Category Archives for "Voicing Art"

Paul Goodnight, Imagemaker

 

In This Issue…

• Editor’s Perspective: Circle of Life
• Contemporary Artist: Paul Goodnight, Imagemaker
• Our Common Journey —
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 & Samuel Mercer  — February 1 to February 28, 2010 — Village of Friendship Heights Center — 4422 South Park Avenue, Chevy Chase, MD
• Art by Paul Goodnight @ Gallery Serengeti — 7919 Central Avenue, Capitol Heights
 


Editor’s Perspective: Circle of Life

You have noticed that everything an Indian does is in a circle, and that is because the Power of the World always works in circles, and everything tries to be round….. The Sky is round, and I have heard that the earth is round like a ball, and so are all the stars. The wind, in its greatest power, whirls.  Birds make their nest in circles, for theirs is the same religion as ours….

Even the seasons form a great circle in their changing, and always come back again to where they were. The life of a man is a circle from childhood to childhood, and so it is in everything where power moves.  Black Elk Oglala Sioux Holy Man, 1863-1950

As we enter 2010 and celebrate a new cycle, I wish for peace and blessings!

Happy New Year!!!
jennesig


Contemporary Artist: Paul Goodnight, Imagemaker

Balancing
Between the lines…
Finding ying-yang harmony!
 

Paul Goodnight photo1

On December 5th, I interviewed Paul Goodnight at a reception held in his honor at Gallery Serengeti in Capitol Heights, Maryland.  Paul dressed up for the occasion, donning a black velvet jacket with a red pocket square over his blue overalls.  He is friendly and easy to talk to.

I have admired Paul’s work for a long time, but never thought I would ever meet this world renowned artist.  A master of his craft, Paul’s paintings are in major markets across the globe and his accolades continue to grow. 

Just recently he completed The Network, a mixed media painting for the 2010 World Cup in South Africa.  This painting is part of an international traveling exhibition that will begin its tour in the U.S.  Other major commissions he’s received include the World Cup Soccer Poster of 1998; and the Olympics 2008 and1996.  

Paul Goodnight - The Network

The Network – 2010 World Cup

Paul’s metamorphosis into a painter was channeled by the trauma he experienced as a soldier in Viet Nam.  Unable to speak, he began drawing pictures to release the painful memories of the war.  Over time, drawing helped him find a new voice and a new direction in life.  Paul says, “Art is making me, rather then me creating it”…”his work is from him, but not of him.”  

Paul paints what he experiences through travel, music, and sports.  His works are ethereal, sensual, and rhythmic.  He begins a work with two strokes across the canvas and what emerge are powerful, statuesque, Afrocentric images.  Vibrating colors rhythmically moving across the canvas pull you into the heart and spirit of his subjects.  You feel the intensity of his dancers’ movement, the power and energy of the soccer player’s kick, you hear music. 

Paul Goodnight - Strength, Stride, Strokes & Spokes 2008 Olympics

Strength, Stride, Strokes & Spokes
2008 Olympics Triathlon Painting, Beijing, China

Although representational, he paints outside the lines, “I would love to convey the ability to see between the figures, melding and infusing them into an environment of endless nuances where abstraction and representational images are comfortable in the same space and where passion and humanity resonate.” 

There were challenges and rejections along the way, but his career accelerated thanks to his art appearing on “The Cosby Show,” “Fresh Prince of Bel Air,” “Seinfeld,” “The Hughleys,” and in the movie “Ghost.”  Most recently, one of his paintings appeared in “Gone Baby Gone,” and in 2007 a piece of his art auctioned for $70,000 at the Andre Agassi Grand Slam for Children in Las Vegas. 

Paul Goodnight - Dancer & the Piano Tickler 2008, oil on canvas 55x46

Dancer & the Piano Tickler  2008
Oil on canvas  55 x 46

Paul’s art is in many institutional collections including the Smithsonian and Hampton University Museum; and some of his private collectors include Desmond Tutu, Maya Angelou, Samuel L. Jackson, Lionel Richie, Wesley Snipes, Isaiah Thomas, and the list goes on. 

Paul credits his success to an enormous support system that empowers him to create.  He also praises his mentor, Dr. John Biggers, a master African American artist, as a major influence in his art career.  Paul was a student at the Massachusetts College of Art, in the 70’s, when he first met Dr. Biggers at a National Conference of Artists Convention; and where Biggers advised the artists to be “image makers.”  These words clarified Paul’s artistic purpose and propelled him to create what he knew and what was familiar to him. 

Dr. Biggers told Paul to create, not duplicate; that the work he did doesn’t belong to him, but to someone else; and to send his work out into the world where it will be enjoyed the most.  For inspiration and ideas, Paul fills his studio with the work of other artists.

Paul Goodnight - Katrina

Katrina 
Giclee  S/N 200  17.5 x 22.5

When I was asked to interview Paul, it occurred to me that I had a print of his work.  Links and Lineage, created in the early 80’s, became the icebreaker to a brief, but insightful discussion about Paul’s life and art.  And, the back story on Links and Lineage illustrates Paul’s commitment to being an image maker.  The Links, Incorporated commissioned him to create a piece of art for their upcoming convention.  They wanted a brand, an image that reflected black women working together, that captured their southern tradition and cultural roots.

paul-goodnight-links-and-lineage

 Links and Lineage

After some discussion, Paul said he stepped out of the equation and focused on what was best for them.  And so, Links and Lineage evolved depicting the connection between the generations and to Africa.  They work in harmony… as mother braids daughter’s hair, daughter braids granny’s, and granny is sewing a quilt. 

The quilt, a guidepost to freedom, depicts patches of tribal patterns, linking the family to Africa.  They are enshrined by the ancient baobob tree like offerings lay as blessings to the spirit world.  Paul calls Links and Lineage an “evergreen piece” because it continues to be in demand.

Early in his career Paul was advised to diversify his subject matter.  Choosing instead to stay true to his culture and history is allowing him the pleasure to do what he does best…magically capturing the essence of people. 

Paul’s website is http://www.colorcircle.com/welcome.html.

Art by Paul Goodnight @ Gallery Serengeti

7919 Central Avenue
Capitol Heights, MD

301-808-6987

 

Our Common Journey — February 1 to February 28, 2010

Reception: Sunday, February 7, 2010 – 11:30 a.m. – 1:30 p.m.

Village of Friendship Heights Center
4422 South Park Avenue
Chevy Chase, MD

301-656-2797

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

 

Joseph Holston-Destined For Greatness

 

• Editor’s Perspective: Ken Burns – The National Parks: America’s Best Idea

Contemporary Artist: The Art of Joseph Holston, Part 2 — Destined for Greatness

Paul Goodnight @ Gallery Serengeti

   Meet the Artist, December 5, 2009 3:00 p.m. to 5:00 p.m.

   December 5, 2009 to January 11, 2010

   7919 Central Avenue, Capitol Heights, MD 20743

   301-808-6987

• Got Art? @ Design Studio Art Gallery

   Opening Reception — Sunday, November 15, 2009

   6:00 p.m. to 9:00 p.m.

   November 8, 2009 – December 27, 2009

   5702 Baltimore Avenue

   Hyattsville, MD 20781

   301-779-4907; 202-446-7373

Next Issue: Paul Goodnight


Editor’s Perspective: Ken Burns – The National Parks: America’s Best Idea

Living in the city, it’s easy to forget there are places in America that are free of commercialism, pollution, and urban life chaos. The National Parks: America’s Best Idea, is a 6-episode series on the history of the National Parks, from 1851 to 1980.

Directed by Ken Burns and written and co-produced by Dayton Duncan, the film transports you to some of the beautiful natural wonders existing within our borders. The film tells the story of the pioneers who supported a radical idea of preserving and protecting America’s significant landscapes for all Americans. It examines the challenges made by capitalists set on commercial use of the land and gives the perspective of Tribal Nations displaced in the process.

The National Parks: America’s Best Idea, features some of nature’s most spectacular locations including the Everglades, Acadia, the Grand Canyon, Yellowstone, Yosemite, and the Gates of the Arctic. Visually stunning, it is rejuvenating to see Mother Nature’s majestic power, even from afar.

Click here to order the series.

National Parks- Americas Best Idea


Peace!

jennesig


Contemporary Artist: The Art of Joseph Holston, Part 2 — Destined for Greatness

Joseph Holston - photo

Joseph’s life as an artist seems to have unfolded in a natural progression of events. He began developing his skills as a four-year-old, copying his mother’s art, as she learned how to draw through books and correspondence schools. Very much a loner and a dreamer, Joseph found himself always creating visual stories in his head. And, being the fifth child of six and having four older and bossy sisters, finding a quiet place to draw provided him peace and refuge. In school he always felt disconnected and unfocused, and recalls being reprimanded often for his daydreaming.

When Joseph was 17, he moved from Chevy Chase to Washington, D.C. A chance encounter with Ronald Wildy, an advertising art student, who was attending Chamberlain Vocational High School, was a changing point in his life. Although his mom wanted him to finish regular high school and get a job, Joseph secretly took the entrance test for commercial art at Chamberlain. Mr. Washburn, the art teacher, suggested that he wait until next year to enroll, but Joseph persuaded Washburn to register him for the upcoming school year. Once accepted, his mother acquiesced and Joseph received formal training in commercial art.

Upon graduation, he worked as a commercial artist for Sears & Roebuck, the Hecht Company, and with various consulting firms and art agencies around town. He enjoyed the work because it provided him the opportunity to use his creativity, to master various mediums, develop different products, work with customers, and make deadlines. But after doing this for eight years, he knew he had a deep desire to be a fine artist, specifically a portrait painter.

Joseph frequently took art courses after work and while researching for an instructor in portrait painting, ventured off to Santa Fe, New Mexico to study with Richard Goetz, who had turned to teaching impressionism. Goetz advised Joseph to rethink his plan to become a portrait painter because it was limiting and would strip him of his creativity. He advised Joseph to capitalize on his abilities. Joseph could only afford to stay away from his regular job for three weeks, but the time spent painting on location solidified his conviction to be a fine art painter.

When he returned to D.C., he didn’t know how he was going to support himself. However, he did know he would have to be resourceful when it came to creating and showing his work, in order to build a client base. Joseph took Goetz advice and began doing figurative art, hiring models to sketch. His well-known piece, “Boy in Red Cap” came out of this period. In developing this work, Joseph’s goal was to isolate the observer in a one-on-one interaction with the subject, which he achieved by painting the boy with one eye peering directly at you from under a cocked cap.

Boy in red cap - Holston

Boy in Red Cap, 1972
Joseph Holston
Oil on Canvas 40×32

During this period he also began building a collection of work, which he exhibited and sold in the Art on the Mall program sponsored by the National Park Service. These weekly shows on the National Mall, as well as other shows at numerous locations, including Malcolm X Park, were inspirational because they provided him with a sound gauge on the pulse of his market. And remarkably, many of the individuals who purchased his early paintings are patrons to this day. Yet, making money is not what drives Joseph; he’s motivated by the response his work evokes, and feels humbled that people want to own his creations.

Joseph credits his commercial art training for preparing him for the business side of art…marketing and selling his work. There were bumps along the way, but he always knew he had to work hard and pay attention to his patrons. He worked confidently knowing that something positive was around the corner and that doors would eventually open for him. And, although Joseph knew he could always return to the commercial art world, he proudly notes that 40 years later, he has developed a rewarding fine art career and has never looked back. He notes that many artists want to use only one side of their brain and they don’t want to think about the business side. He emphasizes that most artists can’t rely solely on galleries to survive; they must know something about marketing their work, how to open doors of opportunity, how to stay visible, build a client base, and keep their patrons informed.

Joseph says his art career can be divided into two phases. During the first phase, his work was representational, with nature as its foundation. The second phase emerged after finding his spiritual voice; by digging deeper to remain fresh and exploring more creative ways of expressing a concept. Moreover, he’s always striving to do something better, like finding a stronger palette, or innovative ways of bringing his paintings to life.

Joseph Holston - Rhythm 'n' Play

Rhythm ‘N’ Play
Joseph Holston
Mixed Media 48X48

Joseph Holston - Nude in Evening

Nude in Evening
Joseph Holston
Mixed Media 36″x36″

Along with his paintings, Joseph’s etchings are celebrated all over the world. He began mastering this medium in 1974, at a printmaking workshop he attended at Howard University. He finds the process of creating etchings to be challenging and deeply satisfying. He is especially pleased that they have universal appeal, are affordable works of original art, and they enjoy a growing market of avid collectors.

Joseph advises artists to find their voice, take advantage of every moment to create, and be willing to make sacrifices to get the next painting completed. He believes that artists should never doubt themselves, become complacent or too comfortable. Instead, they must be willing to explore, to stretch out to do something different; and if it fails, to learn from it. He has also found that a certain level of discomfort is good because it gives you an edge; and that euphoria comes when you accomplish something unique.

Joseph Holston - Boy in Red Cap - etching

Boy in Red Cap
Joseph Holston
Etching 6″x3 15/16″

Joseph’s artworks are included in the permanent collections of the Baltimore Museum of Art; New York City’s Schomburg Center for Research in Black Culture; the Museum of Art at the Rhode Island School of Design; the Banneker-Douglass Museum, Annapolis, Maryland; the Lyndon B. Johnson Library at the University of Texas; the Hubert H. Humphrey Collection; the University of Maryland University College; the David C. Driskell Center at the University of Maryland; Howard University; the University of Vermont; the Yale University Art Gallery; DePauw University, Greedcastle, IN; the Washington County Museum of Fine Art, Hagerstown, MD; Butler Institute of American Art, Youngstown, OH; the King-Tisdell Cottage Museum, Savannah, Georgia; the AFL-CIO, Washington, DC; the Evans-Tibbs Collection; the Donald Byrd Collection; the Jean and Robert Steele Collection; and the David and Thelma Driskell Collection.

Joseph Holston - Two fishermen - etching


Two Fishermen
Joseph Holston
Etching 12″x9″

Some of his most significant exhibitions include the Smithsonian Institution’s Anacostia Museum, Washington, D.C.; the Arts Program Gallery, University of Maryland University College; the Washington County Museum of Fine Art; the Southern Alleghanies Museum of Art, Loretto, PA; Delaware State University; the Afro-American Museum, Philadelphia; the Butler Institute of American Art; the Fort Worth Museum of Fine Art, Texas; the University of North Carolina at Chapel Hill; North Carolina A & T State University; the APEX Museum, Atlanta, Georgia; the Visual Arts Center of Northwest Florida; and the DuSable Museum, Chicago.

Joseph has also exhibited and been a guest lecturer at DePauw University, the University of Maryland Eastern Shore, the University of Dar es Salaam, Howard University, Delaware State University, Bowling Green State University, Villa Julie College, and the Visual Arts Center of NW Florida. And, he has been artist-in-residence at North Carolina A & T State University, and at the Experimental Printmaking Institute at Lafayette College in Pennsylvania.

His commissions include North Carolina A & T State University, the AFL-CIO, the Miller Brewing Company, the National Urban Coalition, the National Medical Association, Gallo Winery, and the Washington Urban League.

Joseph Holston - Street Corner Musician - etching


Street Corner Musician
Joseph Holston
Etching 12″x19″

Joseph likes where he is in his life, and is quick to say that “God doesn’t give him too much at one time; he gives him bits and pieces.” Currently, Joseph and his wife Sharon, who handles the business side, are preparing for their annual Open House in November. Stay tuned for information on a retrospective on Joseph’s printmaking, which is scheduled to open at the Driskell Center, University of Maryland, College Park in April 2011.

For more information contact Holston Originals at 301-460-3096 or go to http://www.holstonart.com/

Color in Freedom Virtual Tour http://www.umuc.edu/colorinfreedom/virtual_tour/index.shtml

Prospectus on touring exhibit http://www.artsandartists.org/exhibitions/colorinfreedom.html

Click below to order the 96-page full color catalog —  

Color in Freedom: Journey Along the Underground Railroad

Joseph Holston book cover

Paul Goodnight @ Gallery Serengeti

Meet the Artist – December 5, 2009 3:00 p.m. to 5:00 p.m.

December 5, 2009 to January 11, 2010

7919 Central Avenue, Capitol Heights, MD 20743

301-808-6987

 

Got Art? @ Design Studio Art Gallery

Opening Reception — Sunday, November 15, 2009

6:00 p.m. to 9:00 p.m.

November 8, 2009 – December 27, 2009

5702 Baltimore Avenue

Hyattsville, MD 20781

301-779-4907; 202-446-7373

 

 • Next Issue: Paul Goodnight

 

Joseph Holston-Color in Freedom

  • Editor’s Perspective: A Teaching Moment
  • The Art of Joseph Holston, Part 1–Color in Freedom: Journey Along the Underground Railroad
  • Next Issue: The Art of Joseph Holston, Part 2–Destined for Greatness

Editor’s Perspective: A Teaching Moment

My recent interview with Joseph Holston left me feeling overwhelmed. How do I best convey the brilliance of this critically acclaimed cubist abstractionist painter – printmaker? That Joseph Holston is thriving here and abroad is a statement on his tireless work ethic, his ability to create art that’s appealing and continuously evolving, and his unwavering commitment to his craft and patrons.

His most recent major accomplishment, Color in Freedom: Journey Along the Underground Railroad, is a narrative pictorial done in four movements. This exhibition depicts a shameful period in America’s history — slavery and the painful journey of Africans in the new world, and their struggle to escape a life of oppression. Color in Freedom touches the psyche on multiple levels — artistic technique and style, historical context, and cultural and social relevance.

Organized by the Arts Program, University of Maryland University College, it was unveiled in November 2008. The exhibit is now touring and is currently scheduled to appear at the Muscatine Art Center in Iowa from August 30, 2009 – October 24, 2009; the Amarillo Museum of Art in Texas from November 6, 2009 – January 17, 2010; and the Brown vs. Board of Education National Historic Site and the Mulvane Art Center in Topeka, Kansas from February 5, 2010 – April 3, 2010 (These two sites are sharing the exhibition, two movements will be on display at each location).

Color in Freedom, is designed to be a “teaching moment,” and is supported by multi-disciplinary tools for the classroom including a virtual tour and lesson plans developed for various disciplines. If you missed the UMUC exhibition or want to see it again, do a virtual tour at http://www.umuc.edu/colorinfreedom/gallery/shtml.  For info on scheduling the exhibit, see prospectus at http://www.artsandartists.org/exh.detail.php?exhID=102.

Click below to order the 96-page full color catalog,
Color in Freedom: Journey Along the Underground Railroad

Joseph Holston book cover

Peace!

jennesig


The Art of Joseph Holston, Color in Freedom: Journey Along the Underground Railroad

Surrendering Soul

Following North Star

Dignifying Hope

Joseph Holston

There’s no question that Joseph Holston’s artistry is amazing, that he’s building unique bodies of work that are distinctly his own style. And, sitting one-on-one with him is a real treat because he doesn’t do many interviews. Being a prolific painter – printmaker, he’s constantly working to meet his deadlines, and he doesn’t have time to spare.

Color in Freedom: Journey along the Underground Railroad, is a landmark body of work, organized by the University of Maryland University College. Now on tour, the exhibit is an important historical account of the African American’s experience — from slavery to freedom. The exhibit is a visual healing tool for African American people and American culture because it brings to life and gives voice to this painful episode in American history. Initial planning on the exhibition began in 2005, and the entire project came to fruition in November 2008.  Opening with a full-day symposium on history and art surrounding the Underground Railroad, the David C. Driskell Center organized the event at the University of Maryland College Park in collaboration with UMUC.

The paintings and etchings for Color in Freedom were created over an intense six-month period during which Joseph lived and breathed the emotional journey of the African uprooted from his home and transplanted into a hateful environment. He got into character by walking along one Maryland route of the Underground Railroad, and envisioning the physical and psychological torment that the slaves were enduring. He describes the project as gut-wrenching and emotionally exhausting.

Color in Freedom tells the story in four movements: The Unknown World; Living in Bondage – Life on the Plantation; The Journey of Escape; and Color in Freedom. This visual narrative depicts the harsh realities that African Americans endured and the courage it took to regain freedom. Joseph laid the groundwork by creating 100 drawings or studies to serve as his road map. He explains that his creative explorations flow from the studies. They don’t take a lot of time and energy, but they are an essential part of his creative process.

Typically, from an image drawn in pencil, Joseph fabricates the concept as a color study, and then renders it in paint on canvas. Some images are also reinterpreted as etchings. Completing Color in Freedom was a major feat. The short deadline required him to stay in his studio, working around the clock, and he visited home only on the weekends.  The exhibit includes 50 paintings, etchings, and studies. The paintings are done in acrylic or mixed media and measure 48″x42″.

And, although the exhibit is emotionally charged there are glimmers of hope even in the darkest hours. From one movement to the next, Joseph’s colorful palette travels from expressing downtrodden blues, and forms and imagery of despair, to explosions of color and joyful body movements celebrating freedom and liberation.

Joseph’s emotionally stirring representation of a troubling period in American history is providing a platform for discussion, and a vehicle for healing the African American’s traumatic journey to reclaiming dignity.

Here’s a sampling of the four movements:

First Movement – The Unknown World

Joseph Holston - Subjugation

Subjugation
Joseph Holston
Mixed Media 48 x 42

Joseph Holston - Arrival in the unknown

Arrival in the Unknown
Joseph Holston
Mixed Media 42 x 48

Joseph Holston - Unbearable Loss

Unbearable Loss
Joseph Holston
Mixed Media 42 x 48

Second Movement – Living in Bondage-Life on the Plantation

Joseph Holston - Dawn of Despair - study

Dawn of Despair (Study)
Joseph Holston
Pencil 9 1/4 x 8

Joseph Holston - Dawn of Despair

Dawn of Despair
Joseph Holston
Acrylic on Canvas 48 x 42

Joseph Holston - Rape - Mixed Media

Rape
Joseph Holston
Mixed Media 48 x 42

Third Movement: Journey of Escape

Joseph Holston - Patter-Roller

Patter-Roller
Joseph Holston
Acrylic on Canvas 48 x 42

Joseph Holston - Spectre of the Hunt

Spectre of the Hunt
Joseph Holston
Mixed Media 48 x 42

Joseph Holston - House of Refuge

House of Refuge
Joseph Holston
Acrylic on Canvas 48 x 42

Joseph Holston - After Harriet--etching

After Harriet
Joseph Holston
Etching 11 x 14

Fourth Movement:  Color in Freedom

Joseph Holston - Sun Warms the Freeman

Sun Warms the Freeman
Joseph Holston
Etching 9 7/8 x 11 3/4

Joseph Holston - Jubilation II etching

Jubilation II
Joseph Holston
Etching 4 3/4 x 6 7/8

Joseph Holston - Righteous Rejoicing - etching

Righteous Rejoicing
Joseph Holston
Etching 11 x 14

Color in Freedom Virtual Tour http://www.umuc.edu/colorinfreedom/gallery/shtml.

Prospectus on touring exhibit http://www.artsandartists.org/exh.detail.php?exhID=102.

Reach Holston Originals at 301-460-3096 or go to www.holstonart.com.

Next Issue:  The Art of Joseph Holston, Part 2 — Destined for Greatness

Building A Legacy-Walter O. Evans, MD

In This Issue…

  • Editor’s Perspective: Building a Legacy of Pride
  • Collector’s Perspective: Walter O. Evans, MD — Insight & Advice From an Expert — Buy What You Like!
  • Next Issue: The Art of Joseph Holston

Editor’s Perspective: Building a Legacy of Pride

For some months now, Voicing Art has been featuring emerging, mid-career, and established artists. Wanting to share a collector’s perspective, this issue is dedicated to Walter O. Evans, a retired surgeon, and a significant African American art collector. Recently, I had the opportunity to hear Dr. Evans speak about his life and art collecting experience at the Collectors’ Roundtable, an event held by the Smithsonian American Art Museum. His presentation was informative and featured some artists that were new to me. It was inspiring to hear how his collection of historical gems had evolved overtime. His story seemed to exemplify how building relationships within the art community enriches our culture. After his presentation, Dr. Evans held a book signing of The Walter O. Evans Collection of African American Art. This catalogue is a valuable edition to any library because it spans 150+ years of art by master African American artists. This full-color, 165 page collection catalogue includes 80 color plates. And, writings by art historians, Andrea B. Barnwell, Tritobia Hayes Benjamin, Kirsten P. Buick, and Amy M. Mooney provide visual, social, and political context. If you want to feel uplifted and cultural pride, click her to order The Walter O. Evans Collection of African American Art.

cover-walter-o-evans-collection

Peace!
jennesig

Collector’s Perspective: Dr. Walter O. Evans — Insight & Advice From an Expert — Buy What You Like!

evans_portrait1
I get joy out of tracking the items down, the rarity of it. I want to own it. That may be selfish, but that’s what makes me a collector–not an investor…I want to invest in my culture…Culture defines a people and art is a significant part of that definition, like music and literature.

Walter O. Evans, 1991


Walter O. Evans, MD is a humanitarian, that special breed that cares about mankind, making a difference, and contributing to the whole. As a patron of the arts, he’s spent the past 30 years, building a visual legacy to share with the world and although not a household name, in the art community he’s quite well known. His claim to fame, The Walter O. Evans Collection of African American Art, is one of the largest, privately owned African American art collections on the globe. The collection includes hundreds of pieces of art and is historically significant because there are paintings, sculptures, photographs, and works on paper by master artists and historical figures spanning the 18th, 19th and 20th centuries.  Notably, he has the largest privately-owned collections of works by Jacob Lawrence and Romare Bearden, both of whom emerged during the New Negro Movement of the Harlem Renaissance.

Evans’ journey was not deliberate, but began instinctively from a desire to decorate his home with images of African American art and culture. He wanted his daughters to be familiar with African American artists and to know that African American artists were as capable as European artists. Growing up in Savannah, Georgia, and Beaufort, South Carolina in the1940’s, he couldn’t visit the segregated galleries and museums to see art done by European artists, and these institutions were definitely not exhibiting African American artwork. Fortunately, a great sense of black pride was instilled in him by his teachers in the all black elementary schools that he attended, as well as by his family, who educated him about celebrated African American writers, artists, educators, and activist. Later, as a young adult, when he visited mainstream galleries and museums across the United States and abroad, he recognized the persistent omission of black imagery. This absence of African American representation would later serve as a prime motivation for Evans to remedy this oversight.

robert-scott-duncanson-man-fishing-1848-evans-collection1
Man Fishing, c. 1848
Robert Scott Duncanson
Oil on canvas 25 x 30

Little did he know that his first major purchase in the late 1970’s, a portfolio of 22 silkscreen prints entitled The Legend of John Brown by Jacob Lawrence was ushering in a new episode in his life. From then on, Evans was officially “hooked” on acquiring art, books, and documents related to the African American cultural experience. His research led him to begin searching for, and acquiring paintings and sculptures by 19th century masters such as Edward Mitchell Bannister, Robert Scott Duncanson, Mary Edmonia Lewis, Charles Ethan Porter, and Henry Osawa Tanner. Evans seeks art that’s rare, like Nelson Primus whose work is limited to approximately 14 known pieces because most were lost in the 1906 San Francisco earthquake. He enjoys attending auctions because they let him know what the market will bear. And, he explains that up until a few years ago, when he attended the Swann Auction Galleries (one of the few New York auction houses featuring black art) there weren’t many works by African Americans up for sale, and mainly he and Bill Cosby were bidding.

Things changed significantly once wealthy industrialist and art collector Richard Manoogian, one of America’s foremost collector’s of American art, became interested in “blockbuster” African American art. When word got out that Manoogian was buying African American art, museums and institutions became interested as well. Subsequently, the prices of the art works being auctioned today have risen to new heights. Five or so years ago, Sotheby’s and Christie’s finally got on the bandwagon, and now the increased demand for African American art has knocked Evans out of the price range for many of the important works.

Aside from the auction houses, Evans also purchases from galleries, dealers, and sometimes directly from the artists. He’s commissioned nearly a hundred works by Jacob Lawrence, Romare Bearden, Elizabeth Catlett, Richard Hunt, Fred Jones and others. These pieces, done especially for him, are very special because he collaborated with the artists by providing a theme or explaining a mood that he wanted captured and embodied in the work.

mary-edmonia-lewis-the-marriage-of-hiawatha-1868-evans-collection
The Marriage of Hiawatha, c. 1868
Mary Edmonia Lewis
White marble 29 x 11 ½ x 12

Evans never buys art as a financial investment because he has no intention of selling. He has no preference in medium or style and his collection is an eclectic mix of genres. His focus has been on building a historically significant collection of established artists. He admits there are a few pieces that he wishes he hadn’t purchased because they may not have been in the best condition, he didn’t care for the subject matter, restoration work was poorly done, or because he felt the work wasn’t a major or “best representative” piece by the artist.

jacob-lawrence-genesis-man-womanevans-2
Genesis Creation Sermon VII:
And God Created Man and Woman, 1989
Jacob Lawrence
Gouache on paper 29 ¾ x 22

Evans advises new collectors to buy what they like, to research the artist, and get experts to authenticate the artwork. He adds that a purchase is a good deal if you like the art and you are willing to pay the price. He stresses that it’s important to like what you’re buying because if the value doesn’t go up you won’t feel stuck. Evans suggests that new collectors buy originals by emerging artists, and signed, limited edition prints of established artists which are still affordable.

the-blockThe Block II, 1972
Romare Bearden
Collage on board 25 x 74

Evans states that building his collection has been a life-changing experience. It’s opened cultural avenues for him and brought new and different people into his life – artists, collectors, museum directors and personnel…and the many fellow art lovers he meets in the course of lending his artwork. Evans believes in sharing the cultural legacy that he has amassed. He and his wife, Linda, assembled a selection of over 80 works from their collection and put it on the road. This traveling exhibition toured continuously from 1991 to 2007 and was exhibited in over 45 museums and galleries throughout the country. They also loan individual pieces upon request to museums and to the U.S. State Department’s Art in Embassies program. They established The Walter O. Evans Foundation for Art and Literature to ensure the collection stays intact and that it will continue to serve as an educational resource for African American art and culture.

elizabeth-catlett-homage-to-black-women-poets-evans-collection1
Homage to Black Women Poets, 1984 Elizabeth Catlett
Mahogany 69 x 15 x 13

Evans says he has no clue on his next cultural investment; he’s waiting like the rest of us for the economy to improve. In the meantime, he is excited that a large portion of his collection has been donated to the Savannah College of Art and Design where it will become the centerpiece of The Walter O. Evans Center for African American Studies. Construction on the facility in Savannah, Georgia, the city of his birth, will begin later this year with a planned completion and opening date in 2010. 

Order an autographed copy of The Walter O. Evans Collection of African American Art by emailing lindajevans@bellsouth.net for details.

Next Issue: The Art of Joseph Holston

1 Back to Basics

In This Issue…
  • Editor’s Perspective: Act Like A Lady, Think Like A Man
  • Contemporary Artist: Michael Syphax, Creating Abstract Connections
  • Exhibition – Gallery Serengeti, Capitol Heights, MD – Saluting Women in the Fine Arts, featuring Gwen Aqui, Jenne Glover, Viola Leak, Tamara Little, Evelyn Holland-Walker — through May 31, 2009

Editor’s Perspective: Act Like A Lady, Think Like A Man

If you haven’t heard about stand-up comedian and talk-radio host, Steve Harvey’s best seller — Act Like A Lady, Think Like A Man, then perhaps you’ve been living in a cave.  Released in January, his relationship book is a #1 New York Times bestseller.  Written for women, the book claims to be the ultimate guide for dealing with men.  With chapters on The Mind-Set of a Man; Why Men Do What They Do; and The Playbook: How to Win the Game, ladies of all ages will glean insight on how men operate and navigate their terrain.

This book is funny and informative.  Filled with “down home courting wisdom,” Harvey infuses his comedic sensibilities and timing to cut to the chase on what men think about love, relationships, intimacy, and commitment.  He identifies the problems women have with men and provides solutions.

Harvey credits himself as an expert on manhood and how men think.  So men, since women are from Venus and you are from Mars, this may be a helpful book for you too, because Harvey uses simple, “pull no punches” counsel on how we differ.

And, in light of the degeneration of our society’s social standards and requirements, this is a particularly useful read for young adults.  Act Like A Lady, Think Like A Man will definitely generate productive conversations.

To order, click the link below

.act-like-a-lady-think-like-a-man

Peace!
jennesig

Contemporary Artist: Michael Syphax, Creating Abstract Connections

Tapping the invisible and internal
Externalizing the muse!

Michael Syphax Gregory Syphax

Michael Syphax                           by Gregory Syphax

Thanks to a phone call from a long-standing friend, I was introduced to colored pencil artist Michael Syphax. When I arrived at his home for the interview, to my surprise, although I did not know his name, he was a familiar face from my days at Roosevelt Senior High School (DC). I hadn’t seen his work and didn’t know what to expect, but what was anticipated was nothing like what was before me. At first glance, the pieces are richly colored organic abstractions, flavored like the southwest. Most are unusually elongated or are super sized. My mind doesn’t register pencil art because it looks like a painting. And frankly, it’s hard for me to fathom that these works are created by colored pencils and colored art sticks. Especially since his largest works are 60″x40″.  That’s a lot of pencil strokes and a lot of worn down pencils.

Hot Life 60"x20" Michael Syphax

During the week, Michael is a Development Officer for the Washington Performing Arts Society, but when he gets home in the evenings, he heads to his home studio to purge the stresses of the day and to reenergize. Michael’s discipline of continuously working and working fast was mastered in the mid 90’s when he relinquished his 9 to 5 to focus on his art. Today, although he puts in significant time to his craft, progress is slower, and time is his biggest challenge.

Michael has always had the urge to create art, what he describes as a compelling internal need to produce. Initially, he started out doing images in acrylic paint, and most of these early paintings he gave to his friends. While a student at the University of Mexico, he majored in Archeology of the American Southwest and Central America, and minored in Art. In the early 1990’s he began using felt tip markers and eventually moved on to drawing with colored pencils.

The Sandman Dreams of Water 40"x60" Michael Syphax

The Sandman Dreams of Water 40″x60″ Michael Syphax

Michael explains that working in pencils is challenging, because unlike a painting or sculpture, there’s little room for error.  When he begins a work, he rarely has a full vision in mind.  Some works evolve from a piece of an idea he wants to explore and will emerge from the free association of color and form.  And sometimes, he doesn’t have a clue of what he’s going to do.  His design concepts are centered on natural elements like microscopic shapes, textures, the southwestern plains desert dunes and distant mountains, the serenity of the tropics, the combinations of colors used by American Indians, or photos of outer space and at high altitudes.  And, he studies the stylized techniques used by abstract expressionist Helen Frankenthaler; Hans Hoffmann, a postwar abstract artist and influential teacher; and surrealism painters Salvador Dali and Yves Tanguy.

Working one piece at a time, he begins a design off-centered, and for a long time he deliberately avoided using straight lines. He develops themes using loops, orbs, curving lines, undulating forms, floating balls, textures, crooked lines, and prehistoric glyph-figures. Michael explains that his goal is to “translate something invisible and internal into something visible and external.” He evokes a range of abstract images and atmospheres by integrating distance, emptiness, space, light, the horizon, and color.

Dreaming of Distance 60"x10" Michael Syphax

Dreaming of Distance 60″x10″ Michael Syphax

Michael’s “Anasazi” series is inspired by the ancient Pueblo People — ancestors of the Hopi and Zuni; and the Hopi Indian Kachina dolls — stylized religious icons representing spirit figures from Hopi mythology. Each art work in this series is built on using ribbons of color and bears a representational eye of spirit watching over you.

Anasazi I 60"x20" Michael Syphax

Anasazi I 60″x20″  Michael Syphax

Michael is the first artist to describe to me the conflict that emerges between himself and his muse. This occurs when the imagery flowing from his initial concept suddenly wants to take a new direction. In order to resolve this complication, Michael halts production to analyze what’s going on. His challenge, to make sense of the noise inside his head, to come to terms with his muse, and to determine what colors and shapes will win a place on his paper canvas. Once a piece is completed, he lets it “dry” and then begins buffing the art work with a cloth to take off the wax bloom, a white glaze that appears across heavily worked colored pencil drawings. The last stage in the process is sealing the work with a soft gel medium.

Irian Jaya 20"x60" Michael Syphax

Irian Jaya 20″x60″ Michael Syphax

In the early stage of his art career, Michael just enjoyed the creative process and wasn’t concerned about exhibiting. Then in 1993, following the advice of some friends who are in the art business and liked what he was doing, he exhibited in “Celebration of the Arts,” a popular arts festival in Hot Springs, Arkansas. Although the festival was rained out, he was thrilled to see his work hanging in a public place and it got him thinking more seriously about his art. A few years later, he was juried by his peers to be a member of the Artists’ Gallery, a co-op in Columbia, MD where he still exhibits in the annual gallery show. Since then he’s exhibited in many group and solo shows including the Andrea Smith Gallery in Sedona, Arizona; the Museum of Contemporary Arts (MOCA) in Georgetown (DC); and was featured at the International Monetary Fund Gallery, and most recently at the Slayton House – Bill White Gallery in Columbia, MD.

Michael hopes that in the next five years he will be able to again do his art full-time and evolve faster. He recognizes that “overnight” success comes from due diligence…doing the background work required like building a body of work and exhibiting. He wishes he had taken his art more seriously 20 years earlier, but to me it doesn’t seem like a late start because he has emerged into his space. For it is safe to say that Michael Syphax is transforming colored pencil drawing to another level.

You can contact Michael at MSyphax@aol.com; or he can be reached at 202-882-0846.

Gallery Serengeti: Saluting Women in the Fine Arts

March 14 – May 31, 2009

Featuring:

  • Gwen Aqui
  • Jenne Glover
  • Viola Leak
  • Tamara Little
  • Evelyn Holland-Walker

7919 Central Avenue
District Heights, MD
301-808-6987

Monday – Saturday 10:00 a.m. to 6:00 p.m.
Sunday 12:00 p.m. to 4:00 p.m.

Giving Birth to the Dream

In This Issue…

  • Editor’s Perspective: Giving Birth to the Dream
  • Contemporary Artists: Jenne Glover’s,
    “One with the Drum,” on March program cover of Applause at Strathmore – Music
    Center, N. Bethesda, MD
  • Exhibition – Gallery Serengeti – saluting Women in the Fine Arts, featuring Gwen Aqui, Jenne Glover, Viola Leak, Tamara Little, Evelyn Holland-Walker — through May 31, 2009

Editor’s Perspective: Giving Birth to the Dream

giving_birth“Giving Birth to the Dream” was the name of a solo exhibit that I had many years ago at the Colorado College. The exhibition’s title was the same as a painting that I had completed about the same time. The painting tells a story about a woman surrounded by a mother and her ancestors. The mother figure has her hand on the woman’s shoulder, giving her a gentle nudge, as if to say…”go, do, be.” Elders assembled like Mt. Rushmore are supporting the woman’s back. A bright spirit holds court in the center and links past with the present. The baby on the mother’s back is focused elsewhere and the blanket wrapping the baby looks like a hand clasping the child firmly to her mother. We all have ancestors that overcame challenges of their day. And, their victories strengthened our family values and our desire to succeed, to do better than the previous generation.

With the disturbing changes in the economy, we find ourselves reassessing our lives, what we have, and what we need to do to weather the economic storm. There’s a collective hope that we will turn this mess around for the better. And, now that spring’s rebirthing, let’s dare to dream of new beginnings and take action to make it happen.

Peace!
jennesig


Contemporary Artist: Jenne Glover’s painting, “One with the Drum,” on Applause at Strathmore

Colors, composition, and balance…

Oh my!

applause

Interview with Jenne Glover: by Carolyn Spears

carolyn


Carolyn Spears Ford and Sydney, her granddaughter, at Lake Ontario, Canada.

Carolyn is a free-lance writer, art patron, and one of Jenne’s biggest fans.

When Jenne Glover, aka Jeannette Robinson Glover, launched Voicing Art on January 8, 2008, she ended her brief self-introduction with the word…“Whew”. Since then, readers have gleaned details about this gifted and generous woman from her “Editor’s Perspective” column and her interviews of other visual artists. Recently, she consented to sit on the ‘hot seat’ and become the interviewee. The following is a look at the genius behind Voicing Art.

Jenne was born and raised in Washington, DC by her loving and older parents, Ada and Thomas “Robby” Robinson. Her mother, a pioneer in early childhood education and her father a high school math teacher and winning college and high school track coach made sure that she was well cared for. Jenne loved hanging out with her dad and was nicknamed his “Shadow.” During her childhood, Sundays were really special because Jenne and her dad visited the local museums and galleries before they headed to his part-time job as a custodian at the U.S. Capitol. The Capitol was a super playground, an environment that energized her imagination…the art, sculpture, history, and ambiance. She knew every nook and cranny in the place; played hide and seek behind the sculptures; pretended to be the post office clerk; made mock speeches in the Senate and House Chambers; traveled on the underground railway; and when it was time to take a break to read, she relaxed on the chaise lounges in the senators’ and house representatives’ offices. Jenne credits this early exposure to this majestic environment as an important source of nourishment for her own budding talent.

Although blessed with a ‘good hand’ for as long as she can remember and essentially self-taught, Jenne didn’t begin painting seriously until she met Sam Glover in 1974. Sam, a talented fine artist-craftsman in his own right, became her friend, mentor, and husband. He made his transition in 2005, but his guidance and influence are permanently held in her heart. An expressionist painter, Jenne sometimes works in mixed media and textile, but always returns to her first love, oil paint. Her engaging use of color is her trademark. Jenne’s paintings, primarily of people, flow from a fundamental approach…“color, composition, and balance.” She pays special attention to the nuance of her subjects’ hands, their eyes, the flair of their hats. “My pieces are not designed to puzzle; and most are fun and uplifting.” Currently, she’s shying away from really big pieces in favor of more affordable, ‘travel friendly size’ works.

Gone are the days when she sold her work for almost nothing so she could buy food or pay a bill. Realizing that making a living as an artist may be financially challenging; Jenne’s back up plan earned her a Master of Science in Management from the University of Maryland University College, and so doing, she became the third generation of women in her family to earn a master’s degree. Her profession in Human Resources Management allows her to apply her training and gives her peace of mind to paint. Hoping to one day publish her art in a book, throughout her visual arts career she has documented her considerable body of work on slides and CDs. Jenne doesn’t labor over her art, but deliberates over the titles.

A nationally recognized talent, Jenne has shown in many solo, group and juried exhibitions. Currently, “Celebrating Life” an exhibition at the Wayne K. Curry Sports and Learning Center, Landover, MD will be on display through March 31st. She’s also featured in a salute to “Women in the Fine Arts,” an exhibit at Gallery Serengeti in District Heights, MD which will hang through May. Most notable among her solo exhibitions are: Parish Gallery, Georgetown, DC; Colorado College, Coburn Gallery; and the University of Maryland University College Art Gallery. Her favorite group shows are the recurring “Common Bond” exhibitions held at the Strathmore Hall Arts Center. Her art work is in the collections of the Maryland Artists Collection, University of Maryland University College; Morgan State University, James E. Lewis Museum; Colorado College, Coburn Gallery; Tri-Continental Industries; and private art collections. She’s also featured in Art Business News, The Beginner’s Guide to Collecting Fine Art African American Style, and Manhattan Arts International.

A fierce champion of the visual arts, Jenne launched the newsletter to trumpet the ’quiet’ cause of underappreciated visual artists. She hopes to inspire her readers, as she has been by the talented artists that she’s interviewed. Learning about an artist’s creative process (re)energizes hers. Recently, an interview with sculptress, Terry deBardelaben inspired Jenne to begin a series of mixed media works on angels, her homage to the abiding presence of spirit.

Angel Series:

angel


Although she’s having fun, producing the newsletter is a time-management challenge. Assessing the success of Voicing Art, Jenne is pleased, she’s getting feedback, but hopes for more dialogue with her readers. She welcomes suggestions for artists to feature, critiques on content, and ideas for Voicing Art’s direction. Don’t hold back, let her hear from you! You can contact Jenne at jglover@starpower.net or at 202-253-8098.

See more Jenne Glover art at:

www.jenneglover.com

Washington Projects for the Arts http://artfile.wpadc.org/

Maryland State Arts Council www.msac.org/registry


Mark Your Calendar:

womeninfine

March 14 – May 31, 2009

Featuring:

  • Gwen Aquiv
  • Jenne Glover
  • Viola Leak
  • Tamara Little
  • Evelyn Holland-Walker

7919 Central Avenue
District Heights, MD
301-808-6987

Monday – Saturday 10:00 a.m. to 6:00 p.m.
Sunday 12:00 p.m. to 4:00 p.m.

Straight Ahead Jazz Ministry

In This Issue…

  • Editor’s Perspective: Straight Ahead Jazz Ministry
  • Contemporary Artists: Elnora Wilson –
    Crafting Functional Art with Flair
  • MARK YOUR CALENDAR
    “Black History Month Exhibition Celebrating Life” – Paintings by Jenne Glover and Elnora
    Wilson – 2/4/09 to 3/31/09 – Wayne K. Curry Sports and Learning Center, Landover, Maryland
  • MARK YOUR CALENDAR
    “Learned in Science, Explored in Art” — An Exhibit of 35 Medical Paintings by renowned artist, scientist and philosopher, Dr. Wolfgang Ritschel – January 16 to April 3, 2009 – Howard University – Louis Stokes
    Health Sciences Library

Editor’s Perspective: Straight Ahead Jazz Ministry

Although Voicing Art is devoted to the visual arts, I felt compelled to share this DC gem with those who love straight ahead jazz.
This year the Westminster Presbyterian Church is celebrating their tenth year of Jazz Ministry. If you live in the DC Metropolitan Area,
treat yourself to a uplifting evening filled with great music, an appreciative audience, and affordable home cooked food.
Performances are from 6:00 to 9:00 p.m. Admission is $5.00.

The current line up:

February 13, 2009 Introducing Jeff Antoniuk

– Jeff Antoniuk, sax

– Wade Beach, piano

– Tom Baldwin, bass

– Tony Martucci, drums

– Special Tribute to Johnny Hartman, Mark Green

February 20, 2009 An Art Blakely Experience

– Keith Killgo, drums

– Antonio Parker, sax

– Kenny Rittenhouse, trumpet

– Jon Ozment, piano

– Dupor Georges, trombone

– Ramier Mendez, bass

February 27, 2009 A Black History Celebration

– Maurice Lyles, drums

– Wade Beach, piano

– Paul Carr, sax

– Michael Hairston, tenor sax

– Michael Thomas, trumpet

– Steve Novosel, bass

– Queen Aisha, vocals

February 28, 2009 Thinking About Jazz

– Female Jazz Vocalists

– Special Guest: Esther Williams

March 6, 2009 The Legendary Butch Warren

– Butch Warren

– Peter Edelman

– Eric Allen, drums

– Knud Jensen, sax

– Olivier Brown, trumpet

– Bill Lavender, bass

March 6, 2009 The Legendary Butch Warren

– Butch Warren

– Peter Edelman

– Eric Allen, drums

– Knud Jensen, sax

– Olivier Brown, trumpet

– Bill Lavender, bass

March 13, 2009 Return to ABARTS

– George Botts, sax

– Wade Beach, piano

– David Jernigan, bass

– Bertell Knox, drums

March 20, 2009 Rare Vibe of Lionel Hampton

– Chuck Redd, vibes

– Robert Redd, piano

– Lenny Robinson, drums

– Tommy Cecil, bass

March 27, 2009-02-09 Ambassadors of Jazz

Hope to see you there!
jennesig


Contemporary Artist: Elnora Wilson – Crafting Functional Art with Flair

Structuring, Restructuring…

Recycling Artistic Solutions!

elnora

Elnora Wilson’s been creating things all of her life. The youngest of seven and petite in size, she’s always been restructuring her clothing. A preacher’s child, raised primarily by her mother, her life began in Darlington, South Carolina where her parents made a living from their working farm. When Elnora was 10 years old, she and her family moved to Prince George’s County where love was plentiful, money tight, and getting an education a requirement. Elnora always wanted to be an interior decorator, but was unable to go away to study. So instead, she focused her love of design, color, and textile by majoring in art education at Bowie State University where she earned a BA in Arts Education. Down the road, Elnora also earned a graduate degree in school administration from Trinity College (DC).

Elnora credits her home economics teachers at Fairmont Heights High School for instilling the desire for precision and craftsmanship in her creations and their willingness to exchange tailoring techniques with her. Her mother empowered her by purchasing a second hand sewing machine for her when she was twelve. Elnora’s artistry has always been evolving, her fine art painting techniques emerged as an undergrad under the direction of Semmi Knox, a celebrated portrait artist who painted the official portrait of President Bill Clinton. Professor Knox demanded his students work large surfaces, be professional and self-sufficient.

elnora1
Elnora devoted 30 years to the Prince George’s County School System, first as a middle school art teacher and later as an administrator. Now semi-retired, she’s spending quality time creating her “Just One” and “Redesign” lines of functional art that features jackets, shawls, vests, and purses. Whether she’s structuring something new or renewing something old, her well-crafted creations are a unique blend of the unusual, yet have a flair that’s distinctively classic.

elnora2

Recently, I took my all time favorite well worn black wool jacket to Elnora to see if she could resuscitate it. The jacket was in pitiful shape, the cuffs of the sleeves and lapel were frayed, one elbow was poorly darned, and the lining was torn and tattered. Although trashing it would have been a solution, I wouldn’t discard it because I loved its style, the fit, and the buttons; but the jacket was too tacky to wear in public. Elnora and I collaborated about how to resurrect the jacket. I told her generally what I didn’t want and she proposed some options. I liked her idea to add black lace and left the rest of the embellishment to her judgment. In a matter of two weeks, Elnora returned with an impeccable, asymmetrical recreation. Black lace embellishes the cuffs and sleeves, the lapel is refreshed with stitchery, a slight draping laced cape highlights the shoulders, and the lining is new. It is comforting to know that my all time favorite well worn black wool jacket is once again wearable and nicer than it was originally.

elnora3

Elnora’s immediate goal is to continue building her client base. She advices young artists to find something that you like doing, even for free, and then find a way to get paid for it.
If you want something one of a kind, or have that favorite thing that needs to be revived, give Elnora a call at 301-925-2468.


Mark Your Calendar:

Black History Month Exhibition

Celebrating Life — featuring art
works by Jenne Glover and Elnora Wilson February 4 to March
31, 2009

Reception: February 17, 2009, 5:00 p.m. to 7:00 p.m.

Wayne K. Curry Sports and Learning Center

8001 Sheriff Road

Landover, MD 20785

Monday – Friday 11:00 a.m. to 8:00 p.m.

Saturdays 11:00 a.m. to 5:00 p.m.

Sundays 11:00 a.m. to 5:00 p.m.

301-583-2430 / TTY 301-583-2483 / www.pgsportsandlearn.com

jenneglover elnora4

howard

“Learned in Science, Explored in Art”
— An Exhibit of 35 Medical Paintings by renowned artist, scientist
and philosopher, Dr. Wolfgang Ritschel

January 16 to April 3, 2009

Gallery Talk with the Artist — March 12, 2009 — 3:00 to
4:00 p.m.

Howard University

Louis Stokes Health Sciences Library

501 W Street, N.W.

Washington, DC 20059

For more info call Marlene Mahoney at 202-884-1727; or

visit http://www.hsl.howard-edu/gallery.html