Hoy es Hoy/ Today is Today

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Art by Javier Marin, 2006

This 13-foot bronze sculpture of a women’s head was purchased by the Jacksonville International Airport from the J. Johnson Gallery and placed in the  ‘flag pavilion’ area.

This new area (on the corner of Pecan Park Road and Yankee Clipper Drive, adjacent to the JAA Administration Building) features the sculpture set against curved black granite walls with a waterfall.

The artist, Javier Marin drew his inspiration from many different cultures—Mexican, Native American, and Asian.

This piece is representative of the Airport’s value of multi-culturalism and places the City on an international level for public art.

Additionally, to the JIA Arts Commission, Hoy es Hoy is the first piece by an international artist placed at the Airport and symbolizes the forward thinking and positive progress of our program.

information taken from: https://www.jiaarts.org/hoy

An Augusta Savage Talk at Cooper Union

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At the Cooper Union with (left to right) Nana Adusei- Poku, Dr. Theresa Leininger- Miller, and Wendy N. E. Ikemoto.

This past May, I had the pleasure of attending The Cooper Union’s celebration of Augusta Savage. While listening to educators give their views and share historical information about the Renaissance artist, I compared their information to what I already knew.

For instance, while I knew she grew up poor in the south, I was unaware about her socioeconomic status while she lived in the north and how much hurt her status inflicted upon the success of her career.

I first learned about Savage while visiting my sister in Jacksonville last summer. She took me to the Ritz museum and the administrator there, Adonnica, taught me about the Floridian native. Ever since then, I’ve been interested in her life and work.

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(image taken from: https://dos.myflorida.com/cultural/programs/florida-artists-hall-of-fame/augusta-savage/)

Those on the panel at  The Cooper Union were: Dr. Theresa Leininger- Miller (author of New Negro Artist in Paris: African American Painters and Sculptors in the City of Lights 1922-1934), Wendy N. E. Ikemoto ( an associate curator of American art at the New York Historical Society) and Nana Adusei- Poku (an instructor in the school of Art at Cooper Union).

Ikemoto, the first speaker,  spoke in depth about the current exhibition at the New York Historical Society, Augusta Savage Renaissance Women (which I saw afterwards…). She began by explaining the term, Renaissance Women:

I think the phrase renaissance women really gets to the core concept of the exhibition in two ways, first it speaks to the centrality of Augusta Savage and to the great early 20th century flourishing of African American arts that we know of today as the Harlem Renaissance. So, even though Savage is little known today, she was one of the great movers and shakers of the art world in her day. And second,…Renaissance Women speaks to Savages role as a….polymath…someone who is not just an artist but also an educator and activist.

Ikemoto continued by telling us about Savages’ difficult time at Cooper Union as a black woman in 1923, during the Jim Crow era, and how she was set on a ‘racial based arts activism path’ her entire life, fighting for her position in the art world and at the same time being committed to those in her community.

Savage did not try to communicate or dictate a certain style to her students but rather [tried] to communicate a commitment to racial uplift , a commitment to self-definition, a commitment to agency in the representation of ones own self and ones own community…

Augusta Savage left her family in Florida to follow her dream as a sculptor and settled in Harlem, New York. Most times, she survived on will and determination; the same spirit used mostly by our ancestors to keep going. Even though she was an unsupported practicing artist, she did all she could to give back to the community by teaching at the Harlem Community’s Art Studio and even opening an Art Salon. Despite the lack of resources, she reached many artist such as Jacob Lawrence, Gwendolyn Knight, and Norman Lewis.  I gather that she sculpted a spirit of charity within the community, by volunteering her talent and time.

I truly believe that one of the amazing human qualities she possessed was the  willingness to humbly  share the talent she was born with, with the community. She once said, “I created nothing really beautiful…really lasting, but if I could inspire one of the youngsters to develop the talent I know they possess then my monument would be in their work”.

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(image from https://theartsandeducation.wordpress.com/tag/augusta-savage/https://theartsandeducation.wordpress.com/tag/augusta-savage/)

In the middle of Ikemoto’s speech, the Youtube version of James Weldon Johnson’s Lift Every Voice and Sing was played to speak about Savages harp piece also titled Lift Every Voice and Sing.

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I felt playing the song was very fitting and timely. Secretly, I hoped Ikemoto would say ‘all rise for the national anthem’ and desired for her to play the entire song. I believe that move would have drove the point home about how Savage worked to uplift her community.  It would have encompassed that true unapologetic voice and spirit about what it may have meant to be an artist who was black, female and also considered poor at that time.

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When asked why she named the Piece, Lift Every Voice, her response was ‘people need to know we have an anthem’. This was year 1939. The anthem was just written in 1900 (next year it’s 100 years old!) and probably a lot of people had a lot to say about us owning the song as our anthem. It sounds like she was making a point to both African Americans and White Americans alike.

What I believe is Savage did not live a life of fear but took chances to please her own artistic desire. For example, her father did not condone sculpting in his house so she would  practice her craft outside of him knowing. As a child, many times she was terribly punished. Yet, that did not stop her desire to sculpt. As if finding acceptance in her own home wasn’t hard enough, she had to go through hurdles to be accepted in the art world.  Ikemoto told us about the scholarships she was turned down from because of the color of her skin.

In closing, Ikemoto, informed us about the current goals of museums – apparently, they are working hard to diversify their collections and to develop more inclusive exhibitions. So, the New York Historical Society has developed an initiative called the Equality and Justice for All Initiative, committing exhibition space to the struggle for civil rights in the United States.

Hearing this gave me hope. Maybe one day something of mine would be on display at a museum?! It also was very satisfying. I thought, now I should not have to struggle so much when looking for artist my color. For years I visited museums and galleries and found very little that perked my interest.

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The next speaker, Adusei- Poku, spoke about Savages literary works. Which I did not know she was also a writer!

Adusei- Poku wrote her speech through rhetorical questions that she posed to the audience. The questions were based on the absence of melancholy surrounding Savage and her contemporaries in relationship to black culture.

She explained the term race women; which ( in the words of Brittney Cooper) are women who enter public racial leadership roles beyond the church in the decades after Reconstruction. They explicitly fashion for themselves a public duty to serve their people with diligent and careful intellectual work and attention to providing intellectual character of the race.

I listed some of questions Adusei-Poku posed which I think were very relevant not only for Savage but for students of color everywhere who contribute to a society that rejects them on some level.

How did [Savage] experience Cooper Union as the only black female student among white peers and teachers? How did she feel when she had to apply for funding and received a scholarship the last minute because her family wasn’t wealthy…?

I am curious what impelled Savage and her contemporaries to push on despite the world around them constantly pulling them down.  One of the most popular stories that circulate about Savage is after she submitted the 16-foot sculpture of Lift Every Voice for the 1939 World Fair, it was dismantled under the notion that there was no where to place it and no way to fully care for it. I can’t imagine staying up for hours and creating what Adusei-Poku described as ‘a piece that represents the lifting of the self out of subjugation towards heaven, towards a presence that allows black subjects to be human’ and to later see it destroyed. All we have now are photos of the 16- foot sculpture.

Adusei-Poku continued her questions, was Savage present when the bulldozers rolled over her work? What does it mean to show an enlarge version of the photograph of her in front of her sculpture and not to talk about the ways in which sexism and racism affected her?

For America not to have interest in Savage’s work, for me is no grand surprise. For America to now be interested in her work, also is no grant surprise. In addition to Adusei- Poku, I want to know if  there are  writings to answer these types of questions? Are there newspaper coverage or magazine interviews stating how Savage dealt with such a loss? Savage’s work wasn’t the only work destroyed there, did anyone care about the artist? Whose work was saved?

Savage, I know, was a fighter and did fight for her work but was against forces with power and money.  If you visit the New York Historical Society, you would see what they could find of her work and also letters between herself and a friend of hers, W. E. B. Du Bois, and the institutions that dismissed her. It’s a testament to how African Americans for ages have been struggling to exist in a county that their ancestors built.

The last speaker was Dr. Theresa Leininger- Miller (author of New Negro Artist in Paris: African American Painters and Sculptors in the City of Lights 1922-1934). She shared with the community, the most historical facts about Savage’s life. Savage was made more of a human being in her stories and she spoke as if she understood Savage’s aspirations.

Listening, I learned about Savage’s piece, Gamin, which made her famous and enabled her to study in Europe. I found the meaning of Gamin very interesting and wondered why a Harlem Renaissance artist would want to show this part of her community. I thought Harlem Renaissance artist main focus was to show case the uplift of their community?  Gamin, on the other hand, shows the community as is. It was Gamin that sent her across the ocean to study in Europe and it’s also now her most represented piece. I think it’s Gamin that also represented her community.

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Dr. Leininger-Miller told us about her personal life. She married at 15 and began a life long journey of marriages and child deaths. It seems as if she married three times and in each matrimony dealt with death. One marriage was even abusive. The one that gave her the last name we know her by, Savage.

In closing, it was very meaningful to listen to a lecture about Augusta Savage who was a very educated person. She produced each piece of work with meaning and care. She worked with what she had and gave a lot to a world that tried to break her spirit and determination. Yet, she grabbed on to life’s intangible dreams and molded the impossibles and intangibles into possibles and tangibles.  

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Sculptor Francis Miller

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When I met sculptor Francis Miller, he was finishing  up a days work on Deerfield’s Civil war monument. He was putting his tools in his truck and probably about to drive off but then I came…and two more people after that. 

I had always wanted to hear a sculpture’s opinion about historic monuments being taken down and after introducing myself he very kindly, answered my questions. 

What you think about historic monuments being taken down?

… I think about the reason it was put up and how it functions today…if something is causing harm, it is a problem…however, there’s a flip side. I understand why so many people- white people  in the south predominantly-  are tying to hold on to these Civil War icons… icons to them [anyway].

I did some work in Arkansas at the national cemetery on the Minnesota monument. After the war they brought down grand from Minnesota- beautiful grand plant- they built a really tall, a 10 foot tall Union Solider on top… then from here to the flag pole there’s a little obelisk about yay high built out of marble leaning to the side and it reads: here are buried 540 confederate deaths.

So, after the war, the north clearly didn’t try economically and somewhat socially,…to  make amends for all the damage that they caused within that community….and that would be for the whites…. After that kind of devastation and poverty they were trying to hold on to something for identity and I think it became the Civil War leaders. I can’t fault them for grabbing on to something, it’s just the wrong thing.

 What about honoring the past regardless of whose past it is?….I understand, this statue is not representing you or you disagree with what he did in the past but it’s the past… When we look at history and we open up our books, if there’s something to represent that history, then we can tell our kids- this is the place where so and so happened and even though we don’t agree with what was done or said, in the past they really honored him which is why there is a statue of him here.

Right, but then the problem I had was a lot of them were put up in the Jim Crow era. So they were put up as a means of oppression right in the heart of the city… still claiming that dominance. And that was the line  I thought was crossed when I learned about the history of the monuments…[These statues] were not generated immediately after the Civil War [or during the] historical period [it seemingly represented], [the statues were built much later to keep a whole community of people under oppression]….

So, yeah, I don’t have a problem with those moments coming down.

If they…were closely aligned with the Civil War and were honoring the people who they thought were important for their community heritage and history, then I wouldn’t think they should be torn down because it would mark history.

It’s still not an easy thing to grapple with and it would be ashamed if all of the statues come down….However these newer monuments? We should put the brakes on these monuments. We should think about when they were invented and why and who funded them? What the climate was at that time- socially? I think there are some legitimate reasons to get these things removed.

I also was thinking about …communities…[particularly poor communities] with historical monuments. Instead of spending so much time [trying to figure out if a monument should be taken down or should we build a new one], there’s also other monuments that are still standing that need to be taken care of, like what you are doing here…

Exactly.

There is a wall in Brooklyn, a frieze, done by a very prominent artist during the 20’s and 30’s. Richmond Barthe. A Harlem Renaissance artist. It was done during the great depression I think.

What is it?

It’s like a wall mural but it’s not a painting, it’s like a …carving into a stone wall ….its an image of blacks dancing and slaves escaping.  The wall is cracking and it’s not being taken care of.  We spend so much time on taking something down or breaking something up, lets take care of what we have as well…the art that is meaningful. 

Yeah, I agree. The civil war monuments are so charged. They are charged emotionally. They are charged politically.

I think another issue is, when it’s taken down…Its still apart of history. It’s still saying something. Like when I go to Florida and I see the statue of Andrew Jackson, we know what he stood for but he’s there…I know he had a lot say about my people but I don’t know if today it would really mean anything if we just took it down….and then put it where? Where would we put it? I remember I went to Argentina and saw they did something similar. They took down statues…and at the back of their ‘White House’ they had so many statues there. It was an eyesore. What are you going to do with that?!

In my heart, I love preserving things. I always have and that’s my initial reaction for anything- save. And culturally I think we are much richer having these things even if there may be some controversy but I think there is a limit.   

How did you get into sculpting anyway, Mr. Miller?

In middle school, I started making a ton of stuff. My family took a trip to the grand canyon and we went to a Native American Shop. Everything was probably made in China… but I was fascinated with these little sculptures that was in this shop! And I said, Wow, that’s what I wanna do. I want to make sculpture.

What are the names of your favorite artist?

I have a pretty broad range. One of my favorite artist is, Alberto Giacometti. I love his work so much. Kiki Smith, a more contemporary sculpture…Richard Sarra….

You ever heard of Augusta Savage?

No, not by name.

She was also a sculpture and lived during the 20’s and 30’s. She graduated from Cooper Union and during the world’s fair she created a piece called Lift Every Voice and Sing or The Harp…However not much of her work was preserved…

Let me see if I can pull it up. Oh, there she is…let…Oh, yeah, there she is. Cool. Let me put on my glasses…Wow! And African American Sculpture!! That just wasn’t prominent at all!! 

We spoke until an older gentleman came by and asked Mr. Miller for help taking a photo the Civil War monument.

If you are interested in the Harlem Renaissance Frieze piece by Richmond Barthe here is a link to the article:  https://hyperallergic.com/473342/an-iconic-harlem-renaissance-frieze-is-crumbling-in-brooklyn/

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Soul of a Nation: Art in the Age of Black Power at the Brooklyn Museum

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Casey, Allyson and I at the Brooklyn Museum.

During the early winter, Casey and Allyson and I met up at the Brooklyn Museum to see the exhibit,  Soul of a Nation: Art in the Age of Black Power. 

When I arrived at the museum, Casey was there waiting for the both of us and had already passed about 20 percent of the exhibition, which was okay since I had already saw the exhibition twice.

My friend is coming to join us.

Oh, okay.

She said she’s here but she probably is still on her way…you know how that goes.

Yep, I certainly do. We both laughed.

While we waited for Allyson to show, Casey filled me in on different art mediums. Even though I saw the exhibition twice; I had walked past certain work I did not understand. That was the work that excited her.

Like,  Noah Purifoy’s work.

 

I love Noah Purifoy, she said, this medium is not mixed media nor is it statues, its more of ‘assemblages’. It’s one figure made using different types of materials… He collected material after the riots and made assemblages”

Only then, did I look in the case… and the nails and wood meant something.

We viewed his untitled, cased in work. On the top sat a head. Under the head a body of wood and in the wood, nails. A whole slew of nails. The only part of the figure without nails was the circular wooden head (this is as far as I can see).  I understood this assemblage as the whole body of pain. The brown body in pain. The brown community in pain and the nails just stay there. Some times the nails are removed and the pain is not so severe anymore but then, they return.

After viewing Noah Purifoy’s work we looked at John Outterbridge and Betty Saar’s work… work that I had passed before.

Outterbridge’s About Martin  evoked thoughts about the 1970’s. I thought about  King walking the earth and fighting for a people who had been taught to turn the other cheek. He fought with that cheek. The one they had turned for generations. He fought with love and peace. Who would have thought that fighting in this way would bring change?  I scanned the Moneta Sleet Jr.’s photo of Coretta that sat in the upper left corner of the open casket.

Betye Saar’s, Liberation of Aunt Jemina, wasn’t too far from Outterbridge’s About Martin. I didn’t know what to think.  Is this really an image of liberation? This idea of being liberated…and putting it with an image of a woman with a gun and raised fist suggests to me that liberation has an image. Freedom looks like something. But does freedom look like guns or peaceful protest?

When Allyson arrived we viewed work from more artist.  With Hammons we discussed 70’s slang. I had no idea ‘spade’ was a derogatory word.

Of course we discussed Sam Gilliam’s work. His canvas’ were eye catching.

There were some images, I kept my views to myself. I didn’t want to discuss it so much. Viewing One Nation Under God by Timothy Washington, gave me chills. It made me think of the reconstruction era and the time now. Don’t expect much, it seems to be saying. Don’t put your hopes high. Blacks are still waiting for their 40 aces and a mule.  I also was moved by Charles White Wanted Poster. The wanted images have grown since then. How much different is this poster  from the poster that sits in the office with all the innocent slain black and brown people? 1619- 19?  is now changed. 1619- 20?.

I watched and listened as the two artist conversed about the art and gave their honest opinions. They spoke about the art as if they were giving and listening to good gossip. It was that good of a conversation.

My critical eye among Casey and Allyson had a voice and they were interested in what I had to say as well, about what I saw and how I saw it.  Listening to them helped me to understand terms I read on the wall (that without my phone meant very little to me).

It also helped that they lived during the 70’s.

After we saw Howardena Pindell’s work, we moved pretty quickly through the hall.

We sat down and over broccoli soup Allyson told me about the art in the Fergus McCaffrey which lead to a conversation about race in Canada and the history of the Underground Rail Road….

  • learn more about Nova Scotia (which I found out, my principal’s family is from there)
  • look up information on enslaved Africans who were given freedom to travel back to Africa around 1719 or…something
  • learn about The Underground railroad that went all the way to Mexico and through the west…because to run all the way North wasn’t that safe for enslave people who lived in the deep south (did not know that one…)
  • When I am ready to travel to Chicago tell Allyson so she can hook me up with her friend who lives there