into her creation.  It is installed at the North Carolina Museum of Art Park, the site of the former prison.

She describes several breakthrough moments in her career, one was deciding to transfer to the Tyler School of Art because they had the latest technology for creating ceramics and there she would study with master ceramist Rudolf Staffel.  She recalls his gem of wisdom was to learn it to forget it and pull it out when you need it.  Another important development was committing to work for 2 years in her clay studio.  When she emerged, her collection of work was exhibited at the African American Museum in Philadelphia.  The other major events in her life were having children. 

Photo by John Woo 

Umbilicus, 2008, volcanic stone, glass, wood  23′x76′x20′

Her creative process begins with a concept, riding it out, and tackling changes along the way.  She isolates what’s good about an idea, determines the intent and meaning the concept is addressing, and then decides how she will make it.  She believes the work leads her and the hardest part is starting and finishing it.  Jackson-Jarvis also creates colorful works on paper which keep her fresh, provide an immediate release from working on a large project, and help her find spontaneity she can transfer to her work with hard materials. 

She says there are no short cuts and all projects are challenging whether it’s determining the approach or working through an obstacle.  When things are difficult she calls on her inner strength, or does more studying.  It is tedious work constructing a design one stone at a time; or sorting materials by size, color, and texture, but she is committed to the process and end result.  Jackson-Jarvis believes an artist work is isolated, but there’s an intimacy with the materials and a futuristic dynamic that keeps her going.

River Spirits of the Anacostia, 2004, glass mosaic  400’ long
Metropolitan Transit System, Anacostia Station, Washington, DC

Her advice to aspiring artists is to keep working and don’t give up exploring.  See what your competition is doing and stay in touch with the larger field.  Being current, relevant and confident is critical because artists are working in a very competitive environment.  Find your place, be willing to change, and determine what you want to contribute.  Once you do the work, claim your authority.  And, remember your reputation is all you have, stand for what you say and whatever you do, do it well. 

Currently, Jackson-Jarvis’ work is featured in Material Girls: Contemporary Black Women Artists at the Reginald Lewis Museum through October 16, 2011, Baltimore, MD; and in Sculpture on the Grounds: The Kreeger Museum and Washington Sculptors Group Collaborate, 2011 Invitational, through July 2013 in Washington, DC.  She is scheduled to return to the University of Delaware University Museums to exhibit in 2012.

Markings, 2000, concrete and steel

For more info, her website is www.jacksonjarvisstudio.com; her email is mjjstudio@aol.com. 

 The Washington Project deck of cards is produced by Art in Hand Cards.com.  

Click here to order the Washington, DC Project deck of cards for $12.95 per deck.

 Jazz Lovers Alert!

• Queen of Diamond Playing with a Full Deck – Touchstone Gallery – June 29 to July 29, 2011; Reception –  July 8 from 6 to 8:30 p.m.
• Editor’s Perspective: Freedom Riders Crusaders for Equality
• The David C. Driskell Center Executive Director & Art Collector: Robert E. Steele, PhD
• Artistic Reflections: David C. Driskell Exhibition Honoring His 80th Birthday – Brentwood Arts Exchange – June 27 to August 13, 2011; Reception – July 16 from 4 to 7 p.m.
• Jazz Lovers Alert!: A Jazzy Evening with Marcus Johnson & Art Sherrod – Radisson Hotel Largo-Washington DC – July 15, 2011 from 8 to midnight; Lake Arbor Jazz Festival – Mitchellville, MD – July 16 from 2 to 10 p.m. – Free Admission

Great News:  Queen of Diamond Playing with a Full Deck – Art Deck-O: DC Playing Card Originals 

Queen of Diamond – mixed media – 16”x12”

If you missed the Queen of Diamond in Is It Fine Art?  Does It Matter? at The Pen and Brush, Inc., NYC, she’ll be on display with the full Washington Project deck, featuring 54 DC Metro Area Artists, at the Touchstone Gallery 901 New York Avenue, NW, D.C. from June 29 through July 29.  The Washington Project deck of cards is produced by Art in Hand Cards.com.





Order a deck for $12.95 at http://www.jenneglover.com/gallery/the-washington-project-deck-of-cards/ or email jenneglover@gmail.com or call Jenne at 202-253-8098.

Editor’s Perspective: Freedom Riders Crusaders for Equality

On May 4, the Freedom Riders 50 year celebration was quietly recognized.  Instead of a loud national roar heralding this historic event and their successful defeat of Jim Crow segregation, the Freedom Riders accomplishment tiptoed by.  It was 1961, when these brave volunteers of the Congress of Racial Equality (CORE), men and women, black and white, risked their lives traveling on buses through the Deep South challenging segregated seating on interstate buses, White Only waiting areas, and race-based bathrooms in bus stations throughout the South.

I remember the turmoil incited by their non-violent actions to test the unenforced Supreme Court ruling in Boynton v. Virginia that declared segregation in interstate bus and rail stations unconstitutional.  I remember seeing the brutality of crazed racist on t.v.  And, I remember the joy felt when the change the Freedom Riders had courageously rallied for came to be.

Where would our Nation be today if the Freedom Riders never existed and nothing was done to correct segregation’s unlawful practices?  I wonder what’s happened to our collective spirit to oppose injustice and how many today would risk their lives for the principles of freedom, justice, and equality.  The bravery and commitment of the 400+ Freedom Riders should be honored, reverently celebrated, and never forgotten.  Their actions are a testament to what we can do when we work together.

Click here to watch Freedom Riders, directed by Stanley Nelson.

Peace!

**************************************************************

The David C. Driskell Center Executive Director & Art Collector: Robert E. Steele, PhD

Energizing self…
Affirming culture!

Art is an essential ingredient in Dr. Robert Steele’s life.  In 2004, he took the reigns as Executive Director for The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora at the University of Maryland, College Park.

The David C. Driskell Center was established to exalt the significant institutional legacy Dr. Driskell has made.  The Center serves as a repository for growing and training people who will promote African American art and it is tasked with building a significant collection.  The Center’s art collection spans the 1880’s to 2008 and includes works by Edward Bannister, Romare Bearden, Aaron Douglass, Meta Warrick Fuller, Jacob Lawrence, and many more.  Commissioned pieces include art by Dr. Driskell, Faith Ringgold, Benny Andrews, Joseph Holston, and William T. Williams.





David Driskell
Reclining Nude
Woodcut 2000

Under Dr. Steele’s leadership the Center has become a nationally-known institution.  He’s established a visual arts education program, including lectures and conferences, and he’s founded several endowed funds to support the Visual Art program.  He calls working at the center a labor of love and his goals are to establish programs highlighting Dr. Driskell’s contributions as an artist, historian, collector, curator, and educator.  He’s creating structures that document and support African American artists including producing publications, brochures, and organizing traveling programs; and he’s supporting African American printmaking operations including the Robert Blackburn Printmaking Workshop in New York, the Brandywine Workshop in Philadelphia, and the Lou Stovall Workshop, Inc. in Washington, DC.





David Driskell
Spirits Watching
Offset Lithograph 1986

Dr. Steele has written numerous entries in the St. James Guide to Black Artists.  He serves on a number of advisory and board memberships including the Board of Directors of the National Black Arts Festival in Atlanta, the Governing Board of the Yale University Gallery of Art, and is the Founder of the National Black Arts Festival’s Collectors Guild.

Dr. Steele believes art affirms the humanity of the people and the people reflect the art.  Art profoundly impacts a society’s self-worth, esteem, and sense of self.  To demonstrate the power art has on a society’s self-worth, esteem, and sense of self, he points out the negative stereotypical images once used to disempower and denigrate African Americans.  He believes surrounding your life with positive images will energize and affirm your self-respect.





James Wells
Untitled (model resting)
Oil on canvas c. 1950

He and he and his wife are serious art collectors.  In April 2002, The Art Gallery, the Department of Art History and Archaeology and The David C. Driskell Center presented Successions: Prints by African American Artists from the Jean and Robert Steele Collection.  In February 2009, Dr. Steele and his wife gifted 227 works of art by more than 120 African American artists to strengthen the Centers collection for future generations of students, artists, scholars, and the public.





Sam Gilliam
Scarcely Blue
Acrylic on wood 1995

Dr. Steele’s interest in African American art began when as an undergrad at Morehouse he worked in the Atlanta University Trevor Arnett Library.  On his breaks he visited the art gallery which was featuring The Atlanta University Annual Exhibition of Paintings, Sculpture and Prints by Negro Artists.  At the time, he did not realize the significance of this exhibition which was organized by Hale Woodruff.  Some of the artists included in the exhibit were Jacob Lawrence, Romare Bearden, and David Driskell.  Later, while attending the Episcopal Divinity School, he did a clinical internship at Harlem Hospital and during his breaks he continued developing his appreciation for African American art by visiting the Harlem Art Gallery.

Dr. Steele’s interest in African American art began when as an undergrad at Morehouse he worked in the Atlanta University Trevor Arnett Library.  On his breaks he visited the art gallery which was featuring The Atlanta University Annual Exhibition of Paintings, Sculpture and Prints by Negro Artists.  At the time, he did not realize the significance of this exhibition which was organized by Hale Woodruff.  Some of the artists included in the exhibit were Jacob Lawrence, Romare Bearden, and David Driskell.  Later, while attending the Episcopal Divinity School, he did a clinical internship at Harlem Hospital and during his breaks he continued developing his appreciation for African American art by visiting the Harlem Art Gallery.





Margo Humphrey
The Red Bed
Lithograph 5/20 2006

Dr. Steele notes in the 1960’s and 1970’s, African American art was under valued and under appreciated and it was rare if two shows in a year featured African American art.  Over the last fifteen years, mainstream galleries and museums are becoming more aware of the quality of African American art, of both living and dead artist, and their recognition is driving prices up.   In 2007, Swann Auction House, a major player in the arts arena, added an African American art department and they conduct regular sales.

Today, Dr. Steele’s collection includes nearly 400 established, mid-career, emerging, and graduate student artists.  He buys works directly from the artists and from galleries.  He collects strategically specializing in works on paper, religious and jazz imagery, and works in black and white.   When purchasing art he considers the quality of the work, does it speak to him, is it well constructed, can he live with it over time, and does it fit in with his collection.  He does not view his purchases as an investment, but is pleased if the work appreciates in value.

Dr. Steele’s advice to collectors:

1. Collect what’s visually pleasing to your eyes and appeals to you.
2. Collect with a goal in mind and determine the subject matter.
3. Talk to collectors, artists, scholars, curators, and read.
4. Build a library of books and exhibit catalogues.
5. Identify major artists, themes, context, and develop a national and world perspective.

He suggests a good way to train your eyes is by reviewing exhibit catalogues to determine three pieces in show that appeal to you and identify why they do and then find three pieces that don’t appeal to you and identify why they don’t.

Click here for more information on The David C. Driskell Center.

Honoring Dr. David C. Driskell’s 80th Birthday

Artistic Reflections

An Exhibition in Honor of David C. Driskell’s 80th Birthday

Featuring David C. Driskell and three of his former students
Jeremy Austin, Starmanda Bullock, and Sylvia Snowden

Artistic Reflections is presented with the generous support and cooperation of
The David C. Driskell Center for the Study of Visual Arts and Culture of African Americans and the African Diaspora.

June 27 to August 13, 2011

Opening Reception – Saturday, July 16 from 4 to 7 p.m.
Brentwood Arts Exchange – exchanging ideas through art
@ Gateway Arts Center
(A facility of The Maryland-National Capital Park & Planning Commission,
Department of Parks & Recreation, Prince George’s County, Arts and Cultural Heritage Division)
3901 Rhode Island Avenue
Brentwood, MD 20722
301-277-2863/ tty 301-446-6802
arts.pgparks.com
Gallery Hours:
10am – 7pm Monday through Friday
10am – 4pm Saturday
Closed Sunday

Jazz Lovers Alert!
Click here for info on Lake Arbor Jazz Festival Events.

• Editor’s Perspective: Renewing Life

• Contemporary Artist-Entrepreneur: Ted Ellis, Monetizing Art for Success

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Editor’s Perspective:  Renewing Life

Rapidly approaching retirement age, it occurs to me it would be great if at birth we had an expiration date discreetly stamped on our body.  This would eliminate the angst about when to walk away from the rat race.

Do you retire at 62 and begin receiving social security benefits, but take a penalty?  Or, do you hang on to the job hoping you don’t conk out before you do retire?

The majority of my life has been spent answering to someone else, so it will be nice to finally dance to my own tune.

One thing’s for sure, it is comforting to know I can call it quits whenever I’m ready to renew my life.

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For those of you in the D.C. Metro Area, I have a solo exhibit at the Washington Suburban Sanitary Commission (WSSC) through the month of March.  WSSC is located at 14501 Sweitzer Lane, Laurel, Maryland 20707.  For more information call 301-206-9772 or 800-828-6439.  Here’s a link to an article about the exhibit featured in the Prince George’s Sentinel…http://www.thesentinel.com/pgs/entertainment/Artist-Jenne-Glover.

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A few months ago, I was invited to participate in The Washington Project Deck of Cards sponsored by http://www.artinhandcards.com/.  Fifty-four artists were selected to create a card and the Queen of Diamonds is my contribution to the deck.  She is surrounded by symbols of four key elements in D.C.’s culture – politics, education, art, and religion.  The Washington Project Deck of Cards is scheduled for release in April 2011 and will be available on my website as well as at different gift shops.

Queen of Diamonds
mixed media   16”x12”

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Super O is featured in the 2011 commemorative book A TIME.  A SEASON.
A Visual Tribute to Oprah Winfrey.  The foreword is written by Faith Ringgold and the book features 63 African-American artists.  The book was developed by BlackArtinAmerica.com and printed by Blurp.com.  You can preview at http://www.jenneglover.com/go/oprahbook/.  Super O is on page 55.

Super O
mixed media    37”x28”

Peace!

P.S.

My new email address is jenneglover@gmail.com.

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Contemporary Artist: Ted Ellis, Monetizing Art for Success

Tedism is…
Folk
Impressionism
with Soul!

Ted and I first met several years ago when we were participating in an art auction held at Prince George’s Community College.  Recently, we crossed paths at a collector’s show held in Washington, D.C.  He’s an exhilarating, positive life-force, an artist-entrepreneur.

Interviewing Ted was like spinning in the eye of a tornado, his thoughts flowing faster then my brain can communicate to my pen.  Yet, this was an easy interview because all I had to do was listen and seek clarification.  Ted is a prolific painter with a lot on his mind and a lot to say.

He considers himself a creative historian and his art work depicts and celebrates African-American culture and history.  He believes artists are important to society because we dare to dream; and have the ability to heal and give hope.

He’s coined “Tedism” to describe his art style — a blend of folk, impressionism, and soul.  He believes doing art is his divine purpose and he feels good things come your way when you are following your passion.

His love for the arts is rooted in the rich culture of New Orleans where expressing your creativity is firmly entrenched in the culture.  As a child he loved sketching, doodling, and tracing his favorite comic strips characters.  And, he and his friends spent their spare time competing with one another to draw the best designs.

He says New Orleans was like an incubator nurturing young talent.  There were opportunities to participate in art clubs, design murals for school, and create signs for special events.  Ted took art classes, participated in summer art programs, and frequently visited Jackson Square to watch and talk to local artists who were there creating their art in various mediums.  Doing art was fun and feeling supported by his community fostered his development.

Colored Man
Edition 950   22″x33″

Taking his art to market as a medium of exchange has been a driving force throughout his career.  Ted’s entrepreneurial spirit was ignited in high school when he and his classmates sold their custom designed t- shirts to the juniors and seniors at their high school and eventually branched out to sell them throughout their district.

Ted is a shrewd, businessman who’s making his passion for art work for him.  He’s been a full-time working artist for twenty years and working without a safety net pushes him to find ways to expose his art to the masses.  He goes on fact finding missions to find support.  This may take him to art festivals, conventions, reunions, libraries, or the neighborhood beauty and barber shops.  He explains if an artist doesn’t have academic connections then they must find other venues to sustain themselves; and creating awareness and value for your art starts in your community.

In 1991, Ted founded T. Ellis Art, Incorporated and since then he has been on the leading edge of fine art publishing and products.   He’s sold over 1,750,000 fine art products nationwide through direct sales, to galleries, catalog outlets, fine art dealers, and licensing.  He’s developed partnership opportunities to educate and empower communities by offering maximum returns on minimal investments.

Ted has established affiliations with major corporations including Walt Disney Studios, Minute Maid, Coca Cola, Marathon Oil, ExxonMobile, State Farm, Merck Pharmaceutical, JC Penney, Southland Corporation, and Avon Products, Inc.

Women of Gee’s Bend
Acrylic   30”x40”

Over the years, Ted has banded together with other artists to build a business model.  Done informally, via phone or face-to-face, they share strategies, compare notes, and exchange information regarding best and worst places to exhibit.  This is a unique arrangement because typically artists don’t want to share information because the market is so small.

Ted acknowledges, getting to market is an arduous task.  You create the art, frame it, purchase a booth, promote the event, pack up and travel to the location, unpack, set up the booth, sell as much as you can, pack up when the show closes, travel back to your base of operation, and unpack.  It’s labor intensive and time-consuming, and all of this must be done from a position of strength, because you’ve got to make the effort pay off.

Ted realizes celebrating African-American visual arts is 100 years young.  He feels the community needs to step up because they are not supporting or creating value for visual artists at any level whether they are emerging, mid-career, or beyond.  He sees plenty of attention being paid to Romare Bearden, Jacob Lawrence, Elizabeth Catlett, and others from their era, but no one is paying attention to the next generation.

Fishing in the Creek
Acrylic     18”x14”

Ted thinks African-American artists have some major climbing to do to get recognized by the mainstream and financially we are lagging behind.  He believes our generation of artists is the most productive and business savvy, but no one is crediting any contemporary artist, with 15-20 years under their belt, as a major influence.  He doesn’t think academia is providing credibility by documenting how an artist is impacting the community, and no one is creating value by writing about contemporary artists.  (He’s pleased with what Voicing Art is doing.)  He wants to know where are the academic essays?  Is the Schomburg documenting this generation?  Where’s the data from art historians and curators?

Ted believes there are important issues to be addressed for the next generation of artists to thrive.  We need to identify how to influence and impact our community and the masses?  How do we make the business model more efficient and effective?  How do you get the internet to work for you?  We must understand and leverage the full impact artists are making politically, socially, culturally, educationally, and economically.

A Time to Heal
Edition 950   18″x24″

Ted feels his background as a chemist provides him with the critical skills needed to navigate in the arts arena.  He is trained to analyze, observe, and draw conclusions.  He’s paying attention to the facts, and if one venture doesn’t work he makes adjustments to get a better outcome.  For instance, what’s the point of continuing to exhibit at a convention with more exhibitors present than collectors?

Some of his accolades include being selected art ambassador in 2010 for the New Orleans African American Museum and being named a historical artist by the Amistad Research Center in 2005.  His paintings are in the permanent collections of the New Orleans African American Museum, LA; McKenna Museum of African American Art, New Orleans, LA; Free People of Color Museum, New Orleans, LA; Amistad Research Center Collection, Tulane University, New Orleans, LA; DuSable Museum of African American History, Chicago, IL; George Washington Carver Museum, Austin, TX; Rosa Parks Museum, Montgomery, AL; and the Charles H. Wright Museum of African American History, Detroit, MI.

Next
Acrylic  24″x36″

His television and movie credits include the Barney Show, Soul Food, and Daddy’s Little Girls.  Ted’s been featured on local and regional television programs and in news articles.  He’s also been featured in Newsweek, Upscale Magazine, Southern Living Magazine, Journal of the National Medical Association, Classmagazine, and 1-10 Media.  His art is on the cover of CD’s and several books including Harlem Renaissance, Go Down Old Hannah, We Dance Alone, the Art of Cooking, Recipe Masterpieces, and Tom Joyner Presents How to Prepare for College.

Staying connected to the community, Ted’s schedule includes the Tom Joyner Fantastic Voyage Cruise March 20-28, the New Orleans Jazz Festival April 29 to May 8, and in September he’s returning to the Congressional Black Caucus Convention in Washington, D.C.  Ted also sells his art at doctors’ and lawyers’ conventions, he participates in private collector shows, and even though his
commissioned work is providing him a good cushion, when he’s home, he calls his patrons to talk about new pieces he’s completed.

Ted Ellis is based in Houston, Texas.  For more information, you can reach him at 1-800-222-3310; see more of his art at http://www.tellisfineart.com/.

• Editor’s Perspective: No Coincidences…Going with the Flow

• Contemporary Fabric Artist: Zelda Grant, Finding Creative Solutions

Black Art in America.com is publishing a book for Oprah Winfrey to commemorate her phenomenal 25 year run as daytime talk show host.  It’s called A TIME.  A SEASON.  A Visual Tribute to Oprah G. Winfrey.   Faith Ringgold, renowned artist and writer, is writing the preface.  This is huge because the book is documenting 100 artists’ perspectives on Oprah for all time.

So when the call came out for artists to submit to this juried competition, I got busy developing a design because this project is historical.  My piece, “Super O” is about a superhero because Oprah is an extraordinary black woman with amazing communication skills.  Painting realities with words, she’s champion at her game and personifies the American rags to riches dream.  “Super O” is made of paper and paint.

I’m pleased to announce it was selected.

A TIME.  A SEASON.  A Visual Tribute to Oprah G. Winfrey is scheduled to go to Oprah in January 2011.

Super O – mixed media – 37”x28”

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Editor’s Perspective:  No Coincidences…Going with the Flow

A few weeks ago, a dear old friend offered me a coupon with a special offer to attend 7 consecutive days of Bikram “Hot” Yoga for $25.00.  Desperately in need of some exercise and conveniently located near my home, I decided to accept the challenge.  To my surprise and satisfaction, I survived the week!

The sign on the window read — 105 degrees, 90 minutes, 26 postures, but I had no idea what I was walking into.  As I entered the exercise room to place my mat on the floor, heat enveloped my body from head to toe.  Standing there in my sweat pants, as I looked around the room at people attired in shorts, I knew I should’ve read the dress code.

The heat is overwhelming and coupled with stretching through challenging yoga postures this is the most intensive workout I have ever experienced.  Sweating profusely, my mind is questioning whether I will make it to the end, and not wanting to quit, I’m quietly coaxing myself to just do it.  Fortunately as the days went by and my body gets acclimated, the routine is better, and what at first seemed like an eternity in hell became tolerable.

By Saturday, my body feels good, but is in need of rest and I feel I have done something good for my well-being.  I doubt I will do 7 days straight again, but God be willing, I am going to continue on with the next challenge, taking classes at least twice a week for six months.  Yoga’s brought new concerns into my life…What are the best drinks for replenishing and recovery?  Will I ever be able to sit on my heels again?  Do my shorts make me look fat?  I’ve known for a while that I need more exercise then what I’ve been doing, but I wasn’t sure what it was I wanted to do.  I’m really glad I went with the flow.

Peace!

P.S.

My new email address is jenneglover@gmail.com.

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Contemporary Fabric Artist: Zelda Grant, Finding Creative Solutions

Creating New Beginnings…

A Healing Journey

Zelda Grant and “Whitney the River Songstress”

Zelda Grant sent me an email suggesting I interview her for Voicing Art.  I visited her website and to my surprise I found a rendition of my hand-crafted, oversized “Bag-Lady-Bag” I purchased from an artist at the Essence Festival in New Orleans in 2002.  I soon learned she is in fact the same person and I am amazed that we have reconnected since she lives in rural Awendaw, South Carolina.

I use my bag exclusively for toting exercise clothes or for over night trips, and eight years later it still looks new.  Zelda credits the bag’s longevity on her craftsmanship and using fabrics with the right weight.  She explains at first she recycled coats and skirts to create the bags, but this method took too many hours to complete and wasn’t cost effective so she shifted to using upholstery fabrics.  Zelda also designs wall hangings, fabric collages, and pillows.  Her latest endeavor is sculpting clay buttons to use to accent her creations.   She says doing art helps her breathe and it’s something she must do whether she’s paid or not.

Zelda is a fabric artist, arts educator, author, and founder of Chili ‘N DE MUD Foundation, a project of the National Heritage Foundation.  The mission of Chili ‘N DE MUD is “changing lives by nurturing and feeding the creative spirit.”  In her workshops Zelda encourages participants to tap into their creativity.  When a student tells her they can’t draw, she asks what is it they like to do.  What is their preferred medium, their calling?  She encourages participants to do what they love and to make it part of their lifestyle.  Eventually Zelda wants Chili ‘N DE MUD to establish an art farm where she can provide creative retreats for adults.

“Angel of Hope” Wall Hanging

She’s been facilitating workshops with children and adults since 1992 including the National Black Arts Festival in Atlanta, Young Audiences of Atlanta, Inc., and In-School Programs through the Georgia Council for the Arts, the South Carolina Arts Commission, and for the Smithsonian Educational Associates in Washington, DC.  In May 2003, Delta Sigma Theta Sorority, Inc. awarded Zelda its annual Kuumba Tribute for advocating creativity.  And, in 2005 she facilitated her first retreat for adults at the Crafts and Hobbyist Association Convention in Atlanta.  Other venues featuring Zelda include Décor Magazine, Black Enterprise Magazine, Essence Magazine, Atlanta Journal-Constitution: Living Section, Smithsonian Review, High Life – High Museum of Art in Atlanta, Craft & Needlework Age, Home & Garden Television, and Georgia Public Broadcasting.

Zelda’s fascination with textiles began at age 10 when she began constructing doll clothes from her daddy’s old socks.  Textiles offer her countless options — she makes crafts and home decorations from them, paints them, tells stories about them, and wears them.   Zelda says fabric designs and colors speak to her and let her know what they should be.  She believes there are few mistakes in the creative process and she achieves creative solutions by being fluid.  Her mantra, “a problem is an opportunity for a creative solution.”

She’s really excited about an invitation to visit a textile company in New York City where she will be introduced to the process of creating textile designs.  She’s hoping to get a chance to work the equipment and explains this is what she wants to do next.  This opportunity is a real boost to her spirit because in June she was diagnosed with cancer and sees this phase as her next life.  Zelda says it’s time for her to begin working on projects she’s put off to do later and she acknowledges she’s on a healing journey.

Her advice to aspiring artists is to do your best job, because if you don’t, someone else will.  She says creativity is about having fun, playing around with possibilities, and avoiding rigidity and letting people define you.  Her biggest challenge is having the time, energy, and materials to create.  Staying focused is another challenge although some of her best projects have come while she was working on another piece.
“Morning Rain” Wall Hanging

In 2002, Zelda authored Fabric Crafts: 15 Creative Projects and Home Accents You Can Make.  This limited edition book published by North Light Books has sold nearly 10,000 copies.  If you want an autographed copy she has a dozen copies remaining.  Contact her at chilindemud@gmail.com; or 770-873-3136.

Pray for Zelda’s healing!

• Jenne Glover — “Diva of the Sea” on the cover of the Journal of the National Medical Association (September 2010)

• Tune in to my interview with Texas Fred on “The Trail Ride” — WPFW 89.3 FM — Saturday, September 18, 2010 at 3 p.m.

• Editor’s Perspective: In Memory of My Journey

• Island Hopping Caribbean Cruise 

I’m delighted to announce Diva of the Sea, a mixed media mermaid, is featured on the cover of the Journal of the National Medical Association (September 2010), and Queen Freedom, Queen Harriet, a mixed media homage to Harriet Tubman, is also highlighted.  Both images are available as giclee prints in editions of 50. 

 
I’ve been asked how did I pull this off and all I can say is through the power of the internet JNMA found me.

Click to go to the Journal of the National Medical Association.

Tune in to my interview on “The Trail Ride” with Texas Fred — WPFW 89.3 FM — Saturday, September 18, 2010 at 3 p.m.

Editor’s Perspective: In Memory of My Journey 

Week before last, I took my first trip to Martha’s Vineyard.  I did not know what to expect and what I discovered was an island with an extremely relaxed tempo, no traffic lights, friendly people, great food, quaint Victorian homes dating back to the 19th century, and more than their fair share of skunks.   I stayed in Oak Bluffs at a bed and breakfast that was conveniently located to the beach, restaurants, shops, theaters, and the dock.

I won’t say I have a bucket list, but swimming in the Inkwell was something I wanted to do and on August 24th I waded into the cold Nantucket Sound to become a Polar Bear.  The first time out, I wasn’t sure if I was going to join the group because the rocks on the shore were so abundant and discomforting that I might as well have been walking on hot coals.  After several failed attempts, I finally stretched out on my stomach and walked out into the water on my hands.  Once we had assembled, we formed a circle and did a 30 minute aerobic workout.  Then newcomers are sent to the center of the circle to be inducted into the group and everyone introduces themselves.  We walked back to the shore hand-in-hand and closed the session by affirming, “I am the source of my joy and have infinite possibilities.”  It was an invigorating and harmonizing experience that I hope to do again.  

After starting my days at 7:00 a.m. and going nonstop each day, I was glad to get home to get some rest.  And no, I did not spot President Obama.
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Recently, an associate said an artist working full-time in the studio is more authentic than an artist employed outside the studio.  It was a shocking statement, which, if true, certainly minimizes the validity of those many artists who multi-task their lives to ensure having a roof over their heads.   

It made me think about what determines an artist’s authenticity?  Is it based on the time spent creating from day to day?  Years committed to their craft?  Money made from the creative process?  Client base?  Work produced?  Exposure?  Impact on the art world?  Recognition?  Maturity?  If time spent in the studio is the benchmark for credibility, then are those artists working outside their studios merely “wannabees”? 

Once upon a time, great artists had patrons who provided them with shelter, food, and supplies.  They worked at their craft at the behest of these patrons.  But today’s artists typically don’t have the luxury of an exclusive client with deep pockets.  So they do what they must to stay afloat; often living meagerly and selling short to make the sale. 

Although there are some artists blessed with a support system that frees them to spend most of their time in the studio creating; most of us work independently.  And mere talent isn’t enough in the grand scheme of things, because your marketing skills need to be equally adroit.  Needless to say, we must regularly venture from our studios to network, market our wares, and build a following. 

Artists are committed to the process of making stuff.  We are who we are because of the unique stuff we make.  Whether creating daily or whenever time allows and the spirit moves us, we are not made from a single mold or cookie cutter, and one method of production simply does not fit all.  In my opinion, the impact of our work, and not the way we go about creating it, is ultimately what distinguishes the extraordinary from the mundane.  What do you think?

 
Peace!

P.S.

My new email address is jenneglover@gmail.com. 

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Recapturing spirit…
Creating…Memories!

For those of you who travel, here’s a great “island hopping” package.

In This Issue…

• Editor’s Perspective: Spring Forward…Tis the Season to Mingle – Food, Libations & Luxury Home Show & Art Expo – Gaylord National Hotel at National Harbor – March 27 & 28, 2010 – 11 to 5
• Contemporary Artist: J. R. Marley, Painting Idyllic Liberian Village Scenes 

I usually dread shifting the clocks forward and losing an hour, but after a grueling, snowy winter it’s nice to have more daylight and things to do. 

Mark your Calendar!  Here’s an event you don’t want to miss.

D.C. Metropolitan Food, Libations & Luxury Home Show & Art Expo

Gaylord National Hotel at National Harbor
March 27 – 28, 2010
11 a.m. – 5 p.m.
201 Waterfront Street
National Harbor, MD 20745

Come out and experience:

• 200 elegantly appointed design, home & art vignettes
• Trend setting kitchens & architecture
• Stylish home accoutrements
• Sleek home automation
• Interior design & outdoor living
• 100+ hard-to-find wines, artisan brews & spirits tastings
• Gourmet food purveyor tastings

Stop by to see me at Booth #627.  I’ll be featuring new mixed media and oil paintings.

Kids 12 and under free.  Tickets available on-line or at the door. 

Click here for more info.

Peace!

J. R. Marley, is a gifted Liberian artist.  He paints in a makeshift studio in West Point, an ocean side slum in the heart of Monrovia.  His inspiration comes from African traditions handed down through the ages. 

Ten pieces of his work were recently shipped from Monrovia.  Here are his idyllic scenes of village life in rural Liberia.  All paintings are for sale.  If interested contact Rufus Berry at 510-393-1825 or email rufus_berry@yahoo.com.

Scene 1 – Day in the Life of the Village 24″x40″

Scene 2 – Day in the Life of the Village 24″x40″

Scene 3 – Day in the Life of the Village 18″x24″

Scene 4 – Day in the Life of the Village 18″x24″

Scene 5 – Day in the Life of the Village 30″x54″

Scene 6 – Day in the Life of the Village 24″x40″

Down by the Water Side 30″x48″

In This Issue…

• Editor’s Perspective: Time Well Spent
• Queen Freedom featured in Black Creativity 2010 Juried Exhibition – Museum of Science and Industry, Chicago, IL –  through February 28, 2010
• Contemporary Artist: Akili Ron Anderson, AfriCOBRA Artist
• Our Common Journey – Reception rescheduled to Sunday, February 14, 2010 – 11:30 a.m. to 1:30 p.m. – Village of Friendship Heights Center – 4433 South Park Ave., Chevy Chase, MD – Featuring: Anne S.Bouie, John Beckley, Daniel T. Brooking, Bernard W. Brooks, Gwendolyn Aqui – Brooks, James Brown Jr., Desiree Darden, Henry Elliott, Jenne Glover, T. H. Gomillion, Francine Haskins, Gloria C. Kirk, Jacqueline Lee, and Samuel Mercer
• The Uganda Art Consortium Exhibition – February 19 to 21, 2010 – Howard University, Blackburn Center – Fri. 5 p.m. to 8 p.m., Sat. & Sun. 11 a.m. to 5 p.m.  

Two years have rolled by so quickly.  And under stress, I’ve questioned whether I should continue writing Voicing Art  because of the commitment it takes to put it together.  After some soul searching it was clear to me that this is something that I must do.  Some things are worth quitting, but reaching out to you feels right. 

“There is no greater agony than bearing an untold story inside you.”  Maya Angelou

 
Peace!

P.S.

Queen Harriett is featured in Black Creativity 2010 Juried Exhibition, at the Museum of Science and Industry, Chicago, IL  –  through February  28, 2010

Jenne Glover

Mixed Media   12″ x 16″ 

Building…
Recycling…
Perfecting technique!!!

Akili discusses artwork – Creation
Wood and Plywood 12’ x 8’ x 6”  2007

Akili Ron Anderson wears many hats.  He is a sculptor, stained glass artist, painter, print maker, photographer, filmmaker, administrator, and professor.  A lifetime D.C. resident, he has practiced as a full-time visual artist for more than 30 years. 

Akili is a member of AfriCOBRA (African Commune of Bad Relevant Artists) an artist collective that emerged in Chicago in the 1960’s and relocated its base to Howard University when its founder, Jeff Donaldson, became chairperson of Howard’s Art Department.  This innovative art movement seeks to develop images that affirm and uplift the black community by capturing the vigor, energy, and spirit of African American culture through elements found in traditional African Art.

Along with his passion for art, Akili has a long standing commitment to community.  He is co-founder of the NationHouse Positive Action Center, Watoto School, Sankofa Institute; and NATION, a music, visual arts, dance, and poetry performance ensemble.  Both institutions have been around for more than 40 years.  He has served as chairperson for the Visual Arts department at the Duke Ellington School of the Arts, as well as for the defunct Workshop for Careers in the Arts that was based at George Washington University.  Most recently, he was on the faculty for the Department of Art at Howard University. 

Jesus in the Garden  
Mixed Media on Paper   26” x 40”   1994

Akili works around the clock and a typical work day can range from 8 to 16 hours.  His parents fueled his love for the arts and his affinity for working with wood came naturally.  His father, who was in the military, always had a carpentry shop at home where he did cabinet making.  Akili always knew he had two things that he could do well, art and athletics, and after living a short time in segregated Lynchburg, Virginia, he knew he wanted to celebrate black culture. 

He received a scholarship to the Corcoran School of Art, but being one of four black art students, he felt alienated.  After a year at the Corcoran, he transferred to Howard University where black awareness was nurtured by a distinguished faculty that included James Wells and Lois Mailou Jones.  Akili was also inspired by James Porter, Ed Love, and Elizabeth Catlett. 

After earning a BFA in 1969, Akili worked with his mentor Robert Nash, an architect, restoring columns and repairing stained glass in the John Wesley AME Zion Church.  He describes one project that was “trial by fire” and tested his commitment to working in this medium and environment.  The project required repairing a termite damaged 30” x 30” skylight that had 30 separate windows and set atop a 4 story building.  Although challenged to the max, he successfully completed the project and has since designed, fabricated, and installed stained glass throughout the Washington Metro Area.  

Columbia Heights Metro- West Station

WMATA features “Sankofa Bird I & II”, at the Columbia Heights Metro Station.  Installed in 2002, it features birds in flight and is about moving forward while looking back to ensure that you don’t make the mistakes of the past.  Akili says that while he was installing this work, he heard a boy tell his friend, “my metro station looks better than yours.”  It was at that moment that he knew he was doing the right thing.  Akili has also been contracted to install stained glass at the Prince George’s County Courthouse, Howard University Rankin Chapel, Union Temple Baptist Church, St. Augustine Catholic Church, and many other churches.

Prince George’s Courthouse window
Hand and Scale   2008

Akili says stained glass has taught him patience, precision, and structural integrity because working with glass is unforgiving.  He compares making stained glass designs to dressmaking because you use patterns, and glass has distinctive swirls and designs much like fabric which requires determining what sections will be used.  He notes that all of his stained glass creations are original conceptions, not stock designs.

Working in stained glass is very important to Akili because it makes a broad cultural statement.  He considers this medium to be the most challenging because it is primarily public art work and breaking into this arena was not easy.  He explains that most government projects allocate 2% of their budget to art, but only a small percent of the applicants will qualify.  This market requires getting on a national registry to be screened and to validate that you have the credentials needed to do the job.  In order to be considered, you’ve got to be credible, have relevant experience, and be able to work within short deadlines.  In 2008, along with his many accomplishments, Akili added an MFA from Howard University to his credentials.